https://theselectioncommittee.com Nate Heiges Sun, 06 Sep 2026 13:55:10 +0000 https://theselectioncommittee.com en https://theselectioncommittee.com/Homepage Sun, 03 May 2020 16:57:01 +0000 Nate Heiges https://theselectioncommittee.com/Homepage The Selection CommitteeRADIO SHOW&nbsp;︎ subscribe to our mailing list!&nbsp;︎ follow on instagram for news! LIVE every other Tuesday from 4-6 pmon Newtown Radio in association with International Objects &amp;&nbsp;International Waters Listen to Newtown Radio live HERE! or live on Mixcloud HERE!&nbsp; Past shows can be streamed on Apple Podcasts, below, or on Mixcloud.Upcoming shows: September 8: Danny Balgley ` https://theselectioncommittee.com/Danny-Balgley Sun, 06 Sep 2026 13:55:10 +0000 Nate Heiges https://theselectioncommittee.com/Danny-Balgley <img width="2123" height="3774" width_o="2123" height_o="3774" data-src="https://freight.cargo.site/t/original/i/8350f8dae25cec575d668c13b7779d31a4b2c6cb40c46d4741cb9c455acd2947/00-Portrait.jpg" data-mid="251880595" border="0" data-scale="31" src="https://freight.cargo.site/w/1000/i/8350f8dae25cec575d668c13b7779d31a4b2c6cb40c46d4741cb9c455acd2947/00-Portrait.jpg" /> <img width="2753" height="2754" width_o="2753" height_o="2754" data-src="https://freight.cargo.site/t/original/i/b941aa17d7180c6992485d349df41c1df2bf527392fd2cde1ddd81698337a363/01-Anvil.jpg" data-mid="251880596" border="0" data-scale="67" src="https://freight.cargo.site/w/1000/i/b941aa17d7180c6992485d349df41c1df2bf527392fd2cde1ddd81698337a363/01-Anvil.jpg" /> <img width="2753" height="2754" width_o="2753" height_o="2754" data-src="https://freight.cargo.site/t/original/i/9886a242fa53fd4f4b9f631ecd84b1a2ac21b2ca90989dc3e7b246f3343dd1df/02-NotesonaRudder.jpg" data-mid="251880597" border="0" src="https://freight.cargo.site/w/1000/i/9886a242fa53fd4f4b9f631ecd84b1a2ac21b2ca90989dc3e7b246f3343dd1df/02-NotesonaRudder.jpg" /> <img width="2753" height="2754" width_o="2753" height_o="2754" data-src="https://freight.cargo.site/t/original/i/1271c4454b1e36f6bf3c4342563c40c7756e1ece6e254a308550e1eb1106bb41/03-Sunsetslices.jpg" data-mid="251880598" border="0" alt="Sunset Slices" data-caption="Sunset Slices" src="https://freight.cargo.site/w/1000/i/1271c4454b1e36f6bf3c4342563c40c7756e1ece6e254a308550e1eb1106bb41/03-Sunsetslices.jpg" /> <img width="2753" height="2754" width_o="2753" height_o="2754" data-src="https://freight.cargo.site/t/original/i/e68f1b0fb847b37302656750cf36efbd07eb71040fafc55c0c3ad1bb5f5dbb21/04-LeafRunner.jpg" data-mid="251880599" border="0" alt="Leaf Runner" data-caption="Leaf Runner" src="https://freight.cargo.site/w/1000/i/e68f1b0fb847b37302656750cf36efbd07eb71040fafc55c0c3ad1bb5f5dbb21/04-LeafRunner.jpg" /> <img width="2753" height="2754" width_o="2753" height_o="2754" data-src="https://freight.cargo.site/t/original/i/6c8675f066a12c4f0dfb54531f52a814409c601ac37adf36a82a33dfec2afffe/05-GlacialVeil.jpg" data-mid="251880600" border="0" alt="Glacial Veil" data-caption="Glacial Veil" src="https://freight.cargo.site/w/1000/i/6c8675f066a12c4f0dfb54531f52a814409c601ac37adf36a82a33dfec2afffe/05-GlacialVeil.jpg" /> <img width="2753" height="2754" width_o="2753" height_o="2754" data-src="https://freight.cargo.site/t/original/i/9c21f2cd1fa3f906d22e10b6c01c1ef9dbad7dd09c34285d43d93193f65dbf46/06-SunBlot.jpg" data-mid="251880601" border="0" alt="Sun Blot" data-caption="Sun Blot" src="https://freight.cargo.site/w/1000/i/9c21f2cd1fa3f906d22e10b6c01c1ef9dbad7dd09c34285d43d93193f65dbf46/06-SunBlot.jpg" /> <img width="2753" height="2754" width_o="2753" height_o="2754" data-src="https://freight.cargo.site/t/original/i/4ffa321b5ce20cd8abcdc7610e225bbfaea617ac5ba87788aa7ddca8843133b2/07-InTheOffing.jpg" data-mid="251880602" border="0" alt="In the Offing" data-caption="In the Offing" src="https://freight.cargo.site/w/1000/i/4ffa321b5ce20cd8abcdc7610e225bbfaea617ac5ba87788aa7ddca8843133b2/07-InTheOffing.jpg" /> Danny Balgley September 8, 2026The charming painter Danny Balgley joins us for an in-depth conversation about process, technique, materials, memory, and New York! His exhibition “Pentimento” is currently on view at the Wexler Gallery in Philadelphia through October 2, 2026. Directly translated, ‘pentimento’ means “to change one’s mind” or “to repent.” In painting it refers to a mark, shape, or figure that has been painted over but which, over time, becomes visible again. This process of painting, covering, and revealing has become central to Balgley’s work—abstractions which both unearth and fold in on themselves. Balgley unpacks his complicated process at length, describing the way he prepares his canvases and then slowly applies layer after gestural layer of color to them; wiping some away, building up texture, and then delicately going back into the resulting forms to finesse the composition. We discuss the tools he uses and his interest in special effects in painting—how different techniques and color relationships can evoke space or surfaces, and how abrupt juxtapositions can break them apart. Maybe it’s because he’s a fourth generation New Yorker on both sides of his family that Balgley is so connected to the way that changes reveal themselves over time, to reclamation and renovation, with history that shows through the current moment. We talk about his own history, what it means to be a queer artist making non-representational work, and what his paintings looked like before he ventured into abstraction. Listen in to a rich discussion about imperfection, slipperiness, and the transparency of time with a perfectly balanced musical accompaniment! Complete playlist below; tracks in yellow were cut for time.Lapse&nbsp; &nbsp; Chris Knox&nbsp; &nbsp; 1991 Heaps Of Sheeps&nbsp; &nbsp; Robert Wyatt&nbsp; &nbsp; 1997 Huffer&nbsp; &nbsp; The Breeders&nbsp; &nbsp; 2002 Poor Moon - Bonus Track&nbsp; &nbsp; Canned Heat&nbsp; &nbsp; 1969 The Corner&nbsp; &nbsp; Lewsberg&nbsp; &nbsp; 2021 Solid Brown&nbsp; &nbsp; Sebadoh&nbsp; &nbsp; 2007 Marigold&nbsp; &nbsp; Nirvana&nbsp; &nbsp; 1993 Ride Into the Sun - Demo - Take 2&nbsp; &nbsp; Lou Reed&nbsp; &nbsp; 2022 In The Garden&nbsp; &nbsp; Michael Hurley&nbsp; &nbsp; 1976 Ship&nbsp; &nbsp; Thee Oh Sees&nbsp; &nbsp; 2008 Anenome&nbsp; &nbsp; The Brian Jonestown Massacre&nbsp; &nbsp; 2008 Trouble in Mind&nbsp; &nbsp; Janis Joplin, Jorma Kaukonen&nbsp; &nbsp; 2022 Mr. Soul&nbsp; &nbsp; Neil Young&nbsp; &nbsp; 1982 Shadow of a Doubt&nbsp; &nbsp; Sonic Youth&nbsp; &nbsp; 1986 Final Day - Taken From The Final Day Single&nbsp; &nbsp; Young Marble Giants&nbsp; &nbsp; 2007 Chamber Of Reflection&nbsp; &nbsp; Mac DeMarco&nbsp; &nbsp; 2014 Tugboat&nbsp; &nbsp; Galaxie 500&nbsp; &nbsp; 1988 Yellow Ledbetter&nbsp; &nbsp; Pearl Jam&nbsp; &nbsp; 1991 I Won't Hurt You&nbsp; &nbsp; Neo Maya&nbsp; &nbsp; 1967 Ghost Song&nbsp; &nbsp; Jim Morrison, The Doors&nbsp; &nbsp; 1978 Peace Blossom Boogy&nbsp; &nbsp; Babe Rainbow&nbsp; &nbsp; 2017 Staring at Screens&nbsp; &nbsp; Smirk&nbsp; &nbsp; 2021 True Love&nbsp; &nbsp; Powerplant&nbsp; &nbsp; 2019 If We Wait&nbsp; &nbsp; Guided By Voices&nbsp; &nbsp; 1996 Ain't That Lovin' You Baby&nbsp; &nbsp; Link Wray &amp; The Wraymen&nbsp; &nbsp; 2002 Danny Balgley (b. New York, NY) lives and works in Queens, NY. He holds an MFA from Columbia University, a BFA from Cooper Union and attended the Yale School of Art Norfolk program on an Ellen Battell Stoeckel Grant. He has won the Mark Rothko Award, received grants from Ellen Gellman Fellowship and Ethel Cram Memorial Prize and has been nominated for the Joan Mitchell Fellowship. His work has been featured in “Architectural Digest”, “New American Paintings,” “Arts in Square”, and most recently, “Friend of the Artist.” https://theselectioncommittee.com/Reuben-Paterson Mon, 24 Aug 2026 10:41:38 +0000 Nate Heiges https://theselectioncommittee.com/Reuben-Paterson <img width="2362" height="3543" width_o="2362" height_o="3543" data-src="https://freight.cargo.site/t/original/i/b3281475fab703ed7bb3374f16b0320f9ed9e42854bbbf1c90b1ef63d260395a/credit-to-Henry-Hargreaves.jpg" data-mid="251521238" border="0" data-scale="56" alt="Photo: Henry Hargreaves" data-caption="Photo: Henry Hargreaves" src="https://freight.cargo.site/w/1000/i/b3281475fab703ed7bb3374f16b0320f9ed9e42854bbbf1c90b1ef63d260395a/credit-to-Henry-Hargreaves.jpg" /> <img width="1047" height="800" width_o="1047" height_o="800" data-src="https://freight.cargo.site/t/original/i/b4a90261368ff46435b676ac50769480f4edbc84fdc984d23ed9c3d948b7a3e6/3.jpg" data-mid="251726248" border="0" alt="Happy Being No-one But Themselves (Constellation Orion), 2024. Glitter, Cook Islands black pearls, Japanese fresh water pearls, acrylic and jewellery wire and mixed media on board, 24 x 18in. Photograph by Henry Hargreaves." data-caption="Happy Being No-one But Themselves (Constellation Orion), 2024. Glitter, Cook Islands black pearls, Japanese fresh water pearls, acrylic and jewellery wire and mixed media on board, 24 x 18in. Photograph by Henry Hargreaves." src="https://freight.cargo.site/w/1000/i/b4a90261368ff46435b676ac50769480f4edbc84fdc984d23ed9c3d948b7a3e6/3.jpg" /> <img width="800" height="533" width_o="800" height_o="533" data-src="https://freight.cargo.site/t/original/i/04e525d25f2886af3af428f70c8f1455af5233636e44e21e0a222ac7b18a2aec/1.jpg" data-mid="251726284" border="0" alt="Guide Kaiārahi, 2021, stainless steel, transparent acrylic and glass, 32 ft 10 in x 2 ft 4 in x 8 ft 6&frac12; in. Commissioned by Auckland Art Gallery Toi o Tāmaki, owned and generously supported by the Edmiston Trust. Photograph and detail by Auckland Art Gallery Toi o Tāmaki." data-caption="Guide Kaiārahi, 2021, stainless steel, transparent acrylic and glass, 32 ft 10 in x 2 ft 4 in x 8 ft 6½ in. Commissioned by Auckland Art Gallery Toi o Tāmaki, owned and generously supported by the Edmiston Trust. Photograph and detail by Auckland Art Gallery Toi o Tāmaki." src="https://freight.cargo.site/w/800/i/04e525d25f2886af3af428f70c8f1455af5233636e44e21e0a222ac7b18a2aec/1.jpg" /> <img width="800" height="534" width_o="800" height_o="534" data-src="https://freight.cargo.site/t/original/i/05e34e579020d40090e7796f3572f23af3b2459b98ac1c0ac8fbd2fd405c91ff/2.jpg" data-mid="251726285" border="0" alt="Guide Kaiārahi, 2021, stainless steel, transparent acrylic and glass, 32 ft 10 in x 2 ft 4 in x 8 ft 6&frac12; in. Commissioned by Auckland Art Gallery Toi o Tāmaki, owned and generously supported by the Edmiston Trust. Photograph and detail by Auckland Art Gallery Toi o Tāmaki." data-caption="Guide Kaiārahi, 2021, stainless steel, transparent acrylic and glass, 32 ft 10 in x 2 ft 4 in x 8 ft 6½ in. Commissioned by Auckland Art Gallery Toi o Tāmaki, owned and generously supported by the Edmiston Trust. Photograph and detail by Auckland Art Gallery Toi o Tāmaki." src="https://freight.cargo.site/w/800/i/05e34e579020d40090e7796f3572f23af3b2459b98ac1c0ac8fbd2fd405c91ff/2.jpg" /> <img width="800" height="531" width_o="800" height_o="531" data-src="https://freight.cargo.site/t/original/i/9869d5d8403e2e914a952cff375cc4a3b3984dbdab92ebb13bc456344d5e4f48/4b.jpg" data-mid="251726286" border="0" alt="We are the Creatures of Constant Awe (Constellation Pavo), 2025 Glitter, acrylic, Cook Islands Black pearls and Japanese fresh water pearls and jewellery wire on board, 24 x 18in. Photograph by Henry Hargreaves." data-caption="We are the Creatures of Constant Awe (Constellation Pavo), 2025 Glitter, acrylic, Cook Islands Black pearls and Japanese fresh water pearls and jewellery wire on board, 24 x 18in. Photograph by Henry Hargreaves." src="https://freight.cargo.site/w/800/i/9869d5d8403e2e914a952cff375cc4a3b3984dbdab92ebb13bc456344d5e4f48/4b.jpg" /> <img width="800" height="531" width_o="800" height_o="531" data-src="https://freight.cargo.site/t/original/i/45bc60eae8c23118cc612936bbaa3f62ecc3139928ca983abd1be35437d8f937/5.jpg" data-mid="251726287" border="0" alt="There Goes the Moon, 2009, sand, 98 ft 5 in. diameter. Photograph by Grant Finlay." data-caption="There Goes the Moon, 2009, sand, 98 ft 5 in. diameter. Photograph by Grant Finlay." src="https://freight.cargo.site/w/800/i/45bc60eae8c23118cc612936bbaa3f62ecc3139928ca983abd1be35437d8f937/5.jpg" /> Reuben Paterson August 25th, 2026On this episode of the Selection Committee Radio Show I am joined by the fabulous artist Reuben Paterson (Ngāti Rangitihi, Ngāi Tūhoe, Tūhourangi, Scottish). Born and raised in New Zealand, he now lives and works in New York City, to the great delight of those who know him here. For our enjoyment, Paterson brings us an all-Kiwi playlist that begins with the call of the kiwi bird itself. We discuss his Māori heritage in detail—from the story of how people originally arrived in New Zealand to development of his own family tree to the explosion of Māori history and culture back into the mainstream. Paterson grew up on the west coast of the North Island of New Zealand, a place of sparkling black sand and shining waters—a lucky boy in a glittering landscape. He traces his lifelong fascination with crystals, sequins, and most especially glitter back to those early days. He is best known for his spectacular use of colored glitter in paintings, sculptures, and videos. Paterson’s work explores the way that light interacts with scintillating surfaces and connects with landscape, memory, and the stars. With pieces ranging from monumental public sculpture and land art to intimate paintings, Paterson navigates the spaces between the sacred and the profane. Through pattern, personal history, and fantasy, Paterson creates a world of shimmering intensity. Our conversation is a crash course in a unique, queer, Māori point of view—and not to be missed! Complete playlist below; tracks in yellow were cut for time. North Island Kiwi, Birds of New Zealand, 1980 Tahi - Dance Mix, Moana And The Moa Hunters, 1993 Aua Atu Rā, Marlon Williams, 2025 Waka, Ché-Fu, 1998 Koauau - Gourd Nose Flute, Richard Nunns, 2002 Te Hokinga Mai, St. Joseph's Maori Girls College, 1996 Ikarus, Ladi6, 2013 Juices, Parallel Dance Ensemble, 2011 (Glad I'm Not) A Kennedy, Shona Laing, 1985 I Love My Leather Jacket, The Chills, 1989 There Is No No, Orchestra Of Spheres, 2011 Megumi the Milkyway Above, Connan Mockasin, 2011 Reckoner, Radiohead, 2007 Over the Hills and Far Away, Led Zeppelin, 1973 Piano Quintet "Detroit": I. Detroit Grit, Adolphus Hailstork, The Harlem Chamber Players, 2024 The Blessing Song, Michael White, 1972 HĪRERETIA RĀ - Akcept Remix, MOKOTRON, Akcept, 2024 What Do Boys Dream? Joan Armatrading, 1983 (I'm Afraid) The Masquerade Is Over, David Porter, 1971 Bellbird, Birds of New Zealand, 1980 Reuben Paterson (b. 1973, Auckland, New Zealand: Ngāti Rangitihi, Ngāi Tūhoe, Tūhourangi, Scottish) is a New York-based artist whose work explores the transformative properties of light to illuminate whakapapa, spirituality, queer identity, and our relationship with the natural world. Inspired by the glistening waters and sparkling black sands of Tāmaki Makaurau's west coast, his paintings, sculptures, installations, and animations harness the optical power of glitter, reflection, and colour to reveal the histories, presences, and connections that lie beneath the surface of all things. A New Zealand Arts Foundation Arts Laureate (2025) and recipient of the University of Auckland Distinguished Alumni Award (2026), Paterson has exhibited nationally and internationally since 2000. Recent exhibitions include Acid Bath House, Nina Johnson Gallery, Miami (2025); Night Market, Christie's, New York (2024); Takiwā Hou: Imagining New Spaces, Malta Biennale (2024); and Art of the Pacific from the NGV Collection, National Gallery of Victoria, Melbourne (2025–26). His works are held in major public and private collections throughout Australasia, Europe, and North America. https://theselectioncommittee.com/250-Years-of-Disco Sat, 11 Jul 2026 13:44:47 +0000 Nate Heiges https://theselectioncommittee.com/250-Years-of-Disco <img width="3000" height="3000" width_o="3000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/d7fda9e207e8d6668fb247366dace7a630eea73e55377b16785453e4baca7596/Disco2.jpg" data-mid="250331325" border="0" data-scale="61" src="https://freight.cargo.site/w/1000/i/d7fda9e207e8d6668fb247366dace7a630eea73e55377b16785453e4baca7596/Disco2.jpg" /> 250 Years of Disco June 30, 2026A disco-inspired mixtape in honor of the semiquincentennial! Nisyan, Ahmed Fakroun, 2010 Bad Girls - 12" Version, Donna Summer, 1979 Lost in Music, Sister Sledge, 1979 La Vie en rose, Grace Jones, 1977 Is It All Over My Face?, Loose Joints, 1980 Never Gonna Leave You, Evans Pyramid, 2012 Could Heaven Ever Be Like This, Idris Muhammad, 1977 You Could Be More As You Are, Saâda Bonaire, 2013 Digital Versicolor, Glass Candy, 2007 Look up in the Sky - Négro Nature, Francis The Great, 2015 Pas Contente; Vaudou Game, Roger Damawuzan; 2014 El niño; DjeuhDjoah, Lieutenant Nicholson; 2019 Daddy Cool, Boney M., 1976 Don't Leave Me This Way, Thelma Houston, 1976 Never Can Say Goodbye - Single Version, Gloria Gaynor, 1975 Soul Makossa, Manu Dibango, 2000 Love Train, The O'Jays, 1972 Le Freak, CHIC, 1978 You Make Me Feel (Mighty Real), Sylvester, 1978Plato’s Retreat, Joe Thomas, 1978 https://theselectioncommittee.com/Kamrooz-Aram Sun, 14 Jun 2026 23:11:49 +0000 Nate Heiges https://theselectioncommittee.com/Kamrooz-Aram <img width="3000" height="2250" width_o="3000" height_o="2250" data-src="https://freight.cargo.site/t/original/i/e89d3888c6f6d6590e648133ebe6f20d44202283f71bb5fc91910d8da7c3311d/Aram_Arabesque_Composition_Archipelago_2025_KA111_1.jpg" data-mid="249466623" border="0" alt="Arabesque Composition (Archipelago), 2025 Oil, oil crayon, and pencil on linen, hinged with artist&rsquo;s frame in 5 parts 84 3/4 x 131 1/2 x 1 1/4 in fully extended (215.1 x 334 x 3.2 cm fully extended) Courtesy Alexander Gray Associates, New York; Green Art Gallery, Dubai &copy; 2026 Kamrooz Aram" data-caption="Arabesque Composition (Archipelago), 2025 Oil, oil crayon, and pencil on linen, hinged with artist’s frame in 5 parts 84 3/4 x 131 1/2 x 1 1/4 in fully extended (215.1 x 334 x 3.2 cm fully extended) Courtesy Alexander Gray Associates, New York; Green Art Gallery, Dubai © 2026 Kamrooz Aram" src="https://freight.cargo.site/w/1000/i/e89d3888c6f6d6590e648133ebe6f20d44202283f71bb5fc91910d8da7c3311d/Aram_Arabesque_Composition_Archipelago_2025_KA111_1.jpg" /> <img width="2250" height="3000" width_o="2250" height_o="3000" data-src="https://freight.cargo.site/t/original/i/18b90a3165a413787b52e03f741ad515919ab46e9b18e6ec6fe694c429ea5118/Aram_Exuberant_Flaneuse_2020_KA049.jpg" data-mid="249466624" border="0" alt="Exuberant Fl&acirc;neuse, 2020 Oil, oil crayon, oil stick, and wax pencil on linen 84 1/8 x 72 1/8 in (213.7 x 183.2 cm) Courtesy Alexander Gray Associates, New York; Green Art Gallery, Dubai &copy; 2026 Kamrooz Aram" data-caption="Exuberant Flâneuse, 2020 Oil, oil crayon, oil stick, and wax pencil on linen 84 1/8 x 72 1/8 in (213.7 x 183.2 cm) Courtesy Alexander Gray Associates, New York; Green Art Gallery, Dubai © 2026 Kamrooz Aram" src="https://freight.cargo.site/w/1000/i/18b90a3165a413787b52e03f741ad515919ab46e9b18e6ec6fe694c429ea5118/Aram_Exuberant_Flaneuse_2020_KA049.jpg" /> <img width="3000" height="2250" width_o="3000" height_o="2250" data-src="https://freight.cargo.site/t/original/i/adc2b66e83b5b6941125109adbeae4048f9db3541b71a01876db68e711aeebb1/Aram_Requiem_for_Perpetual_Defeat_2026_KA112_1.jpg" data-mid="249466625" border="0" alt="Requiem for Perpetual Defeat, 2026 Walnut, textured glass, oil and color pencil on linen, ceramic and brass 22 x 53 7/8 x 8 in (55.7 x 136.8 x 20.2 cm) Courtesy Alexander Gray Associates, New York; Green Art Gallery, Dubai &copy; 2026 Kamrooz Aram" data-caption="Requiem for Perpetual Defeat, 2026 Walnut, textured glass, oil and color pencil on linen, ceramic and brass 22 x 53 7/8 x 8 in (55.7 x 136.8 x 20.2 cm) Courtesy Alexander Gray Associates, New York; Green Art Gallery, Dubai © 2026 Kamrooz Aram" src="https://freight.cargo.site/w/1000/i/adc2b66e83b5b6941125109adbeae4048f9db3541b71a01876db68e711aeebb1/Aram_Requiem_for_Perpetual_Defeat_2026_KA112_1.jpg" /> <img width="3000" height="2250" width_o="3000" height_o="2250" data-src="https://freight.cargo.site/t/original/i/debce114211148eb44fe7c8c9b98a222f6ff0b2521752f65ec34a76e346ce6d4/Aram_Untitled_Anticipated_Arabesque_2025_KA114.jpg" data-mid="249466627" border="0" alt="Untitled (Anticipated Arabesque), 2025 Oil, oil crayon, and pencil on linen 66 1/8 x 76 1/8 in (168 x 193.4 cm) Courtesy Alexander Gray Associates, New York; Green Art Gallery, Dubai &copy; 2026 Kamrooz Aram" data-caption="Untitled (Anticipated Arabesque), 2025 Oil, oil crayon, and pencil on linen 66 1/8 x 76 1/8 in (168 x 193.4 cm) Courtesy Alexander Gray Associates, New York; Green Art Gallery, Dubai © 2026 Kamrooz Aram" src="https://freight.cargo.site/w/1000/i/debce114211148eb44fe7c8c9b98a222f6ff0b2521752f65ec34a76e346ce6d4/Aram_Untitled_Anticipated_Arabesque_2025_KA114.jpg" /> Kamrooz Aram June 16, 2026Born in 1978 in Shiraz, Iran, Kamrooz Aram emigrated to the United States when he was eight years old. As a young person, he became an enthusiastic drummer, and music has continued to be an important part of his life. It is no surprise, then, that he brings an exceptional mix to the Selection Committee. With music spanning Iranian, Kurdish, Algerian-French, and iconic American pieces, Aram shares the history and context of the songs along with eloquent exegeses on their connection to his work. In his practice, Aram is invested in narratives of form that have been overlooked, dismissed, or intentionally written out of art history. Working against modernist ideas about abstraction as “pure form,” Aram engages in the historical and political content of painting as well as of the decorative arts. His sculptural pieces—like “Requiem for Perpetual Defeat”, currently on view in the Whitney Biennial—employ modes of museological display to incorporate artifacts of varying quality without offering any didactic information. Flickering between nostalgia, reverence, and suspicion, the works invite viewers to question how they assign value and what it means for objects to be institutionally recontextualized. We talk about the first screen Aram ever made—for his 2022 exhibition “Privacy” at the Arts Club of Chicago—and how screens are objects that sit squarely in between painting and the decorative arts. They are also dividers between public and private spaces. Inspired by the Club itself, both a member’s-only society and a public art space, Aram’s screen alludes to curious points of contact between the gendered sections of the traditional Iranian home and those in the domestic spaces of modernist architects like “Ornament and Crime” author Adolf Loos. These conflicting accords infuse Aram’s work with an edgy vitality. Kamrooz Aram’s work vibrates with an elegant tension between shape, color, abstraction, allusion, and various art histories. Our discussion and the music that he brings are a genuine delight! Complete playlist below; tracks in yellow were cut for time. Lay My Love, Brian Eno &amp; John Cale, 1990 Ho Chérie Chérie, Rachid Taha, 2000 Komel Kah, Ali Akbar Moradi, 2001 Sepideh Dam, Mahasti, 1990 Sepideh Dam, Javad Yassari, 1988 Bordi Az Yadam, Viguen, Delkash, 2004 Meditations For Moses, Charles Mingus, 1963 17 Days - Piano &amp; A Microphone 1983 Version, Prince, 2018 Purple Rain - Piano &amp; A Microphone 1983 Version, Prince, 2018 A Case of You - Piano &amp; A Microphone 1983 Version, Prince, 2018 Love Me Or Leave Me, Nina Simone, 1966 The Plum Blossom - Remastered 2023, Yusef Lateef, 2024 Heleh Mali, Toofan, 1991 Gourara, Hamid Baroudi, 2004 America, Allen Ginsberg, 1998 If 6 Was 9, Jimi Hendrix, 1967 Dear Mr. Man, Prince, 2004 Improvised Pishdaramad, M.R.Lotfi, Mohammad-Reza Shajarian, 1997 Daramad, M.R.Lotfi, Mohammad-Reza Shajarian, 1997 Hejaz, M.R.Lotfi, Mohammad-Reza Shajarian, 1997 Kamrooz Aram (b. 1978) has built his practice on dismantling the divide between ornament and fine art, renegotiating the art historical hierarchies that privilege Western forms of abstraction above others. His paintings and sculptures do not simply cross categories; they probe the structures that enforce them. Born in Shiraz, Iran, Aram emigrated to the United States in the 1980s, where he found himself forced to come to terms with a multitude of identities imposed upon him. These experiences left a lasting mark. Categories, he discovered, do not merely describe identity—they invent it. This recognition drives his work, which asserts that non-Western ornamental traditions carry the same intellectual weight and conceptual rigor Western art history has long reserved for itself. Aram’s paintings are acts of translation. Intricate geometries slip into fields of color, while brushstrokes accumulate in thin layers, revealing glimpses of what lies beneath. Aram speaks of pursuing contemporary art’s “taboo subjects” like emotion and spiritual presence, and in his work, they appear not as sentiment, but as structure. Calligraphic forms reverberate against the cool authority of Minimalist grids; floral arabesque patterns breathe new life into Color Field painting. These juxtapositions are not acts of fusion, so much as acts of recognition, acknowledging what has always been visible. Aram’s influences are as diverse as his artistic strategies. Henri Matisse’s embrace of pattern, Ellsworth Kelly’s geometric clarity, and Cy Twombly’s gestural abandon all resonate in his practice. Most revealing is Le Corbusier—modernism’s supposed ascetic—whose architecture, despite its rhetoric of purity, cannot entirely suppress its embrace of ornament. For Aram, this contradiction lays bare how words like “decorative” are never neutral; they are instruments of hierarchy. Aram’s sculptures extend this critique into three dimensions, arranging ceramic objects on painted plinths that echo museum displays. These installations engage with institutions from within, showing how context confers the status of “art” and revealing the fragile systems behind such designations. As Aram explains, “I hope to renegotiate the terms in which art history has been written—the Eurocentric hierarchy that places certain types of painting in the category of fine art while others are relegated to the minor arts.” At the center of Aram’s practice lies a paradox he captures with poetic clarity in his writing: “It occurs to me that I am Arabesque. It occurs to me that there is no such thing as the Arabesque.” His work inhabits the charged space between being and non-being, tradition and invention, visibility and erasure. Rather than resolving these contradictions, Aram leaves them; it is in their friction—in the failure of old certainties—that new ways of seeing begin to emerge. Aram’s work has been the subject of numerous solo exhibitions, including Kamrooz Aram: Privacy, An Exhibition, The Arts Club of Chicago, IL (2022); Lives of Forms: Kamrooz Aram and Iman Issa at Z33 Alexander Gray Associates 384 Broadway New York NY 10013 United States Tel: +1 212 399 2636 www.alexandergray.com House for Contemporary Art, Design &amp; Architecture, Hasselt, Belgium (2021); FOCUS: Kamrooz Aram, Modern Art Museum of Fort Worth, TX (2018); Kamrooz Aram: Ancient Blue Ornament, Atlanta Contemporary, GA (2018); and Kamrooz Aram: Ornament for Indifferent Architecture, Museum Dhondt Dhaenens, Sint-Martens-Latem, Belgium (2017). His work has been featured in significant group exhibitions, including Whitney Biennial 2026, Whitney Museum of American Art, New York (2026); Paraventi: Folding Screens from the 17th to 21st Centuries, Fondazione Prada, Milan, Italy (2023-2024); and Desorientalismos, Centro Andaluz de Arte Contemporáneo, Seville, Spain (2020). Aram's work is in the collections of The Metropolitan Museum of Art, New York, NY; M+ Museum, Hong Kong; Art Gallery of New South Wales, Sydney, Australia; Modern Art Museum of Fort Worth, TX; Cincinnati Art Museum, OH; Portland Museum of Art, ME; and Sharjah Art Foundation, United Arab Emirates, among others. He is the recipient of multiple prestigious awards, including the Trellis Art Fund Stepping Stone Grant (2025); the Guggenheim Fellowship (2025); the Carla Fendi Rome Prize from the American Academy in Rome (2024); and the Abraaj Group Art Prize (2014). He is also represented by Green Art Gallery, Dubai, United Arab Emirates. Aram lives and works in Brooklyn, NY. https://theselectioncommittee.com/David-L-Johnson Mon, 01 Jun 2026 13:24:40 +0000 Nate Heiges https://theselectioncommittee.com/David-L-Johnson <img width="3000" height="2001" width_o="3000" height_o="2001" data-src="https://freight.cargo.site/t/original/i/d38f47f960e07b19e0e59a6512e5f8945cbdeb915e09e5c9051cb0383a6c44ea/_6.jpg" data-mid="248966449" border="0" alt="Cleveland&rsquo;s Mix (WBLS 89), 2025. Video, monitor, painted iron case, speakers, electronics" data-caption="Cleveland’s Mix (WBLS 89), 2025. Video, monitor, painted iron case, speakers, electronics" src="https://freight.cargo.site/w/1000/i/d38f47f960e07b19e0e59a6512e5f8945cbdeb915e09e5c9051cb0383a6c44ea/_6.jpg" /> <img width="3000" height="2181" width_o="3000" height_o="2181" data-src="https://freight.cargo.site/t/original/i/aedf116bdf8132807f410194e42cc06a477126504350f46e1ea751560b634dcc/_9.jpg" data-mid="248966451" border="0" alt="Rule, 2024-ongoing. Removed codes of conduct signs" data-caption="Rule, 2024-ongoing. Removed codes of conduct signs" src="https://freight.cargo.site/w/1000/i/aedf116bdf8132807f410194e42cc06a477126504350f46e1ea751560b634dcc/_9.jpg" /> <img width="3000" height="4498" width_o="3000" height_o="4498" data-src="https://freight.cargo.site/t/original/i/ac33bd3c7cae69f89a7ac61dc8d0abc92d4ad13ca4160f31e9428dc3b3fa4e04/David-L.-Johnson_Loiter-Tony_Galerie-Thomas-Schulte.jpg" data-mid="248966325" border="0" data-scale="60" alt="Loiter (Tony), 2023. Removed standpipe spike" data-caption="Loiter (Tony), 2023. Removed standpipe spike" src="https://freight.cargo.site/w/1000/i/ac33bd3c7cae69f89a7ac61dc8d0abc92d4ad13ca4160f31e9428dc3b3fa4e04/David-L.-Johnson_Loiter-Tony_Galerie-Thomas-Schulte.jpg" /> <img width="2000" height="1334" width_o="2000" height_o="1334" data-src="https://freight.cargo.site/t/original/i/357559903385b09e3d3f71fa9747069d6d34adda862e08348292d1805ec20a96/ArtLot-23_001-1.jpg" data-mid="248966312" border="0" alt="Community Garden, 2023. Removed street planters, wild bergamot, soil, unlocked gate" data-caption="Community Garden, 2023. Removed street planters, wild bergamot, soil, unlocked gate" src="https://freight.cargo.site/w/1000/i/357559903385b09e3d3f71fa9747069d6d34adda862e08348292d1805ec20a96/ArtLot-23_001-1.jpg" /> David L. Johnson June 2, 2026This week on the Selection Committee Radio Show I welcome the fascinating artist and educator David L. Johnson whose work is currently on view in the Whitney Biennial at the Whitney Museum of American Art. Johnson grew up in Manhattan, and New York City’s public and private spaces, methods of dominance and control, and irrepressible sociality are continual sources of inspiration for his challenging and legally ambiguous work. Johnson was a student at the Cooper Union when Occupy Wall Street camped out in Zuccotti Park. Fascinated by the complex legal status of the park as a privately owned public space (or POPS), Johnson began investigating how private real estate companies negotiate the privileges of operating these spaces with the challenges of managing the public—sometimes with the assistance of the state. “Rule,” 2024-ongoing, is a series of purloined signs outlining codes of conduct from various POPS around the city. Each sign is unique in form and content, interdicting behavior ranging from the criminal, to the merely annoying, to the protected (distribution of literature). By removing the signs, which must be visible in order to be enforceable, Johnson creates a space for the return to greater freedom. Johnson brings a great selection of music for the show, including two tracks that are excerpts from a collection of cassette tapes his late father made by recording radio broadcasts. For his series of 2025 video sculptures called “Cleveland’s Mix(es),” Johnson replayed a tape in a POPS on one of his father’s boom boxes. The resulting object is a portrait of a stereo returning the radio and a sense of sociality to the public sphere. We talk about the ramifications of working in between public and private spaces and the relationship his work has to performance and to artists like Dennis Oppenheim and David Hammons. We also discuss early 2000s hip hop, landlords, and audible deterrents designed to be heard only by people under 25. It’s a captivating show! Complete playlist below; tracks in yellow were cut for time.One Piece at a Time, Johnny Cash It Fell Off the Back of a Lorry, Denim Iron Galaxy, Cannibal Ox Laws, Apani B Fly feat Nujabes Cleveland_s Mix (Random) - Excerpt&nbsp; &nbsp; Cleveland_s Mix (The Quiet Touch) - Excerpt&nbsp; &nbsp; Panamanian Fight Song (Lyric Video), Irreversible Entanglements Cold Sweat, Billy Woods Scarcity Is Manufactured, Deerhoof Guapa, Juan Wauters Song, Tom Verlaine Sweetheart (Live), Suicide Gertrude Stein, Ed Askew 4 American Dollars, U.S. Girls My Contribution to This Scam, Jean Grae &amp; Quelle Chris Catalogue demo take, Cities Aviv City Hell, Jockstrap It's O.K., Dead Moon David L. Johnson makes work attuned to the streets of the city, pinpointing moments of slippage between public and private property. His practice utilizes photography, video, found and stolen objects, and sound to consider the politics, histories, aesthetics, and forms of use that define contemporary urban space. David L. Johnson&nbsp;(b. 1993, New York, NY) lives and works in New York City. Recent solo and dual exhibitions include: Fanta MLN, Milan (2025); The Shop at Sadie Coles HQ, London (2024); Galerie Thomas Schulte, Berlin; Galerie Noah Klink, Berlin; Art Lot, Brooklyn (all 2023); and Theta, New York (2021). Recent group exhibitions include: The Whitney Biennial, Whitney Museum of American Art, New York (2026); Columbus Museum of Art, Columbus, OH; Salzburger Kunstverein, Salzburg (both 2024); Palais de Tokyo, Paris; Chicago Architecture Biennial, Chicago; MoMA PS1, New York (all 2023); and Artists Space, New York (2022). Johnson received a BFA from The Cooper Union in 2015 and an MFA from the University of Pennsylvania in 2020. He is an alumnus of the Whitney Independent Study Program and is a part-time faculty member at Parsons MFA and an adjunct professor at The Cooper Union. Johnson’s work is held in the public collection of The Studio Museum in Harlem and the Columbus Museum of Art. https://theselectioncommittee.com/Rebecca-Cleman Sat, 18 Apr 2026 12:10:55 +0000 Nate Heiges https://theselectioncommittee.com/Rebecca-Cleman <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/e7b9d35f655f888dbfacc3b470a41945e24e4bc20faa47fdcf1f5c88f5376a89/IMG_3038.jpeg" data-mid="247365811" border="0" data-scale="43" src="https://freight.cargo.site/w/1000/i/e7b9d35f655f888dbfacc3b470a41945e24e4bc20faa47fdcf1f5c88f5376a89/IMG_3038.jpeg" /> <img width="2592" height="1936" width_o="2592" height_o="1936" data-src="https://freight.cargo.site/t/original/i/64ac0c1a4a837d810aae2547a65c3e28e27574aff9564172f702d851e8bf37fd/IMG_3639.JPG" data-mid="247365812" border="0" src="https://freight.cargo.site/w/1000/i/64ac0c1a4a837d810aae2547a65c3e28e27574aff9564172f702d851e8bf37fd/IMG_3639.JPG" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/073272ae39575f506c159e5c1ccb07dca6bed6bf3ad72211cbfc3780b4b8af23/IMG_4024.jpeg" data-mid="247365813" border="0" src="https://freight.cargo.site/w/1000/i/073272ae39575f506c159e5c1ccb07dca6bed6bf3ad72211cbfc3780b4b8af23/IMG_4024.jpeg" /> <img width="2320" height="3088" width_o="2320" height_o="3088" data-src="https://freight.cargo.site/t/original/i/a6c11ce85c338f1df85d92fd63072000290cdb8d01dac2bb686481d6c7439c2a/IMG_5584.jpeg" data-mid="247365814" border="0" src="https://freight.cargo.site/w/1000/i/a6c11ce85c338f1df85d92fd63072000290cdb8d01dac2bb686481d6c7439c2a/IMG_5584.jpeg" /> <img width="1936" height="2592" width_o="1936" height_o="2592" data-src="https://freight.cargo.site/t/original/i/72b77eb0202c2dc506ef690627bbb4ab8ced8d1287af6172e0dceabc3c6f353d/IMG_6806.JPG" data-mid="247365815" border="0" src="https://freight.cargo.site/w/1000/i/72b77eb0202c2dc506ef690627bbb4ab8ced8d1287af6172e0dceabc3c6f353d/IMG_6806.JPG" /> <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/894abad67c2f33ea18e0999c252b1590f84280342b157b4a9511556565816f53/IMG_7891.jpeg" data-mid="247365816" border="0" src="https://freight.cargo.site/w/1000/i/894abad67c2f33ea18e0999c252b1590f84280342b157b4a9511556565816f53/IMG_7891.jpeg" /> Rebecca Cleman April 21, 2026This week we welcome the amazing Rebecca Cleman, a writer and the director of Electronic Arts Intermix (EAI) in New York City. Born in Flagstaff, Arizona the same year that VCRs came on the consumer market, Cleman has an abiding interest in the mythologies of the American West and the public use of video recording. Cleman discusses the legacy of EAI, a nonprofit founded in 1971 by the visionary gallerist Howard Wise to encourage the use of video technology by artists. We talk about the changing role of EAI in a world where video has become ubiquitous and how this historically important institution is navigating the continual evolution of technology, from video cassettes to streaming, from cable access TV to YouTube and beyond. Cleman’s audio selections range from Ennio Morricone and the Clash to George Carlin and Lily Tomlin. Comedy and the Spaghetti Western are perfect foils for her interest in artists who can take things apart and expose narratives and histories that are hidden, people like Jaime Davidovich, Charlotte Moorman, Nam June Paik, Robert Buck, Cory Arcangel, and Nancy Holt. We also talk about “Yo! MTV Raps”, horror movies, Marshall McLuhan, and her childhood growing up in a very musical family in the desert wanting nothing more than to play ice hockey. A great show! Complete playlist below; tracks in yellow were cut for time. The Ecstasy Of Gold, Ennio Morricone, 1967 Why Am I so Tired All the Time? Eggs, 1994 Oscillations, Silver Apples, 1968Advertising, George Carlin Don't Believe The Hype, Public Enemy, 1988 Potholes in My Lawn, De La Soul, 1989 Mr. Veedle (Live At The Ice House,) Lily Tomlin, 1971 Clampdown, The Clash, 1979 Lonesome, On'ry and Mean, Waylon Jennings, 1973 Egg Man, Beastie Boys, 1989 Big Mess, DEVO, 1982 Highway Star, Deep Purple, 1972 Hey Jane Mansfield Superstar, Sigue Sigue Sputnik, 1989 Backslider, The Jon Spencer Blues Explosion, 2010 Gasoline, Britney Spears, 2011 Candy's Room, Bruce Springsteen, 1978 Pine Box Derby, Beat Happening, 1992 No Particular Place To Go, Chuck Berry, 1964 Teen Angel, Mark Dinning, 2021 The Day The Earth Stood Still, Bernard Herrmann, 1951Rebecca Cleman (b. 1975, Flagstaff Arizona) is a writer and the director of Electronic Arts Intermix (EAI). She was raised by a pianist mother and a composer father who kept a slim but choice selection of rock-n-roll albums within their prodigious collection of classical music, Jimi Hendrix, The Beatles, and the American Graffiti soundtrack were as formative as Rossini, Bach, and Bartók. Professionally, Rebecca has enjoyed a long career at EAI, a leading distributor and archive of artists' videos from the 1960s to the present, which includes videos by previous Selection Committee guests Robert Buck, Michael Smith, Jake Brush, and Phyllis Baldino. She has published essays on video art and film, with a focus on infrastructure and artists television, and programmed many screenings and curated a few exhibitions, including VHS: The Exhibition at Franklin Street Works and, with Alex Klein, Broadcasting: EAI at ICA. Recently, she co-edited The New Television: Video After Television with Rachel Churner and Tyler Maxin, published by no place press. Highways, hot rods, and hockey are particular non-professional subjects of interest. https://theselectioncommittee.com/Enter-the-Nothing Sat, 25 Apr 2026 17:38:39 +0000 Nate Heiges https://theselectioncommittee.com/Enter-the-Nothing <img width="1200" height="1200" width_o="1200" height_o="1200" data-src="https://freight.cargo.site/t/original/i/ed8b729921be3b8b64e9bb4b16aaee89d0405104c1d854f07c7d857f7dba328e/EnterTheNothingtext.jpg" data-mid="247587664" border="0" src="https://freight.cargo.site/w/1000/i/ed8b729921be3b8b64e9bb4b16aaee89d0405104c1d854f07c7d857f7dba328e/EnterTheNothingtext.jpg" /> April 7, 2026 Enter the Nothing: Marches, Dirges, and Drones A music-only episode showcasing a Nate Heiges mixtape from 2019. Eye in the Wall, Perfume Genius, 2019 The Devil's Mirror, Dirty Art Club, 2013 What's Not Mine, Cate Le Bon, 2016 Magnifique, Ratatat, 2015 Sing, Blur, 1991 Sketch for Summer, The Durutti Column, 1979 Battery Point, Beak&gt;, 2009 Last Trains Come and Gone,&nbsp;Cindy Lee, 2015&nbsp; Dimanche (feat. Bertrand Belin), The Limiñanas, 2018 Transparent Things, Fujiya &amp; Miyagi, 2006 Balloon Ranger - Clavis Remix, Ane Brun, 2019 Soft, Lemon Jelly, 2003 Time Moves Slow feat.&nbsp;Samuel T. Herring, BADBADNOTGOOD, 2016 i ain't scared of no devil, Jitwam, dj godfrey ho, 2017 Memory Arc, Rival Consoles, 2018 Yumeji's Theme - Theme from 'in the Mood for Love', Shigeru Umebayashi, 2013 I Trawl the Megahertz, Prefab Sprout, 2003Starless and Bible Black, The Stan Tracey Quartet, 2010 https://theselectioncommittee.com/Matlok-Griffiths_B-Wurtz Sun, 01 Mar 2026 21:09:28 +0000 Nate Heiges https://theselectioncommittee.com/Matlok-Griffiths_B-Wurtz <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/617cb0427720ea74d39a96c91118038af18f770b7568c4b38619388561f902ec/MGriffiths_AclubwithAims-View-3-Courtesy-Gordon-Robichaux-NY_Photo-Greg-Carideo-2048x1365.jpg" data-mid="245513612" border="0" src="https://freight.cargo.site/w/1000/i/617cb0427720ea74d39a96c91118038af18f770b7568c4b38619388561f902ec/MGriffiths_AclubwithAims-View-3-Courtesy-Gordon-Robichaux-NY_Photo-Greg-Carideo-2048x1365.jpg" /> <img width="1200" height="900" width_o="1200" height_o="900" data-src="https://freight.cargo.site/t/original/i/c35097300d59baf66edf10b1c24d7d67afc7e2161e25d80af1f9dacd5690893a/12.-Installation-View_-Matlok-Griffiths-And-My-Unnamed-Corners-at-Gordon-Robichaux-New-York-2026-Courtesy-Gordon-Robichaux-NY_Photo-Greg-Carideo-1200x900.jpg" data-mid="245513611" border="0" src="https://freight.cargo.site/w/1000/i/c35097300d59baf66edf10b1c24d7d67afc7e2161e25d80af1f9dacd5690893a/12.-Installation-View_-Matlok-Griffiths-And-My-Unnamed-Corners-at-Gordon-Robichaux-New-York-2026-Courtesy-Gordon-Robichaux-NY_Photo-Greg-Carideo-1200x900.jpg" /> <img width="2000" height="1500" width_o="2000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/6b324a868ea47221d35ce1be8cf5ce3a0411335007b696bd25f8130e639ed601/14.-Installation-View_-Matlok-Griffiths-And-My-Unnamed-Corners-at-Gordon-Robichaux-New-York-2026-Courtesy-Gordon-Robichaux-NY_Photo-Greg-Carideo.jpg" data-mid="246160765" border="0" alt="And My Unnamed Corners, 2026, Gordon Robichaux / New York." data-caption="And My Unnamed Corners, 2026, Gordon Robichaux / New York." src="https://freight.cargo.site/w/1000/i/6b324a868ea47221d35ce1be8cf5ce3a0411335007b696bd25f8130e639ed601/14.-Installation-View_-Matlok-Griffiths-And-My-Unnamed-Corners-at-Gordon-Robichaux-New-York-2026-Courtesy-Gordon-Robichaux-NY_Photo-Greg-Carideo.jpg" /> <img width="1725" height="2048" width_o="1725" height_o="2048" data-src="https://freight.cargo.site/t/original/i/a545154d697531e2917e894a865008913181b685f9839dd8ead36fabd3444cda/MatlokGriffiths_YS_close-SV-1725x2048.jpg" data-mid="246160943" border="0" alt="Detail of Untitled (Sicilian Volcano), 2024 from ongoing series Yesterday&rsquo;s Solutions" data-caption="Detail of Untitled (Sicilian Volcano), 2024 from ongoing series Yesterday’s Solutions" src="https://freight.cargo.site/w/1000/i/a545154d697531e2917e894a865008913181b685f9839dd8ead36fabd3444cda/MatlokGriffiths_YS_close-SV-1725x2048.jpg" /> <img width="2048" height="1356" width_o="2048" height_o="1356" data-src="https://freight.cargo.site/t/original/i/1601724d8a2f3abb0a2e8825e38c92602edd7e7ff9d7f8fd4e32d17973c87dbe/2_The-Colour-of-Time_Spring_Week-One_Two_Three-2048x1356.jpg" data-mid="246160972" border="0" alt="The Colour of Time (Spring, Week One, Two, Three) Glazed ceramic and wood. 2022." data-caption="The Colour of Time (Spring, Week One, Two, Three) Glazed ceramic and wood. 2022." src="https://freight.cargo.site/w/1000/i/1601724d8a2f3abb0a2e8825e38c92602edd7e7ff9d7f8fd4e32d17973c87dbe/2_The-Colour-of-Time_Spring_Week-One_Two_Three-2048x1356.jpg" /> <img width="2000" height="2000" width_o="2000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/8e0d6a5471317b1fd18571df456c84ffbc1cc48da0c0c0334ebbdf4b4791ca25/MatlokGriffiths_belch_2019.jpg" data-mid="246160980" border="0" alt="Belch Patinated bronze and oil paint. 28.6 &times; 31 &times; 4.2 cm. 2019." data-caption="Belch Patinated bronze and oil paint. 28.6 × 31 × 4.2 cm. 2019." src="https://freight.cargo.site/w/1000/i/8e0d6a5471317b1fd18571df456c84ffbc1cc48da0c0c0334ebbdf4b4791ca25/MatlokGriffiths_belch_2019.jpg" /> <img width="1540" height="1548" width_o="1540" height_o="1548" data-src="https://freight.cargo.site/t/original/i/758785c4f3a8e12372191d9a6c43cfb70649911ef0956cbe6dfe2c1758345313/Screenshot-2026-03-17-at-3.56.52PM.png" data-mid="246161239" border="0" src="https://freight.cargo.site/w/1000/i/758785c4f3a8e12372191d9a6c43cfb70649911ef0956cbe6dfe2c1758345313/Screenshot-2026-03-17-at-3.56.52PM.png" /> Matlok Griffiths in conversation with B. Wurtz March 10, 2026For this episode of the Selection Committee Radio Show, former guest B. Wurtz joins me in conversation with Matlok Griffiths, an artist based in Melbourne, Australia. Both artist-musicians, the two first became acquainted when Griffiths approached Wurtz to do a book project with his imprint Tutto. This began an ongoing conversation about art and music between the two that we get to join. Griffiths’ wonderful exhibition “And My Unnamed Corners” recently closed at Gordon Robichaux in New York City. The show featured a selection of modestly scaled paintings on sculptural canvases as well as a series of gouache paintings on crossword puzzles. We discuss the New York connection to this work—in 2016 Griffiths spent four months in the city doing a mentorship with painter Stanley Whitney. He began picking up free newspapers and using the crossword puzzles as a found grid to make gouache paintings. Through time and inspiration these crossword paintings found new form in the sculptural canvases. The conversation also touches on his ceramic practice which began when a neighbor gave his family a bag of clay during Melbourne’s intense Covid lockdown. Inspired by a figure his daughter made of a girl sitting bolt upright in bed, Griffiths created an entire body of work that is a meditation on that strange time. Throughout the program, Griffiths shares a semi-autobiographical set of songs including selections from his own band, Big Supermarket, formed with his wife Katrina and his friend Travis. This three-way conversation is a window into a practice that is remarkably open to opportunities, collaborations, and the unexpected. It was a pleasure to spend the afternoon with Griffiths and Wurtz! Complete playlist below; tracks in yellow were cut for time.Old News, Big Supermarket, 2019 The Boy In the Bubble, Paul Simon, 1986 Blue Flowers, Dr. Octagon, 1996 Black Death, Big Supermarket, 2019 Lost Mi Love, Yellowman, 1982 Some Girls Are Bigger Than Others, The Smiths, 1986 Frenz, The Fall, 1988 Loose Fit, Happy Mondays, 1999 Desire As, Prefab Sprout, 1985 Waterloo Sunset, The Kinks, 1967 Shadazz, Suicide, 1999 Diary of a Young Man, Television Personalities, 1981 Bottles, Samizdat &amp; Michael J. Blood, 2023Rinsed, Dean Blunt &amp; TYSON, 2023Peter, Big Supermarket, 2019Big Jean, Big Supermarket, 2019 Matlok Griffiths (b. 1983, Perth, Australia) is an artist and occasional musician who lives and works in Melbourne, Australia. He has presented solo and two-person exhibitions at Sutton Gallery, Melbourne (2025), Darren Knight Gallery, Sydney (2022, 2019, 2107, 2016), and ReadingRoom, Melbourne (2024, 2022, 2018). His work has been featured in numerous group shows, including at Wolford House, Los Angeles (curated by Nichole Caruso-Siebers, 2024) and the National Gallery of Victoria, Melbourne (2023). In 2016, Griffiths completed a four-month mentorship with artist Stanley Whitney through the support of a Skills and Development Grant awarded by the Australia Council for the Arts (now Creative Australia). His work is held in the collections of the National Gallery of Victoria, Melbourne, and Artbank, Australia. In 2018, Griffiths released a music album, 1800, with his collaborators (Katrina Griffiths and Travis MacDonald) under the name Big Supermaket.Born 1948 in Pasadena, California, B. Wurtz is best known for his playful and compelling sculptures constructed from discarded materials like produce packaging, construction lumber, and plastic bags. He received a BA from the University of California at Berkeley in 1970, and an MFA from the California Institute of the Arts, Valencia, in 1980. The sculptor and painter currently lives and works in New York, New York. B. Wurtz's repurposing of everyday flotsam into joyous, humorous, and beautiful objects undermine grand artistic gesture while elevating the commonplace. The artist's transformative amalgams of found materials have tended to coalesce around the subjects of "sleeping, eating, and keeping warm"—the foundational human needs named in his 1973 drawing Three Important Things. While his sculptures are often modest in scale, in 2018, the artist created his now iconic Kitchen Trees for the New York City Public Art Fund, transforming City Hall Park with towering columns of colorful colanders exploding with plastic fruit. Wurtz has been the subject of over 52 solo exhibitions at prestigious venues including: Feature Inc. (1987, 1991, 1992, 2001, 2003, 2006, New York); Gallery 400 (2000, Chicago); White Flag Projects (2012, St. Louis); Kunstverein (2015, Freiburg, Germany); and the Aldrich Contemporary Art Museum, (2015, Ridgefield, Connecticut). In 2015, the BALTIC Centre for Contemporary Art, Gateshead, United Kingdom mounted a retrospective exhibition of the artist's work that traveled to La Casa Encendida, Madrid through 2016. In 2018, the Institute of Contemporary Art, Los Angeles mounted a major solo exhibition of his work, This Has No Name. His work has also been included in over 174 group exhibitions including: Pandora's Box: Joseph Cornell Unlocks the MCA Collection (2011, Museum of Contemporary Art, Chicago); Building Blocks: Contemporary Works from the Collection (2011, Museum of Art, Rhode Island School of Design, Providence); and Brand New: Art and Commodity in the 1980s (2018, Hirshhorn Museum, Washington DC). https://theselectioncommittee.com/Phyllis-Baldino Wed, 18 Feb 2026 22:35:11 +0000 Nate Heiges https://theselectioncommittee.com/Phyllis-Baldino <img width="1691" height="1110" width_o="1691" height_o="1110" data-src="https://freight.cargo.site/t/original/i/d80638610bce96b23fe62b705445d4326b532ff288ee6535667f713e1a7d57ee/GrayBandInstall_Photo_Karl_Peterson.jpg" data-mid="245055246" border="0" alt="April 1994: The Gray Band (installation view)" data-caption="April 1994: The Gray Band (installation view)" src="https://freight.cargo.site/w/1000/i/d80638610bce96b23fe62b705445d4326b532ff288ee6535667f713e1a7d57ee/GrayBandInstall_Photo_Karl_Peterson.jpg" /> <img width="1650" height="1107" width_o="1650" height_o="1107" data-src="https://freight.cargo.site/t/original/i/af45f7fa061c4f27b37a7b2731e9a7a505d3ec609cc52a290e71a1e93393fdd3/GrayBandList.jpg" data-mid="245055247" border="0" alt="April 1994: The Gray Band" data-caption="April 1994: The Gray Band" src="https://freight.cargo.site/w/1000/i/af45f7fa061c4f27b37a7b2731e9a7a505d3ec609cc52a290e71a1e93393fdd3/GrayBandList.jpg" /> <img width="1768" height="994" width_o="1768" height_o="994" data-src="https://freight.cargo.site/t/original/i/06f7a48af63d9bf3072d23b2a14a1fc39501fc245f8104630f48f379e3e01508/Baldino_FakeNatureBox_still_Jimi.png" data-mid="245567076" border="0" alt="Still from &quot;Fake Nature Box&quot;" data-caption="Still from &quot;Fake Nature Box&quot;" src="https://freight.cargo.site/w/1000/i/06f7a48af63d9bf3072d23b2a14a1fc39501fc245f8104630f48f379e3e01508/Baldino_FakeNatureBox_still_Jimi.png" /> <img width="1765" height="994" width_o="1765" height_o="994" data-src="https://freight.cargo.site/t/original/i/c042cded3efb34b015876aa28490425237580a7033288fb1f62327f11ff429d9/Baldino_FakeNatureBox_elephant.png" data-mid="245567075" border="0" alt="Still from &quot;Fake Nature Box&quot;" data-caption="Still from &quot;Fake Nature Box&quot;" src="https://freight.cargo.site/w/1000/i/c042cded3efb34b015876aa28490425237580a7033288fb1f62327f11ff429d9/Baldino_FakeNatureBox_elephant.png" /> <img width="1770" height="990" width_o="1770" height_o="990" data-src="https://freight.cargo.site/t/original/i/42d6600a92ed8ab227302aecdbced98faa6a7888e3175734a9c2b733b56da712/Baldino_Hit_thegroundrunning_still_MLang1.png" data-mid="245567078" border="0" alt="Still from &quot;Hit thegroundrunning&quot;" data-caption="Still from &quot;Hit thegroundrunning&quot;" src="https://freight.cargo.site/w/1000/i/42d6600a92ed8ab227302aecdbced98faa6a7888e3175734a9c2b733b56da712/Baldino_Hit_thegroundrunning_still_MLang1.png" /> <img width="1771" height="993" width_o="1771" height_o="993" data-src="https://freight.cargo.site/t/original/i/8a6b3ace89f0f5d892dc1835ac3d5d52d88f0bbe8b4c1a2840d78ed165b6f83c/Baldino_Hit_thegroundrunning_still_Camnam.png" data-mid="245567077" border="0" alt="Still from &quot;Hit thegroundrunning&quot;" data-caption="Still from &quot;Hit thegroundrunning&quot;" src="https://freight.cargo.site/w/1000/i/8a6b3ace89f0f5d892dc1835ac3d5d52d88f0bbe8b4c1a2840d78ed165b6f83c/Baldino_Hit_thegroundrunning_still_Camnam.png" /> <img width="3000" height="3000" width_o="3000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/10bc35b2ed8fca3fcc8530f6ddcbc3de3698a3ec9cc9c7e4279f5bccc67d4c91/Baldino_Ambrotype_France2020.jpeg" data-mid="245567074" border="0" src="https://freight.cargo.site/w/1000/i/10bc35b2ed8fca3fcc8530f6ddcbc3de3698a3ec9cc9c7e4279f5bccc67d4c91/Baldino_Ambrotype_France2020.jpeg" /> Phyllis Baldino February 24, 2026 The great artist Phyllis Baldino graduated from the Hartford Art School at the University of Hartford as a dedicated sculptor. But a few years later, a chance encounter with a generous subletter with a trunk full of video cameras changed the course of her life. She began making video pieces on her Sony Handycam in the early 90s in what would become the remarkable Gray Area Series. Inspired by books about fuzzy logic, each video records a sequence of actions by Baldino on common household objects that are—sometimes aggressively—deconstructed and repurposed. In Wine Rack/Not Wine Rack, for example, a wooden thrift store wine rack is sawed up to accommodate a 4L jug of blush wine. In April 1994: The Gray Band, Baldino gathered together four musician friends, Dez Cadena, Lynn Johnston, Tom Watson, and Mike Watt, to reconstruct instruments that she disassembled and play a single song: Gloria Gaynor's "I Will Survive.” Baldino's musical selection for the show includes great songs from each of these artists as well as music that has influenced her work or been included in her work. Baldino's abiding interest in the intersection of science and the everyday has led to fascinating works about nanotechnology (Nano-cadabra, 1998), quantum mechanics (Baldino-Neutrino, 2003), and parallel universe theory (19 Universes/my brother, 2004). She has been exploring issues of climate change in works like u_n_d_e_r_w_a_t_e_r, 2019 and Fake Nature Box, 2021. It was through research on the Little Ice Age (1300 - 1850) that Baldino arrived at the process that is powering her current body of work. Learning about horrific stories of women accused of witchcraft and weather magic instilled in her the desire to speak firsthand with witnesses to the events. So she turned to an experienced friend and a Ouija board to find out what really happened: whether weather what was the result. Continuing this process led to Hit thegroundrunning, 2025, about immigrants to the US who came through Ellis Island in New York as children. What is it like communicating with the dead? Listen in to find out! We discuss all this work as well as some of the vicissitudes of making video art. It’s a fascinating conversation with a truly unique artist. Information about the work can be found on www.phyllisbaldino.com. Complete playlist below; tracks in yellow were cut for time. Indeterminacy (clip), John Cage and David Tudor, 1959Guitar Solo at Toad's, The B Willie Smith Band&nbsp; &nbsp; Merle Rock A Bye, Steve Baldino&nbsp; &nbsp; Another Day, Another Night; Steve Baldino, 2005&nbsp; &nbsp; You Know I Love You, The B Willie Smith Band&nbsp; &nbsp; No More (Dez Cadena Version), Black Flag, 1982&nbsp;&nbsp;&nbsp;Walking The Cow, Firehose, 1991 The Letter, The Red Krayola, 1995Little Rootie Tootie, CRUEL FREDERICK, 1991 Love, More Love; The United Society of Shakers, 1996 Who Will Blow and Bend Like the Willow, The United Society of Shakers, 1996 Auber: Manon Lescaut - C'Est L'Histoire Amoureuse, Amelita Galli-Curci, 1917 Nessuno, Mina, 1959 Stars (Live – Montreux Jazz Festival 1976), Nina Simone, 1976 Nell'Ufficio Di Produzione Di Otto E Mezzo, Nino Rota, 1962 Tighten Up, Archie Bell &amp; The Drells, 1968 Kimberly, Patti Smith, 1975 96 Tears, ? &amp; The Mysterians, 1966 Chan Chan - Dúo con Elíades Ochoa, Cuba Segundo&nbsp; &nbsp; The Wind Cries Mary, Jimi Hendrix, 1967For What It's Worth, Buffalo Springfield, 1966 They're Red Hot, Robert Johnson, 1937 &nbsp; Andy Warhol - 2015 Remaster, David Bowie, 1971 I'll Never Get Out Of This World Alive, Hank Williams, 1954 Mercedes Benz, Janis Joplin, 1971 Phyllis Baldino is a conceptual artist whose work merges performance, video, sculpture, and installation combining an exploration of perception ranging from the everyday to scientific inquiry with extensive research to make work that creates its own logic. She has had one-person exhibitions at Wexner Center for the Arts, Columbus, Ohio and Contemporary Art Center, Cincinnati, Ohio. Her work has been featured in group exhibitions at the Museum of Modern Art, New York; P.S.1 Contemporary Art Center, New York; Whitney Museum of American Art, New York; Stedelijk Museum, Amsterdam; Guggenheim Museum Soho, New York. Baldino’s work is in the collection of the Museum of Modern Art, New York, and the M+ Museum in Hong Kong. Baldino received a Preservation Grant from the NEA to digitize her video work in 2021 and was nominated for the Anonymous Was A Woman award in 2020. Baldino earned a B.F.A. in sculpture from the Hartford Art School, University of Hartford, Connecticut.