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EDITORS Noura Al-Salem Frances F. Denny Nicole Horton Osvaldo Pont贸n


DESIGN Juan Exp贸sito Armando Rosales

CONTACT find us online:

CONTRIBUTING WRITERS Joe Ippolito Brienne Walsh @ScrappedMag

or write to us:

COPY EDITOR Jackie Pucci

INTERNS Dasom Im Briana Lynch

SPECIAL THANKS Christa Donner, Ulises Hadjis, Elianna Mesaikos, Unhee Park, Liz Sales, Amelia Saul, Diego Sierralta, Olivia Wendel

Scrapped Magazine PO Box #220250 Brooklyn, NY 11222

Scrapped Magazine was founded in 2011 by Noura Al-Salem, Allen Chen, Frances F. Denny, Nicole Horton and Osvaldo Pont贸n. 漏 2013 Scrapped Magazine Published by Scrapped Magazine LLC. All Rights Reserved. No part of this publication may be reproduced or distributed without prior written consent. All artwork presented within is the copyright of the respective owners. Printed in Canada

@scrapped_readers #letterfromtheeditors #futuredinosaur #summer2013 Time marches ever forward, rendering modes of thinking, technology, and modern systems obsolete. This unrelenting advancement is the result of the human desire for constant progress, yet against this flux rises the urge to remember, to honor tradition, to feel nostalgia. The artists featured in Scrapped’s double second issue address those paradoxical impulses. Tectonic shifts in the advancement of technology, science, and agriculture are occurring as we also face the massive depletion of the Earth’s natural resources. We contend with the corporatization of public and private life, as well as a deep uncertainty about where we are headed next. The voices of artists are essential to mapping the important issues of any time and place. In Future Dinosaur, the artists wrestle with where we are going, but also remind us of the importance of remaining connected to the past. Perhaps most compelling, they allow us to glimpse their fantastical visions of the future. We are so pleased that Scrapped Issue II: Future Dinosaur is finished and in your hands. But none of this would have been possible without all who have helped us along throughout the life of this project. To all who gave funds, support, cheer, and encouragement, we give you our deepest and sincere thanks. And to all of our artists who so generously gave us their diverse and insightful work to publish: this printed magazine, itself a future dinosaur, is for you. Sincerely, The Editors Noura, Frances, Nicole & Osvaldo

“To those of us who are barely contained explosions, pushing at the edges, bursting at the seams. Our perimeters, carefully constructed, made of the most advanced, flexible exo-skeleton, flesh coloured.” —Ying Ang

JIN ZHU_Eruption

“There is an inextricable link between the perspective of human engagement and the reaction of unseen forces. Secondary Refuse involves the creation of photographic devices sensitive to gamma radiation. These machines were bolted to the ground, revealing images through eight to 12 hours of exposure at the site of the first man-made nuclear reaction in 1942. This growing body of work addresses the residual radiation of an event that occurred nearly 70 years ago, and quietly exposes one of the greatest changes in humanity’s dynamic since the advent of agriculture. These images reveal the sensitive byproducts of progress with which we are in contact daily, and confront what we discard as irrelevant and what is unseen as far-reaching.”

Secondary Refuse is a collaboration with Everett Lawson.






_Blue Rocks



Pressed against the railing the city swam away. The wind was deliberate. Her hair flew into my mouth and she laughed like a gull. Later, when even the butter knives weren’t safe, a cartographer tried to mark the borders for me, to prove that the place between thinking and doing isn’t just a scorched line in the desert. (Nor is it the prow of a ferry boat, or the wake she leaves behind.) He traced a reassuring path through the DSM the exact shape and breadth of the Rio Grande—following every tributary, naming each border town. Forgetting, I think, just how many desperate people wade across each night.



KOLBRUN THORA LOVE_Untitled (Still Life)

_Untitled (Landscape)

“This work is concerned with notions of the visceral and the calculated in the process of making, and in a finished work of art. It contemplates the image as an object of fetish, as it explores modes of representation through the conventional still-life and landscape, and contemporary processes of image and media production.�

CINDY JOHN_ Another Lunch Box

SALLY BAXTER_ Wooden Phone #11

LIAT BERDUGO_ video stills from the series My iPad Is Everything

_Brown-Yellow (Detail)

ANA BAUMAN_Blue Skinny

_Blue Skinny (Detail)


FOREST KELLEY_ There’s No Place Like Home

“There’s No Place Like Home is a composite image constructed from many pictures: some are photographed and others are appropriated. This work isn’t intended to be seamlessly convincing as a single-capture photograph, but rather, it is a fiction that reveals itself sequentially.”




CARRIE SIEH_01010000 01101111 01110000 01110000 01111001 (Poppy)

_ Selections From Greek Mythology

AGE SEX LOC? Osvaldo Pontón; Scrapped co-founder and editor. Dislikes talking about pumpkins, is comfortable around aging Eastern Europeans. Liz Sales; artist, bibliographic item, redhead. Likes the stuffiness of stuff, doesn’t bait her own hook.

Osvaldo Pontón: A/S/L? Liz Sales: 34/f/Brooklyn OP: Hi there! How are you? LS: I’m doing wonderfully. I’m spending the evening with Lawrence Wright’s book, Going Clear: Scientology and The Prison of Belief, and my cat, who is also a large redhead. How are you? OP: Wonderful as well. I’m spending the evening with Roberto Bolaño’s book, The Savage Detectives and my visiting friend Jerzy, who is tall and Polish and asleep on an air mattress next to my bed. LS: I haven’t read The Savage Detectives but, I love the cover. ...and sometimes I judge books that way. OP: Then you are halfway there. LS: :-D OP: So, I googled your name, because that is the only method of research I posses, and I came out with this description of you: “1 person: 206 bones, 10 major organ systems, includes skin (pink), hair (red), skeletal muscles and smooth muscles, nervous system, blood (O Negative), brain. 165.1 x 50.8 cm.” LS: That’s me! OP: It also states that you are a book. LS: Liz Sales is cataloged as “bibliographic items.” But a bibliographic item can be any information entity, like e-books, computer files, graphics, cartographic materials, or in my case, me. OP: How exactly did that happen? And are you available on Amazon Prime? LS: I am not available on Amazon Prime, as I am a unique item (there is only one of me). But, you can look up me up at either WorldCat (The Library of Congress’s Catalog) or go to The International Center of Photo Library and click on “search the Library’s online catalogue.” OP: Are you using WorldCat as an erudite’s OkCupid?

_ The Observable Universe (Closed) LS: I am not. But you can look me up on OkCupid as well. Oh wait, you can’t. I can change my gender preference so you can look me up on OkCupid. There’s always a work around, right? OP: Maybe change it to bibliographic item? I have a good mind to derail this entire conversation into an OKCupid storytellers support group. Let’s instead talk a bit about your work, some of which is heavily centered around old photo processes. And disguises. LS: That’s true; I like to combine old and new technology. OP: ...And also to hide contraptions inside books.

LS: I do that as well. A few years ago I collected Modern Library books and stitched each shut, converting them into image viewing devices, music boxes, or these sort of textual dioramas. OP: Like using a storytelling device to tell a different story. LS: Yes, absolutely, that was how I was thinking about it. Looking back at it now, I [recognize myself as] an odd little thing hidden in a book, too. OP: You seem fascinated with making unique objects. LS: I’m a bit of Frankenstein (The Modern Prometheus, not the monster); I love that all things possess the potential to become something weird and wonderful. That objects have lives, not static identities. And if given sentience and opportunity, what pumpkin wouldn’t want to turn into a camera? OP: A stupid pumpkin. The worst pumpkin in the patch. I don’t even want to talk about that pumpkin. For this issue of Scrapped, you went above and beyond the call of duty. You handmade 250 cyanotypes from digital video portraits that are distorted by the addition of audio into the file. As you know, those cyanotypes are included in each printed copy of Issue II. It’s interesting that you made what is usually a unique, singular piece into an almost mass-produced item.

_The Observable Universe

LS: It was a totally ridiculous undertaking. OP: Very important: that audio happens to be The Magnetic Fields’ “69 Love Songs.” LS: That’s what made it fun! OP: I believe that project description would turn on the entire Williamsburg OKCupid population. LS: That’s funny. Magnetic Fields’ “69 Love Songs” reminds me of a different place and time. I went to The Evergreen State College in Olympia, Washington in the late ‘90s.That album came out in ’99. OP: I feel it has a revival every February in Williamsburg. It plays in every coffee shop and store. LS: I steer clear of Williamsburg, I don’t like the architecture. And the people are eerily attractive. OP: I live in Greenpoint. I’m more comfortable myself amongst the aging Eastern Europeans. Can you tell me a little about your marble cameras? LS: They’re handmade film cameras that use marbles as lenses. I started using marbles awhile ago, after I found a small chest full of semi transparent marbles among my old things. I’d been looking at artists who were using found objects to build cameras. A lot of it seemed shtick-y. I was thinking about turning found objects into lenses instead. A camera body does not shape an image in the same way that a lens does. I wanted to make images that showed optical mark-making from its capture. Images that were particular to their camera. Make photographs that looked less like how we see or how we think we see. OP: The images from this project reflect how that particular marble would “see.” It’s like you’re giving these objects their own personalities. LS: I do like to anthropomorphize. And I have a tendency toward pareidolia. And Oliver Sachs.

OP: “Pareidolia,” for those readers without my same level of access to Wikipedia, is “a psychological phenomenon involving a vague and random stimulus (often an image or sound) being perceived as significant. Common examples include seeing images of animals or faces in clouds, the man in the moon or the Moon rabbit, and hearing hidden messages on records when played in reverse.” LS: I’ve never seen the Moon rabbit. I’ll have to look out for him. OP: I fear that now you will convert a dead rabbit into a camera (eyeball lenses) and take pictures of the moon. I feel responsible :( LS: You could make a rabbit into a camera, a smelly, smelly camera. You couldn’t do 4x5. OP: It would have to be a very large rabbit… ...A hare perhaps? LS: I don’t even bait my own hook. I think I’ll have to skip it. OP: Perhaps for the best. Certainly best for the rabbit.

_Camera Design #1 (part of a series titled Marbleoptics)

_Hill and Pond Garden (from the series Marbleoptics)

OP: A lot of your work does seem to be based around physical books, but not their content. You enjoy gutting books. A more powerful Google search also informs me that you work at the ICP Library, which makes a lot of sense. Where does the book fixation come from? (And how can we be sure that you won’t be gutting all of those copies of Robert Frank’s The Americans?…making it impossible for black and white darkroom teachers to show their students how the great master did it). LS: I was reading a collection of short stories by the Argentine author/librarian/ superhero Jorge Luis Borges when I started working with books. Reading is an all-encompassing experience and I enjoy making work that references that and hopefully also provides that experience itself. [Long pause in conversation]

Did I lose you to The Savage Detectives? It does have a great cover. OP: No, whenever I see the “write bubbles” icon appear I wait to see if you will write first. Should we use this opportunity to let your friends know that you’d like a Kindle for your birthday? LS: You literally made me laugh out loud. OP: So I’m assuming you don’t want a Kindle. Since you can’t put a camera inside it. LS: I’m not a neo-ludd, I promise. I just like the stuff-iness of stuff. The internet tells me you can get a Kindle that already has a camera inside. OP: We certainly live in the future. LS: Oh no! It’s the future already. OP: On that note, I think we should call it day. Thanks so much for participating in Scrapped. And for putting an absurd amount of work into it.

_All Saints Episcopal Church (from the series Marbleoptics)

LS: My pleasure. It was lovely talking to you. Say hello to Jerzy when he wakes up.

BRIANNA LOWE_ video still from Globe (Ice Island from Petermann Glacier)

_ video still from Globe (Salar de Coipasa, Bolivia)



FRANCISCO REINA_Altered States 010

COLE ROBERTSON_all works Untitled, from the afterbefore project

“I like photography—its histories, languages, and endless ability to move between genres, functionalities, and industries. I teach, write, curate, work, play, and create among this imagescape; through transmutation, alteration, animation, destruction, etc. I disrupt the transaction between viewer and image, hoping to provoke analysis and hinder absorption. These animated images are culled from the before and after images in cheap catalogs, which promise change but deliver crap.�


“The selected images communicate remapped experiences of wonder and isolation. Navigations waver between illusion and synthetic naturalism at the interface of natural ecology and human appetite.�

ANA BAUMANN Ana Baumann was born in Asunción, Paraguay in 1986. She has always loved all forms of artistic expression and studied Film and Photography in Buenos Aires before moving to New York City in 2010 to attend the International Center of Photography. She is now back home in Paraguay figuring out what’s next. SALLY BAXTER Sally Baxter came to the USA from London in 2006. She currently lives in Los Angeles where she makes art, curates art shows and is the Art Editor for Suspend Magazine. In her spare time she also manages the USA operations for a leading celebrity photo agency. LIAT BERDUGO Liat Berdugo is an American artist and writer whose work focuses on the strange, delightful and increasingly ambiguous terrain between the digital and the analog, the online and the offline, and the scientific and the literary. The best compliment anyone ever paid her was from a woman named Cathy, who said: “At first I thought you were pretty normal, and then you started grating cheese on your iPad.” JOE ANTHONY-BROWN Joe Anthony-Brown is from a small town in the Catskills where, growing up, he taught himself to draw super­heroes. After receiving a BFA in studio art from NYU, he traveled the globe for a few years. He is now back in NYC, working on an MFA at Hunter College. His art explores the dissolving of materials, identity, and boundaries between objects and places. His imagery comes about through an intuitive process, through which he hopes he is able to transcend specific cultural influences, and point to something beyond time and our limited understanding of physical reality. EUGENIA CHUN Eugenia Chun is obsessed with habitat and adaptation after a lifetime of relocations and psycho-displacement in the USA. Her current favorite mediums, in no particular order, are: paper, scissors, music, string, and language-based arts. She aspires every day to become a more sensitized and trusting participant of human civilization.

CATHERINE CIESLEWICZ Catherine holds a BFA in Printmaking from the Sam Fox School of Design and Visual Arts at Washington University and graduated this spring with an MFA in Graphic Design from the Rhode Island School of Design. Her thesis work examined the potential of pattern. AnnieLaurie Erickson AnnieLaurie Erickson’s most recent projects explore how photography and science are capable of showing us things that could not previously be seen. Her work attempts to reinterpret the nature of sight through optical complication, represent the decay of vision through time, and address the visual world as illusory. She continues to pursue an interest in the construction and deconstruction of the visual world through her teaching and studio practice in New Orleans. Caroline Gambell Caroline Gambell lives, teaches, and writes in New Haven, CT. She is a staunch defender of the Oxford comma. David Brandon Geeting David Brandon Geeting is an American artist. Born and raised in suburban Bethlehem, PA, he now lives and works in Brooklyn, NY. Upon graduating the School of Visual Arts with a BFA in Photography in 2011, his works have been exhibited widely across the greater New York City area, as well as in Europe and Asia. Joshua Hagler Based in San Francisco, Joshua Hagler exhibits extensively throughout the US and Europe. Hagler recently returned from the University of Illinois where he exhibited new work and lectured at the Krannert Art Museum. His next solo show opens at 101/Exhibit in Los Angeles this fall. His energetic, semi-figurative, large-scale paintings often deal with aspects of religion, citing influences from early Christianity to Westward Expansion in 19th-century America. CINDY JOHN Cindy John is a Hong Kong artist and designer currently based in Shanghai. She focuses on creating conceptual art/ illustration works. In 2010, Cindy created her own brand “Same Old Stories,” sharing her favorite works with the public from all around the world.

FOREST KELLEY At night I walked the old dirt road, staring up toward the passing canopy, ascending farther into wilderness. There was little for the senses: my footsteps against gravel, a slow current of air pushing leaves, and vast darkness broken by stars drifting between reaching branches above like stones at the bottom of a deep black river. KOLBRUN THORA LOVE Kolbrun is an artist from Reykjavik, Iceland. She is a 2012 graduate of Parsons School of Design and now splits her time living and working in Reykjavik and New York City. BRIANNA LOWE Brianna Lowe is a visual artist working and living in Toronto, Ontario. She graduated from OCAD University’s BFA program, focusing in video, 3D animation and collage. She is interested in the different interpretations of how the environment is experienced through the mediation of digital media and spends far too much time on the internet. Francisco Reina Francisco Reina is a Spanish visual artist and photographer with a BA in Fine Arts and an MA in Photography. He creates images that present views of the contemporary life exclusive to the present moment; the result of modern, social and global concerns. His interest focuses on the average human being’s experience and interaction with power in everyday life. His work has been exhibited in New York and throughout Europe. KRISTIN RICHARDS simmer slash sweet slash shimmer slash veil. MFA: Yale School of Art—Painting and Printmaking 2013. Ring pops dot fireworks dot the color orange dot there’s nothing like a brand new box of crayons. May 2013: Vermont Studio Center. Play doh/cookie dough/ pantyhose & pink lipstick. June 2013: apple bite plus lick minus suck equals fill in the blank.

Cole Robertson Cole Robertson was born in Arizona, but don’t hold that against him. Robertson currently works/ lives/ plays/ etc. in Chicago, teaching in the Photography and Art History, Theory, & Criticism Departments at the School of the Art Institute of Chicago. RAMELL ROSS (I (this is RaMell here) decided to write this parenthetical blurb for my bio instead of the traditional list of conventional facts, embellishments, or cutesy jokes, which may or may not hold your attention or satisfy your inquisition. Lucky for you, I’ve got a sure fire way to end this barely begun commentary, continue reading and follow directions after this upcoming grammatical period. Please imaginatively squish the totality of your life’s most rewarding moment into these sub parenthesis ( ). Now, reflect.) Liz Sales Liz Sales is cataloged as a bibliographic item with the International Center of Photography Library. Liz is the only human being recognized by the Library of Congress as a library holding and has an assigned Library of Congress and ISBN #. For more information about Liz look up her library record at either WorldCat or go to The ICP Library and click on “search the Library’s online catalogue.” Carrie Sieh Carrie Sieh is an interdisciplinary and mixed media artist whose mediums include photography, textiles, painting, and interactive installation. Her work primarily concerns the roles of technology, psychology, and political economy in human behavior. Jin Zhu Jin Zhu lives and works in San Francisco, CA where she experiments with video, sound and installation work in addition to her photography. Zhu graduated with with a BA in Art Practice from Stanford University. Her work has been shown at the San Francisco Arts Commission, the Cantor Arts Center and the Thomas Welton Subgallery. Occasionally, she is a college radio DJ.

I build therefore I am. I make my mark and I take my leave, my footprint intact behind me. I take up space so I can shout that I am Man and to behold me is to behold the power and the glory, forever and ever, Amen. I am within and you are without and I cannot be destroyed or diminished, no matter what is cast. I stake my claim, stake out unclaimed ground and bend it; shape it; build higher, higher, higher till the sun falls away, and there is only my shadow left to stand in.


Eden 1 Eden 2


Home 01 Home 02 Home 03

Dancing Block Block

Marie Luise Emmermann

MNEM #05 MNEM #01 Geschichte #09 MNEM #07 MNEM #12

Sam Laughlin

Paul Bertier is a French artist, born in the early 80s. His discovery of Asian cities during an early trip to China is at the origin of his work on architecture. After over a year of residency at the CitĂŠ des Arts de Paris in 2011, he continues to think about and draw recomposed urban forms.

Born 1974 in Hannover, Germany. She is especially interested in creating strong, picture-based worlds through her work in motion graphics, exhibition design, and illustration. Her work as a graphic desginer and illustrator has been published in various international magazines. She currently works in Berlin as an art director and illustrator.

Xavier Donnelly was born in New York City in 1992 and studies Sculpture and Printmaking at the Rhode Island School of Design. A recipient of the Stahl-Weber and Scholastic Art and Writing Alliance Scholarships, Xavier is currently studying at the Academy of Art, Architecture, and Design in Prague, Czech Republic.

Sam Laughlin was born in Cambridge, UK. His work has been included in publications and group shows in the U.K and Holland. His first solo exhibition was in Milan in March 2013. Laughlin is currently working on personal projects, commissions, and exhibitions prior to studying for an MFA.

Drew Nikonowicz

Survey #24 Survey #17

Awoiska Van der Molen

#275-4 #140-7 #340-1 #200-3 #137-7

Zombie, Examined Zombie Architecture, Unbounded Home

George Pfau

Awoiska van der Molen is a Dutch artist (Groningen,1972) who received an MFA in Photography in 2003. Her work includes several international group shows such as Fotomuseum Winterthur (CH), Foam Amsterdam and Photo Espana. In 2011 she was shortlisted for the International Festival of Fashion & Photography in Hyeres, France.

“None of these landscapes exist, but logistically they do somewhere in the universe. Using a 3D rendering program, I am constructing landscapes and printing them in the darkroom. By anticipating the future of landscape through these mediums, I hope to apply a potential reality into the images.”

Drew Nikonowicz was born in May of 1993 in Saint Louis, Missouri. His work, “False Landscapes” deals with the contemporary landscape:

George Pfau is an artist working in a variety of media with the notion of the zombie as his central focus. He has a BFA from NYU and an MFA from California College of the Arts. His essay, “Feverish, Homeless, Cannibal,” is being published in the forthcoming book entitled Zombies in the Academy. He has recently launched a Where’s Waldo-inspired website:

/ Dad’s Eye

MICHAEL MARCELLE / Dad in Red, Yellow, and Blue

/ A Family Portrait “I am a Southerner, a South African, and a white Jewish male who, through birth and immigration, inherited multiple histories of privilege, oppression, and complicity. White on White on White and Family Portrait are part of a larger series of works on paper entitled Memory Doodles in which, using found images, I figuratively turn the camera on myself by exploring the power dynamics embedded within these various identities and mapping where they intersect.�

BARNETT COHEN / White on White on White

CARL WOOLEY / images from the series Collider

“These are all texts that make up the book of my dream transcripts, titled I was going back and forth between houses. One of the reasons I made the book is because I was struck by the consistency of my dreams—so many of them involved being in an undefined or liminal space, battling psychological or sexual forces—usually embodied by animals—that felt beyond my control. All of these moments involve a high degree of instability—I am in flux, walking, running, trying to enter spaces that may or may not open themselves to me. Of course dreams are also a semi-digested version of the past—a memory, or rewriting of psychically difficult things that need to be mentally and emotionally integrated in some way.”


As we were walking down that street, he opened my camera bag and took out a hardboiled egg and was like, what is this? and I was like, oh my god, I don’t know, I don’t know why that’s still in there. And I went and threw it out.

I wanted to lean on his shoulder and basically hold onto him. And tell him that my mind was all over the place and that I was having a hard time. And the guys just sort of stood there. And he was like, OK, I’ll come. He seemed distant and like he was already gone.

JOSÉ CHIRINO / video still from Mancha

Based on appearances alone, Cox doesn’t look much like the activist type. Rather, with his preppy clothes and laid-back vibe, he exudes the personality of a New England kid who went to boarding school and summered on Cape Cod. In fact, Cox grew up in Indiana, where he was first encouraged to study art by his greataunt, who paid for his student classes at the local community college. Not a particularly engaged academic student, Cox had always had a gut sense that he was meant to be an artist. “Process art worked for me,” he said. “It had an immediate reward— you lifted something up, and you saw the finished project.” At the University of Indiana, Cox studied visual arts; after graduating, he moved with fellow members of the punk band he played with in college to Tokyo—the bass player was a native of Japan—where he spent two years teaching English. In his free time, he studied Japanese woodblock printing. “Japan is a pretty shocking place, but there was something about it that really reminded me of the Midwest,” he said. “Everyone was very stoic and polite.” Soon, Cox found himself mashing up images of Japanese woodblock prints with Midwestern architecture. To this day, he says that people often respond to his work by saying that it “seems very Japanese.”

After Tokyo, Cox returned to the United States and moved to New York, where he quickly became enmeshed in the commercial art world—first as an art handler for a shipping company that did business with gallery behemoths like Gagosian, and later for a private secondary market art dealer named Christophe Van de Weghe. While hanging a Francis Bacon painting at Van de Weghe’s booth at Art Basel Miami, he met Tanja Grunert, co-owner of Chelsea gallery Gasser Grunert. “My boss was so pissed because she was showing this video of people cutting themselves,” he said. “But then she came over and asked me if I was an artist.” Almost miraculously, after looking at his website—which he claims had “eight images made with Sharpie markers”—she offered him a solo show at her gallery. Rather than take her up on the offer, he decided to go back to school at Columbia, where he had just been accepted into the MFA program.


/ The Water’s Fine An interview With GRAYSON COX by Brienne Walsh For someone like Grayson Cox, whose practice is primarily concerned with issues of oppression and control, there seems to be no better location for a studio than One Liberty Plaza, the office building that overlooks Zuccotti Park. Most famously known as the place where Occupy Wall Street was birthed in 2011, even on a recent chilly Saturday afternoon, one corner of the tiny square was full of protesters.

After Cox met me in the lobby of the building and took me up to the twelfth floor, where he’s been allotted a swath of floor space in a gutted office as part of a residency program run by the Lower Manhattan Cultural Council (LMCC), we stood for a while in a corner room, admiring the view of the World Trade Center complex. From below, wafts of chanting floated into our airspace. “Do you know what they’re protesting?” I asked him. “Nah,” he replied, laughing. -1-


/ Portable Shrine

The idea that you could fool someone into doing something that doesn’t benefit the person, just because you give it the appearance of comfort, also became a central theme in his practice. “It’s all you need for manipulation,” he said. “When people are comfortable, they stop thinking critically.” He was able to explore this in depth in his first solo exhibition at Grasser Grunert, which was staged in 2011 after Cox had received his MFA. The Citizens United case had just ben tried in the Supreme Court; the ruling basically stated that private corporations and individuals had the right to fund campaign ads without monetary limitations. “It had such huge policy implications,” Cox said. “But I felt like it wasn’t registering with other people.” Most Americans, as he saw it, had been lulled into a sort of daze by the soft paternalism of the Obama administration—in essence, they were willing to lose their right to a democratic process as long as their lifestyles remained relatively stress-free. I called the show “Nudge Nudge Me Do” after the Beatles song ‘Love Me Do,’ which was their first hit single in the United States,” he said. “The band entered the scene sort of quietly, but the song ended up having huge reverberations.” In comparison to the Beatles, however, who were all about bubble gum pop and hope for the future, Citizens United was like an iron fist of doom. Cox’s exhibition was cool, gray, and loaded with imagery of fascist interiors.


The seven years working between college and graduate school made Cox appreciate the academic environment; he immersed himself completely in the program, which he playfully calls a “Marxist Business School.” After concentrating for years on painting-and printmaking, he had a revelation in a sculpture class. The class was taught by artist Jon Kessler, for which Kessler had made an ergonomic lectern, complete with an amplification system and a cooling fan. “Ergonomic design has a twosided value. It’s not about making people more comfortable so they enjoy life more. It’s about making them work longer and harder.” An ergonomic object exists in the gray area between freedom (from discomfort) and control (exerted by the company who supplies the furniture to its workers). “It changed my work completely,” Cox said of the class.

/ Town for Portable Shrine


Despite his many successes, Cox’s dreams remain simple. Before I left the studio, he showed me a print he had created for a project in which he had been asked to propagandize his deepest personal desires. It depicted an empty studio with a large window, a table saw, and a formless shape meant to depict a work of art. For me, the formless shape was poignant. Artists never dream of the works they’ve already made, but rather of the great unknown. No matter what you’ve accomplished already, there’s always the next project. .

/ Installation shot of “Nudge, Nudge Me Do” at Gasser & Grunert


In his second show at the gallery, which was mounted just a year later, notions of comfort were disrupted even further. Working with architect Chris Benfield, he created an installation in which visitors were forced, if they wanted to enter the space, to crawl under a room-sized elevated table whose surface was punctured by large holes. In these holes, people were supposed to gather like strangers in a hot tub. “I wanted to create a performative space in which people had to interact and form communities,” he said. Visually, in the spaces, people became human replicas of the images of potted plants Cox had hung on the walls. After the exhibition closed, Cox was left with a plethora of physical objects. “I’ve never sold a sculpture before,” he said. For his residency with the LMCC, he vowed not to create anything new—rather, he set up the space like an architecture studio, with a board for projects that, at the moment, are purely theoretical. But they won’t be for long.


This summer, three liveable sculptures—Cox refers to the works, which look like craggy rock formations with nooks carved into them for seating, as “Half-Story Mountains”—will be installed in Dumbo, in the Brooklyn Bridge Park. And in May, Cox’s largest project to date—a collaborative work made with Chicago-based architect Jimenez Lai—was installed in a park behind the New Museum as part of the “Festival of Ideas.” Sponsored by the Rauschenberg Foundation, and commissioned by the Storefront for Art & Architecture on Lafayette Street, the work is a foam table structure made with a material similar to a mousepad. It consists of 34 pieces that can be configured to allow 100 people to sit at a time. Think a gigantic, lightweight Lego set you can play with in public.


“For the past few years I have been drawing and embroidering my clothing from photographs. These thread drawings have ultimately become abstractions of a time period. The repetitive and timeconsuming nature of the process yields a meditative space that I hope translates and resonates with the viewer. Through the trace and embroidery, the garments have become flat and unrecognizable—no longer functional, yet still tactile. I’ve begun to view these spaces as floating simulations between the photograph and threedimensional garments.”

ALLISON WATKINS / My Closet in San Francisco

I was walking down this block and this guy turned to these two kids, it was like a furniture lot, he was like, do you guys think that everything either your dad did or I did or your uncle did was right today? And they said yes. And then he said, do I have a witness? And I smiled as I walked by and I said yes. But I knew something was going wrong.


ILONA SZWARC / Kayla, Boston, MA

/ Jenna, Groveland, MA

ILONA SZWARC / Molleen, Brooklyn, NY

Oh to sink like a heavy heart. A gift of seeing the bottom of the sea. In the nonnoise, there’s a patient ghost; blue rubbing each stone with a soft, “I love you.” Rain kisses the surface, and I watch from below, wondering how long I’ll last. My lovers faces are topographed, like a 17th century map-maker’s creation, against the shadows of the waves. “Oh good”, I think, “Gone”. Still more non-noise; the bowels lifting like drift-wood. I could belong here until my vision turns to dreams, and my skin, fish-decay. A large felled-log of wood juts out of the sand, probably lodged down here a century ago by a fisherman’s mistake. I bet the corner was too tight. I bet the Canadian landscape churned its waves under his weight and begged him for mercy. And so, the fisherman let one slip. One simple log; “No one would mind,” he probably thought. He was the only blessed boy who heard her plunge. A suicide for love—she might have called it, if she had a tongue. She wouldn’t dare say it, but she liked the attention, in that split-second-dip into the wake. She knew he was watching her. But on the boy went on, hungry for his lady’s cooking. “And that’s ok.” She might have thought. “These things have their own way.” Her wooden heart bobbed at the surface, just a while longer; probably contemplating “loneliness” for the first time. She might have watched the sun set, if she was lucky, and thought one last time about her transition; from tree, to boat, to sea, and then she knew it was time. She sunk, as steady as the Holy Scriptures. Isaiah couldn’t have done it better himself. She doesn’t look so bad, after a century in the blue—saying “I love you” does wonders for the complexion... or so say the waves. Her wooden knots still spiral like hieroglyphs. Her fingerprint, however, could be pruney by now. “Am I to be the mistake of the century to follow?” I ask her. She just stares. The log and I contemplate eternally resting at the bottom, (a needed change for me, we both agreed). But soon enough, we learn of our differences. Though there were so few between us, one difference is all it takes. For she sees reality, and I slowly rise. EVERETT IRVING


AMANDA BAUER / video stills from The Prayer

That Juan Pablo Garza’s initials are “JPG” comes as no surprise to those who are familiar with his work, although they may find it ironic that he shoots exclusively with film. More ironic still is his refusal to categorize himself as a photographer. Garza is a master of self-reference. That his name should condense to the abbreviation for a digital image file makes perfect sense in the context of his practice: a methodical process of exploring the meaning of photography as a creative resource, a means of reproduction, and a language unto itself. Employing the camera as an impassive tool of documentation, Garza uses the photographic frame as a sculptural stage—one where objects become alchemically transformed beyond their literal meaning, while still speaking to their established function. Garza visually transforms and then photographs the tools used in traditional photographic processes: developing trays cast in colored cement, a grid of photographic paper exposed to soft smudges of color. He plays with purpose, imbuing objects full of quiet beauty with the potential to transcend their material purposes. Instruments designed to transform image to print themselves become the object of transformation.

/ Corte De Papel (Cut of Paper) / Capas De Papel Expuesto (Layers of Exposed Paper)

Born in Venezuela in 1980, Garza studied photography at the Julio Vengo Echea school in Venezuela and then under artist Teresa Dihel in Miami. He later co-founded and is a co-director of the contemporary art space Al Borde, in Maracaibo, Venezuela. His work has been exhibited in South and North America and Europe.

/ Color Proyectado (Projected Color)

/ Velado (Exposed)

/ Pedazos De Pantalla (Pieces of Screen)

/ Cuadrado De Luz Sobre Vidrio (Square of Light On Glass) / Proyecci贸n Del Cuadrado Negro (Projection of A Black Square)

/ Bloque De Fotograf铆as (Block of Photographs)

SARAH HOTCHKISS / Write For More Information

“During a summer spent making work in rural Maine, I experienced the night sky as I never had before. Excited to learn more, I asked the past for information and made up my own dance steps in an attempt to memorize constellations.�

SARAH HOTCHKISS/ Choreography by Constellation (Perseus)


ALLISON EDGE / Snowfall: Scotch Plains 1979

I was going back and forth between houses, I was living in this house with big steps and a big front yard, and I think I had gone to take a shower. I came home and I was going up the garden path to the house and I was attacked by what seemed like an enormous caribou. Who saw me from I guess where he was sleeping and then just came running towards me and just seemed to take me down, and the whole time, somehow I had some stash of film there that I was trying to protect and I didn’t get physically hurt, but it was really overwhelming trying to ward this caribou off. And I was trying to protect the film, and I kept on, I stood my ground because I needed to gather up all the film before I could leave. I went back to the bathroom and I said, you wouldn’t believe it, but I just got attacked by this enormous caribou, and when we went back, I showed it to him or someone else for a while and it was like peaceful, but as soon as that person left, it attacked me again, the only way I could calm it down was by seducing it, but it was still an animal, it was something between an animal and a man. So I was sitting, laying down with this thing on the driveway in nothing but a towel trying to calm it down and to seduce it, meanwhile all these people were walking by, looking at me and finally I was able to get up peacefully and walk into the house. SOPHIE BARBASCH

ALLISON EDGE / Hidden Waterfall

ALLISON EDGE / Palmetto Dunes 1989


Latin Grammy-nominated musician Ulises Hadjis is preoccupied by the fading of memory, both in the long and the short term. For Ulises, this is perhaps best represented in the way we experience music: a necessarily transitory encounter, but one that is also deeply embedded in our memories of the distant past. Scrapped commissioned Ulises to create a piece for our current theme,“Future Dinosaur.” Drawing on his fascination with memory, he compiled central musical chords of pop hits from the year he was born. Ulises then made repeated facsimiles of these lists of melodies, visually degrading the notes on paper until only blankness remained, the notes thereby “forgotten.” In a second creative act, Ulises extracts words and lyrics from the original songs to create a new musical work. The result is playful, reminiscent of a song lurking in the back of your mind, or poised on the tip of your tongue.

SOPHIE BARBASCH Sophie Barbasch graduated with an MFA in Photography this June from the Rhode Island School of Design. She holds a BA in Art and Art History from Brown University and has been an artist-in-residence at the Bemis Center for Contemporary Arts, Ragdale, Blue Mountain Center, Vermont Studio Center, and CAC Woodside. Recent publications and awards include The Atlantic Online, Conveyor Magazine, meatpaper, and Photo Boite’s 30 Under 30 Women Photographers. HOLLIE CHASTAIN Hollie Chastain is an artist living and working in Chattanooga, TN. After working with various media at an early age she fell in love with collage. In addition to various publications, you can see her work in galleries and art boutiques both in the US and abroad. JOSÉ CHIRINO A visual communications student in Venezuela, Jose works as a photographer but his main passion lies in cinema. His video work deals with his personal experience, using color and editing to replicate his own perception of events.

AMANDA BAUER Amanda Bauer is a New York-based multi-media creative professional. Her creative approach is interdisciplinary for she believes the medium should fit the message. BARNETT COHEN Barnett Cohen lives and works in Los Angeles, CA where he is currently working on an MFA at the California Institute for the Arts. He received his BA from Vassar College. GRAYSON COX Grayson Cox is a New York Citybased artist working in a variety of media, from painting and printmaking, to photography and furniture-like sculpture. He was born in 1979 in Indianapolis, IN, received his BFA from Indiana University, and spent two years living in Tokyo before moving to New York City in 2005. Grayson finished his MFA at Columbia University in 2010 and is currently a Visiting Assistant Professor at Pratt Institute in Brooklyn and an artist in residence in the Work Space program with the Lower Manhattan Cultural Council, New York.

VANESSA DEFLACHE Vanessa Deflache is a photo­grapher and artist currently living and working in Paris. Her work has been internationally exhibited in New York, Paris, and across Europe. ALLISON EDGE Allison Edge was raised in North Carolina, taking family road trips with a suitcase full of new wave cassettes in her lap, synthesizing a dreamy soundtrack voiced by Bernard Sumner and Dave Gahan. The images and sounds and her youth followed her around until she moved to Brooklyn at age 25 and began focusing on them as the subjects of her paintings. Her first major solo show in 2009, titled “Crystal Days”, paid homage to the music and blurred snapshots that decorate her mind. JUAN PABLO GARZA Juan Pablo Garza was born in Maracaibo, Venezuela. He studied photography at the School July Vengoechea and at Miami Dade College. He taught photography at School of Photography Strobe (2009-2011) and is founder and co-director of the contemporary art space Al Borde, in Maracaibo, which in 2012 won a scholarship from the Fundación Cisneros/CPPC within its program to support cultural organizations. His work has been exhibited throughout South America, Canada, the US, and Europe.

ULISES HADJIS Ulises Hadjis is a Venezuelan Grammy award-winning musician, composer and singer-songwriter. His songs, short and haunting, are often only around two minutes long. For this issue of Scrapped he decided to explore how our memories of music change over time. SARAH HOTCHKISS Sarah Hotchkiss is an artist, arts writer, curator, daughter, bike rider, book lover, note taker, t-shirt stealer, and native Californian with poor vision. Her favorite ice cream flavor is coffee, thanks for asking. She lives and works in San Francisco.


EVERETT IRVING Everett Irving is pursuing a writing degree at Sarah Lawrence College. With roots in Canada, he is currently living and studying in Barcelona. His secret pastimes are drawing intricate maps to existing and non-existing places, as well as making charcoal movement-based portraits. MICHAEL MARCELLE Michael Marcelle was born in New Jersey in 1983, received a BA from Bard College in 2005, and just graduated this spring with an MFA in Photography from Yale University.

ILONA SZWARC Ilona Szwarc is a Polish artist living and working in New York City. Her work examines gender, identity and beauty in the context of American culture and has been exhibited internationally. Her project “American Girls� has received worldwide recognition from publications such as The New York Times Lens Blog and The Huffington Post. Szwarc won 3rd prize in the 2013 World Press Photo contest in the Observed Portraits category among other awards, and has been selected for American Photography 28.

ALLISON WATKINS Allison Watkins is a textiles artist with a BFA from San Jose State University and an MFA from San Francisco State University. She has exhibited throughout the US and has been an artist in residence in both the US and Europe. She currently lives and works in San Francisco. CARL WOOLEY Carl Wooley is a photographer living in Brooklyn, New York.

Deborah Adams Jane Al-Salem Nasser Al-Salem Katherine & Harvey Album Ying Ang Daniel Bacon Jay Baldwin Eddie Barrera Marina Berio Jamie Blaine Kipp Bradford Joshua Brau Rachel Brau Adrien Broom Elaine Burrell Gabriel Calatrava Micael Calatrava Armando Carmona Allen Chen Tsung Huei Chen Catherine Cieslewicz Barnett Cohen Jamee Culbertson Emilia Damm Cesare De Credico Deborah L. Dean Amos Denny George Denny III George Denny IV Leigh Denny Sam Denny Stephen Feeney Ann Fessler Des FitzGerald Frances FitzGerald Joan FitzGerald Brad Fleming/ Hemlock Printers USA Allen Frame Gideon Friedman Henry W. Fuller Richard Galbraith Caroline Gambell Maria Garza Peter Gates Dan Gee Susan Goldberg Daniel Gonz谩lez & Ana Romero Carol Grantham Carol D. Gray Sarah K. Griffin Adrienne Grunwald

Ann Lourdes Hagan Henry Hargreaves Talia Herman Patrizia Hernandez Kara Huston Mary F. Johnson Glenda Kirby Min Hee Kwak Loren Lai Glenda Manzi Julianna Manzi Frank Marino Barbara D. Mattaliano Rob Mazzini Tom McMillan Vesna Menne Vera Mensinga Mica Studios Ann Miller Daphne Milliken Kate Milliken Kerry Moore Jessie Mott Stephen Muller Ofer & Shelly Nemirovsky Rika Noda Sam & Mass Osterhout Constance Paige Kitty Pechet Larkin Hatchett Peters Sean Ploen C. A. Polley Arlenys Pont贸n Quince Home

Hollis Rafkin-Sax Robin Reed reGeneration Furniture Linda Reid & Dennis Wright Catherine Reinhardt Valentina Riccardi Bert Rodriguez Claire Rosen Martin Rosen RaMell Ross Bonnie Rotenberg Eduardo Rubiera Barbara Salisbury Jessica Sample Elkuch Selina Michael Sesko Diego Sierralta Dan & Daniella Sirkin Maureen Callahan Smith Valentina Spalten Sbarra Rainbow Moon Spirit Jessica Stephen Jim Sterba John Swallow Isadora Tang Christopher Taylor William C. Taylor Elizabeth Taylor-Mead Michael Train Kerstin Traube Caroline von Kuhn Margaret Ward George Whitney Kristin Braga Wright

THANK YOU We remain so humbled by your generosity and grateful for your support. Our Kickstarter campaign was a success thanks to each and every one of you.

Scrapped Mag Issue 02: Future Dinosaur  

2nd issue of art journal, Scrapped; published Summer 2013. 150 pages. Limited run print edition of 250. Contents (differs slightly from p...

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