Scrapped Mag Issue 01: Hit It

Page 1




EDITORS/ CO-FOUNDERS Noura Al-Salem Allen Chen Frances F. Denny Nicole Horton Osvaldo Pontón

Summer 2012 We are thrilled to share with you the very first issue of Scrapped. Scrapped was born from our shared desire to provide a new platform for artists, both emerging and established, to showcase work. The initial seed for the idea came about during a Sunday barbecue last July in Brooklyn, NY. As each of us pursued our own freelance work and art-making, we seized upon the thought of creating something together, something for a greater audience and comprised of the work of artists like ourselves. Thus began a year-long effort consisting of late-night video conferences, myriad email conversations and meetings at one apartment or another, and shared meals of both the homemade feasts and tinfoilwrapped sandwich varieties. The result is something far better than we could have imagined over twelve months ago.

ART DIRECTION/ DESIGN Noura Al-Salem Nicole Horton



CONTACT please email us or write to us Scrapped Magazine PO Box #220250 Brooklyn, NY 11222

SUBMISSIONS please send all submissions to

SUBSCRIPTIONS © 2012 Scrapped Magazine Published by Scrapped Magazine LLC. All Rights Reserved. No part of this publication may be reproduced or distributed without prior written consent.


“Hit It” is the theme of this inaugural effort, and oddly enough, choosing a theme was one of the easiest decisions we made in the process of launching Scrapped. We view “Hit It” as an unrestricted exploration of desire and ambition. We identified two primary characteristics of our notion of “Hit It” and curated the issue in consideration of them. First is a raw, visceral quality stemming from desire and physicality; it alludes to humans' status as animals. Whether this is manifested as hunger, physical desire, or anger, “Hit It” is about active intensity. Paradoxically, the second characteristic is the lack of emotion in the context the phrase is most often used: casually referring to intercourse as “hitting it.” But beneath this impassivity, there exists a live charge, perhaps even a violent one. So, while “Hit It” conveys a distinct sense of shrouded emotion and dispassioned inertia, it also conveys action, movement, and dynamism. In this way, “Hit It” is about ambition: cool ambition, calculated ambition, but ambition all the same. Take the Bertolt Brecht quote we kept referring to when creating this issue, “Art is not a mirror to reflect reality, but a hammer with which to shape it”—moving beyond the expected requires intellectual, passionate, ambitious action. We cannot thank enough the talented artists who submitted their work to a group of virgin editors; we are extremely excited about what lies between these pages, chosen after months of careful consideration. Also, we would especially like to thank you, our readers, for your support of Scrapped. Sincerely,

All artwork presented within is the copyright of the respective owners.

The Editors and Co-Founders of Scrapped

Printed in the United States of America

Noura Al-Salem, Allen Chen, Frances F. Denny, Nicole Horton, Osvaldo Pontón

On the Cover:

This Page:

Jon DeCola

Fryd Frydendahl





Editor's Letter

The Interview

This Is Scrapped

Winston Chmielinski



Young and Fresh

See Something, Say Something

An essay by Allen Frame 6

Looking at art with Unhee Park

The Profile


The work of Cortney Andrews

The Directory


Contributor information 74

Age/Sex/Loc? An online chat with Chason Matthams 12

How To The Scrapped team demonstrates How to Trash a Work of Art

Sam McKinnis



Hit It 18

Thank You To our supporters 79



YOUNG AND FRESH An essay by Allen Frame

When I was asked by the talented young artists who are launching Scrapped to write an introduction for the first issue, I thought of the late Charles Henri Ford (1908–2002), whom I interviewed in the early 90’s for the literary quarterly (now online magazine), Journal of Contemporary Art. Ford was in his 80’s and I was in my 40’s, and we had both grown up in Mississippi. He reminded me of certain older relatives, and we became fast friends. Ford was only 21 and still living in Mississippi when he started his first magazine in 1929, called Blues, A Magazine of New Rhythms. To publish it, he had to borrow $100, which he never paid back, and he brought out 9 issues, featuring the likes of Gertrude Stein, Ezra Pound, William Carlos Williams, ​Paul Bowles, and Erskine Caldwell. He would have published a story by William Faulkner, too, called “Death in Naples,” but he closed the magazine and moved to New York before he got the chance. He stopped in New York City long enough (1930) to begin to write alternating chapters with Parker Tyler of one of the first gay novels, The Young and Evil, inspired by Hemingway’s The Sun Also Rises. Then he took off for Paris where he lived at first with Djuna Barnes, then with Russian painter Pavel Tchelitchew. In Paris, Ford was welcomed by the émigré community. Some of them, like Gertrude Stein, knew of him through Blues, and were impressed with his precocious intellect and striking beauty. Stein wrote about him: “Of all the little magazines that died to make verse free, the youngest and the freshest was Blues. The editor has come to Paris. He’s as young and fresh as his Blues.”

The Young and Evil (originally titled Love and Jump Back) was published in Paris in 1933 and was banned in the U.S. and England. In 1934 Ford and Tchelitchew moved to New York City, and in 1940, Ford, now regarded as a surrealist poet with strong connections to André Breton and his surrealist circle, decided to publish another magazine and called this one View.

Sam McKinnis Untitled

View proved to be probably the most significant arts magazine ever published in the U.S. and ran from 1940–1947, published quarterly, or as funds were available. As they fled the war in Europe and established themselves in New York, European artists like Marcel Duchamp and Max Ernst were enlisted to do cover art and special issues, and American poets like Wallace Stevens and William Carlos Williams published their poetry in View, along with writing by Paul Bowles (who edited an issue), Albert Camus, Jean-Paul Sartre, Jean Genet, Jorge Luis Borges, and notable others. The work of many artists was featured, including Pablo Picasso, Paul Klee, Joan Miró, Alexander Calder, René Magritte, Marc Chagall, Man Ray, Jean Dubuffet, Isamu Noguchi, Yves Tanguy, Fernand Léger, Maya Deren and Georgia O’Keefe. Tchelitchew died in 1957, but Ford lived on, continuing to have an influence on the art scene of every decade he lived. He took Warhol to see his first underground films and encouraged him to buy a movie camera. (Ford made his own underground feature film called Johnny Minotaur.) In the 70’s and 80’s he did photographic portraits of artists, like Robert Rauschenberg and Robert Mapplethorpe, projecting provocative images onto them. “I flashed a suit of armor onto Robert, and on the floor were projections of George Segal's plaster people, as if Robert were the shining knight who had just slain all of them,” he told me. Ford would surely have wanted to contribute to Scrapped—a haiku, collage, or photograph—perhaps even to guest edit an issue. He would have welcomed its initiative, and he would have been amused by its first theme of “Hit It.” Let’s think of him when we toast to the success of this and all little magazines.


portrait of Charles Henri Ford by Pavel Tchelitchew 9


The photographs of Brooklyn-based artist Cortney Andrews force encounters with female sexuality, objectification and intimacy. Like in her work in other media (including video, installation and performance), the images she continues to obsessively construct are concerned with self-identity, gender and desire. At times startlingly confrontational, Andrews’ compositions remain vibrant and accessible, drawing in the audience with their unquestionable beauty; they challenge perceptions of self and other, and are steeped in theatricality. Her subjects are inviting, whether through their seductive postures or through their willing, if at times frightened, eye contact. Her forms suggest a celebration of nature and sexuality through scenes of unabashed animalistic behavior, and extreme ritualistic performances wherein the strength and power of the female body is made explicit. Born in Kansas, Andrews received a B.F.A. from the Kansas City Art Institute and an M.F.A. from the Rhode Island School of Design. Her work has appeared in exhibitions all over the world. Most recently, her photograph Arms Bend (left) was exhibited as part of the “Selling Sex” show at SHOWstudio in London. She was also included in the Los Angeles County Museum of Art’s exhibition “In Wonderland: The Surrealist Adventures of Women Artists in Mexico and the United States.” —Eric Russ

Top to Bottom: Hole Arms Bend Untitled

Preceding page: Sofa

All images courtesy of the artist. 12

© Cortney Andrews




11:46 AM SCRAPPED: a/s/l? CHASON: 31, male, NY, NY

with Chason Matthams

SCRAPPED: I’m so glad you got that! CHASON: I had to look up what that means by the way, not sure how telling that is

Scrapped Editor and Co-founder Osvaldo Pontón, enjoys two things: talking to strangers on the Internet and long walks on the beach with strangers he just met on the Internet. For our first issue, he sits down at his computer and talks to a person he presumes is artist Chason Matthams. But hey, it’s the Internet, you never know.

SCRAPPED: It’s how you started to chat with random people in the 90's CHASON: Yes, and the anticipation of the next line was always the best because you had to wait forever… SCRAPPED: As a kid I was always hoping the answer would be 16/f/two blocks away. But it was usually 45/m/Tokyo CHASON: Yeah, I know that 45 year old from Tokyo, he was cool, if you just asked him to pretend he'd usually be game. I met some guys that were alarmingly familiar with the anatomy of 16 year old females SCRAPPED: Let us segue into your work which prominently features celebrities and one very famous reality tv star. CHASON: Yes, the celebrity portraits used to play an all-encompassing role but over the last few years they’ve been pushed to the sidelines. In the last two years I made something like 70-80 paintings, 4 of which were famous faces. But just like in our real lives, they seem to loom large with people. SCRAPPED: They do. They certainly create very interesting pauses in between your more abstract work and landscapes. 11:51 AM CHASON: Yes, and for me it’s about where we choose to take that pause—when you are aware of what you are taking in and have a choice of what to focus on. As opposed to being caught off-guard by whatever is playing over the grocery store’s PA system and zoning-out on the complexities of Heidi Montag's face until the checkout person wakes you up 11:56 AM SCRAPPED: That's a really interesting way to frame it. It translates well in your installation, where you place several small frames within different types of imagery. In a way it feels exactly like zoning out for 10 seconds and the random things that come into your head. CHASON: The last three celebrities I painted were done photorealistically. There was Heidi and her plastic surgery, then Tom Cruise and the wonky uneven way his whole face sits, and then a wax mannequin of Brad Pitt. SCRAPPED: The idea that people pay something like $30 to see a wax Brad Pitt and Angelina Jolie really rattles me. 12:01 PM CHASON: Yeah, and that’s how I usually experience things, sometimes I'll be walking around and see that advertisement with Brad Pitt and be like "ha, fuck that guy, back to blissful nature" and then other times it's like "fuck me, I wanted that for myself, where are my laid-back, pot-smoking abs and gwyneth paltrow force feeding me macrobiotics?"


Southern California Upskirt


12:03 PM

12:23 PM

SCRAPPED: My girlfriend always wants to eat at taco bell. I stand no chance

No judgment on you BTW! I don't know you, you might be a genius with a PhD!

CHASON: I am sure Brad wouldn't yawn at a Doritos Locos beef taco. I actually saw a website recently that collected all amateur photos of people sexualizing those wax mannequins. And they do it to all of them! No matter who the mannequin is, there is a photo of some guy or gal fakegroping it. You thought our 45 year old friend from Tokyo was bad, just check out what people do when released unsupervised amidst some wax mannequins

SCRAPPED: yes, I do have a PHAT HARD D.... what does PhD actually stand for? SEGUE AWAY!!! Let’s go back to your work. CHASON: Ha, alright, shoot.

SCRAPPED: GOOGLING FOR IT RIGHT NOW! When I first saw your work, which was in an email, the picture of Heidi Montag was right next to the Alice in Wonderland image. It seemed like a very valid way to frame a conversation on role models and pop culture. 12:08 PM CHASON: Yeah, and that Alice In Wonderland painting is titled "Dad says don't throw your life away, dad says work.” I always liked that alongside Heidi and the "work" she has had done, and what that plastic surgery has done to her life. SCRAPPED: Alice's reflection in the water, all broken down, kind of becomes Heidi's face for me. CHASON: I was surprised when I watched Alice In Wonderland again, the Disney version, because the message in it seemed to be that imagination is all good and fine in small doses, but you can't just carry on in that fantasy world or it will turn into chaos and terror. Sometimes you’ve got to get your head out of your ass and get back to your responsibilities. 12:13 PM The other funny thing I realized re-watching Disney films is that in both Snow White and in Bambi, the title characters meet their loves while staring into a body of water at a reflection of themselves...



SCRAPPED: Really? I never noticed that. It’s funny how they are making all these modern retellings of those stories to make the female characters the strong fighting leads while at the same time they are taking rights away from women in the real world. I was... amused (that might not be the right word, but we’ll go with it) that all of the recent discussions regarding women's rights and birth control in the media (and in Congress) mostly took place in panels comprised of men. I thought we could do the same. Hold our own little panel on female role models. CHASON: Yeah, that whole thing that is going on in Arizona with abortion laws—basically, that pregnancy starts when an egg drops. I half-expect AZ governor Jan Brewer to be showing up at my apartment every time I get a woody to make sure the sperm is protected. SCRAPPED: You DO NOT want to look into my freezer unless you want to marvel at the miracle of LIFE in many tiny cups 12:20 PM CHASON: You could be the next one of those sperm donor guys that we find out has fathered 50+ babies. Though you'll have to be strategic and place your sperm in banks where mothers are looking for cool cultural cred rather than a doctor with a high IQ.

SCRAPPED: Tell me about your newer work—your landscapes and your more abstract pieces? I like how even though you have moved away from celebrities as the main focus, everything still perfectly fits within your overall scope. 12:26 PM CHASON: The newer abstract paintings are an attempt to reconcile my good ol' Hegelian Protestant work ethic with play (an activity I expect nothing from and do for its own sake). Which is hard, because I’m coming out of illustration, and working in narrative, so it’s difficult to start making something without knowing where it’s going or what the story is I'm telling. 12:29 PM SCRAPPED: If I remember my Hegel correctly (probably not) he was all about rationale and getting away from idealism… CHASON: For me, this relates back to the fractured way of experiencing our day-to-day; it makes little sense in the moment but in retrospect we look back and organize those experiences to make some sort of sense out of them. So sometimes I can look back and recognize an arc my life is taking and pretend it’s going somewhere. Other times it’s just a jumble. SCRAPPED: I can relate to that. As can most artists, I guess.

Sad To Happy, Happy to Sad 17

12:35 PM CHASON: The other week in a studio visit someone me called me a zone junky, which at the time I was worried was an insult, like I was some sort of X-Games Red Bull-drinking jock (which I, btw, would totally be into). But after thinking about it he was totally right. That is my favorite experience of art, when it zones me into something bigger, a place where things have a place, no matter how temporary, and my experience of the world is not a fractured mess. 12:40 PM And it’s why I also love painting; it’s not some psychedelic, LSD zone-electromagnetic fields-purple haze and purple hills bullshit, it’s more about being slow, and even, and content. And I know it works differently for everyone, but the stillness of a painting, and its slowness, is an object and space that helps key me into that. SCRAPPED: So, in a way you have to zone-in in order to zone-out? Which is totally something an X-Games Red Bulldrinking jock would say about a dude doing a 360º skate jump (or whatever those are called) 12:46 PM CHASON: I guess what I am trying to say is—when art works for me, it’s when it starts helping me see the similarities between things rather than chaos and pure difference. That is what I hope is happening with the paintings I exhibit. They are seemingly different from each other, have different styles, even sometimes look like they are made by different artists. But given some attention, a narrative starts to come together. SCRAPPED: Well then, mission accomplished! Unfortunately, we need to wrap up our conversation. 12:55 PM Do you hang out in IRC? ICQ? AIM? So that our readers from the 90's can reach you… CHASON: Ha! I'd love to reactivate my old ICQ account and look back on the logs of conversations I had as a middle schooler/ high schooler

Heidi As Barbie

SCRAPPED: I know, I wish I could remember my ICQ number! Re-connect with 45/m/Tokyo CHASON: Oh we never lost touch, guy stays in my apartment when visiting NY SCRAPPED: Chason, thank you so much for participating today in Scrapped’s first ever a/s/l? Interview. CHASON: Always happy to be a selfish little artist and talk about me me me. It’s a miracle anyone cares! following spread: Frances F. Denny 18



Hit It

Athena Torri below: Hatchet right: Hans following spread: left: Ford F150, Clutch right: Carving Tool Incident





Jose Perozo above: Mamaguevo (Cocksucker) left: Puta (Bitch) preceding spread: Closet

I’ve always lived with labeling: for how I look, my sexual orientation, my taste or my personality. “Faggot,” “anorexic,” “skinny,” “ugly,” “weirdo,” “drug addict,” “bitch,” “cocksucker,” even “artist” are only but a few of the things I've been called, as if it was a sin to be any of those. People rally around flags, and through time I've made those social stigmas my own personal flags. My work is about de-criminalization of the different. ”


“Above all else, it is about leaving a mark that I existed: I was here. I was hungry. I was defeated. I was happy. I was sad. I was in love. I was afraid. I was hopeful. I had an idea and I had a good purpose and that's why I made works of art.” Felix Gonzalez-Torres


CUSTOMS What is your name? The blank of what I hope to become. What is your birth stone? It was black when I stepped from the sky. Do you have brothers and sisters? Duly, in subterfuge and love. What have you loved? The fat alphabet, fennel, the smell of paint, paint and pepper, paint and the crack of paper, cameras and clocks, the friends of half my life, daily dawn’s audacity, the point where the pelvis tautens the skin of the hip, women whom I swear were mirages with bones, black coffee and verbs, verbs like Plato’s horse. Where do you live? Perched on purpose, high in the city of incidents. And what do you do? What do I do? Can you not speak our language? As you pillage, so shall I.

By Andrew Seguin



Carmen Winant p. 29: Untitled left: Linda Lovelace For President below: Large Head Drawing

Linda Lovelace, the now-deceased protagonist of the 1972 X-rated film Deep Throat, was once the biggest star in pornography. Lovelace penned five profoundly contradictory autobiographies during her short life. If you read them all, you will discover it is difficult to reconcile any semblance of her improbable and often brutal life. She was both a victim and a perpetrator of her own image, desperate to please her private and public audiences. After bouncing back and forth between her allegiance to feminists and pornographers, Linda remains unforgiven and historically scapegoated by both groups.


Jessie Mott clockwise from top left: Little Wolf, Yellow Creature, Hissing Cat, Polar Bear, Sad Animal 34

opposite: Pink Cat


Corina Triantafyllidis Insignia


Fryd Frydendahl left: Hest right: Bik following spread: (left to right) Diego, Rød, Mund


By Jes sica G ordon

It was right after winter break. I had sworn I would get a job, and I had—making fruit smoothies in the East Village at minimum wage. I was “seeing” this DJ and when I say “seeing,” I mean going to listen to him spin at Beauty Bar and then getting semi-naked in the freezing party room in the back if it wasn’t booked that night. I needed a change, so I agreed to go to Mercury Lounge with Kaye to see some awful Emo band after work one night.

Jesse Aldere

There is an interesting postscript to that evening. Kaye ended up going home with a D–lister that night, Gideon Yago, the MTV VJ. He had a girlfriend at the time, but Kaye decided she had to sleep with him when he referred to 9/11 as “the highlight” of his career.

About a week after we met, Dustin and I went out to dinner. I had him meet me at the art show one of my classmates put on on Avenue B. The show consisted of the student sitting in the corner, ripping pages out of a phone book, and eating them. While shorter than I remembered, Dustin was adorable. A little too clean–cut and a little too young, but I definitely wouldn’t kick him out of bed. We went to Avenue A Sushi. I zoned out while he talked about whatever and watched Ice Age, which was playing behind him.

Dustin and I proceeded to play First Date. I ordered about half of what I actually wanted to eat, and chewed with my mouth closed. He asked me a string of generic questions and I giggled where it seemed appropriate and got sloppy wasted. What do I do? I’m a student and he works at Comedy Central. Where am I from? Scarsdale and he’s from Texas. What would my superpower be if I could have one? I would read minds and Dustin would fly and by then I was hammered.


Beach Scene




The band was awful, just whiny and pale—they were basically just kvetching to music. Kaye went to get us drinks, and I spotted this super adorable Jewish–looking kid smoking by the stage (this was back when you could smoke in bars, mind you). I bummed a cigarette and we got to talking. His name was Dustin, and we exchanged numbers before Kaye and I split for the next bar.

And then he asked… “So, what kind of music are you into?” I ran down the list, Liz Phair, Cake, etc. “Well, I am really, really, really" (yes, he said it three times) "into Radiohead.” He said it and looked at me like he had just uttered a secret password I should pick up on immediately. So, I said “Yeah, they’re amazing, I have, like, all their CDs” (I have maybe the Karma Police LP if that). Dustin lit up like a Christmas tree, and I knew I’d answered correctly.

On the rare occasion I paid attention to the rest of the conversation, Dustin was talking about Radiohead. I only zoned back in every twenty minutes or so, so needless to say this went on for quite some time. Finally the bill came; I pretended to be reaching for my wallet while Dustin paid for the meal.



I was about to bolt when Dustin asked “So…do you like to get high?” I stopped in my tracks. I nodded. Maybe I drooled a little. “Well, do you maybe want to go to a bar or something? Or maybe go back to my place and smoke?” I think he got through about “my place and smo…” of that sentence before I led him by his arm in the direction of his neighborhood. When we got to Dustin’s place, his roommate Ryan and, oh, about 9,000 of his friends were hanging out in the living room. I made some half-assed introductions and made a beeline for Dustin’s room. The relief I felt at making it to his bedroom was immediately replaced by shock and horror when I opened the door. Even drunk, the room was terrifying. Every single inch of wall space was covered ​with Radiohead posters and pictures of Thom Yorke. Acrylic paintings of Radiohead covers were stacked in every corner. A giant box of magazines with articles about Radiohead took up half of the floor. A pile of Radiohead DVD concerts sat next to the TV, another pile of CDs were stacked next to the computer, on which there was a Thom Yorke screensaver. Three Amnesiac Critter stuffed animals sat on his bed. I was very, very scared.

Even drunk, the room was t e rri f yi ng .

I backed slowly towards the door. My hand was on the knob when Dustin turned and looked at me and I froze in my tracks and fake smiled. “So…” he said, “this is me.” “Mmmm. Mhmm. It’s, uh, very cohesive. You’ve really, uh, tied it together.” I said in a nice, calm voice. The kind you would use to try and persuade a mental patient to put down the knife. “So, um, you wanna smoke?” Oh dear God yes. More than I’ve ever wanted anything in my entire life. “Sure.”

with him tonight, and if I don’t like him I won’t want to sleep with him at all.” Instead of thinking “I’ll probably just get hammered and want to do him anyway.” Amateur mistake. I realized if I didn’t have sex with Dustin right then, I never would, but my standards of hair maintenance are extremely high, so I excused myself and shaved my entire body in his bathroom using his razor which I tried to ignore is the same exact hue as the cover of OK Computer. The sex was surprisingly good but then again, when is sex with totally fucking crazy people not good? Afterwards we lay on his bed for a while, listening to an advance release copy of Hail to the Thief. Dustin asked if I wanted to borrow something to wear. I hadn’t planned on staying but I said sure. He handed me boxers and a tee shirt. Once dressed I looked down and realized with horror that the shirt he had given me had a gigantic picture of Thom Yorke’s head on the front of it. “That looks great on you,” Dustin said. He put his arm around me and said “You’re amazing.” I started to say thank you, when I realized he was directing this comment to Thom’s face on my chest. “I like you so much.” Oh my God! He wasn't even talking to me. I thought I was going to cry. With that, Dustin started kissing me again. He took my shorts off, but all but smacked me when I attempted to remove the shirt. It was so fucking creepy, I should have left...but I didn’t. I stayed for round two and snuck out while Dustin slept, cuddling one of his Radiohead pillows. Then I stumbled home, took a scalding shower and wept and chain-smoked while listening to Creep until the sun came up.

Dustin packed a bowl and offered it to me. This could make everything better. Or much, much worse. At this point it was really my only option anyway. “I’m just going to put on some music.” Dustin tells me. Mmm hmm, "some music" indeed. A few minutes later, I was far too high to move, and I figured, creeped out as I was, I may as well make the most of the situation while I was there—I mean, he was cute. I didn’t know any Radiohead–based come–ons, so I just started rubbing Dustin’s arm. One thing led to another and eventually we were half–naked and, even better, no longer discussing Radiohead. I was finally starting to relax, and could almost ignore the fact that Thom Yorke and his lazy eye were staring at me from every visible surface. Now, I didn’t learn much in high school, but I did learn these two things: 1) Never compete with a cute, underage gay guy to see who can have the most anonymous sex, ‘cause you are NOT going to win. I mean even if you do win, man, you lose. 2) You can train yourself to let hormones override fear and disgust. This is exactly what I was doing at that moment. Dustin went for my belt. In stoned horror, I realized that I had a solid week's worth of growth on my legs. This is due to the fact that as I was getting ready for this date, I thought, “Well, if I like him, I won't sleep



Anne Wรถlk 46


opposite: Brenton Hamilton Devoured 48


Adam Green In Consideration of Boyhood, installation (left) & detail (above)



“ While growing up, I felt as though I never

belonged anywhere in the gay community. Around the mid-1990’s I became aware of the Bear community, a gay subculture that idolizes the older, larger, hairy male body. The Bear subculture dismisses traditional homosexual stereotypes and creates its own interpretation of beauty. ”

Alan Charlesworth Rich—Sleeping in Tent (Mansfield Center, CT)



Valentine I love the word fuck, how it grazes my teeth, scrapes, stabs at my tongue like a fork, first kiss, valentine red hatchet, how desperately it wants out, wishbone lodged in my throat, werewolf loose in the suburbs, goes wherever, cold gallon of milk glugging across the Formica countertop, warm scissors wandering through sheet metal or sequined curtains of striated muscle, is easy to use, aim and fire, operates without AA batteries or ever suddenly going soft, how the other words in the locker room hate him, lone paddleboat gliding amongst a pack of unforgivably smug canoes, icicle pitted against a tray of ice cubes, cheerfully recruited, frogman overboard out of my mouth into its next mission, surefire blades of a ceiling fan spinning in your swaggering den of blue-sleeved parakeets. Noah Michelson Sylvia Hardy Car Piece no. 5


Originally published in the Scribner anthology The Best American Erotic Poems From 1800 to the Present


Jon DeCola Smith On Life



Jon DeCola clockwise from top left: 58

Arrest #5, Untitled (Chopper), K9, Untitled (Crash #2)


Cole Don Kelley Untitled 2011 (top); Untitled 2010 (bottom); Untitled 2007 right 60

Monica Velez Untitled #01 from the series Luscious

James Woodward video stills from Football (top); Kelly (bottom) 62


On Framing

None of them care for the bookshelf/ baby polar bear table/ cat scratcher/ Eames chair tableaux. Dark frames, each and every one. Then it stopped. A torso in a dark grey T shirt sat at a desk, with a door in the background, only the lower half of its jaw exposed. Was it a man? A woman? Couldn't tell. Didn’t matter. The torso sat back in its chair, frozen, like a deer in headlights. After a minute, it raised its right hand and placed it over its heart. The lips parted slightly.

by Karolyn Gehrig

I was stuck waiting in this window within a window in my house, without enough time to venture out. In my living room, I stared at this little table that’s less a table than it is a tiny polar bear on its back with its nose and legs up, so its paws hold up the glass top. I fell in love with it while I was getting divorced. We found it on Craigslist together, paired with another. That set was among the first things split up. So I stared, stuck, seeing what I could fit into this shallow moment, the heavy hand of the clock further compressing the time before someone came. I thought “Hey, what’s Chatroulette like?” I set my laptop on the floor, facing a corner in my apartment. This was visible in the sun flooded frame: a bottom bookshelf, the chrome base of an Eames rocking chair, an abstracted cat scratcher and the baby polar bear table. I gave self-imposed rules before pressing start. I would not press “Next.” I would not show my face. I would just peer over the top of the computer upside down and observe. If someone kept watching, I would see what happened. The microphone would be on, but I would keep silent. In the distance, faint noise from the street could be heard. My bangs hung over the edge, a swayed fringe moved by both the breeze and my breath. I pressed start. A second or two each, lit by a sickly screen glow: men, giggling teenagers, dicks in and out of pants. Next. Dick / balls / wank / giggle / vacant stare / dick / dick / wank / sweatpants / giggle / dick / vacant stare / dick / dick / dick / wank / dick. Next. Dark frames, each and every one.


Curious, I broke the frame and dipped in my hand. The torso moved back and pulled its hand across its chest. Not knowing where to go with this, I picked up a lone flip flop and passed it in front of the camera as though it were flying. The torso leaned forward, and typed “mroe.” More? Its other hand moved to their throat and dipped a finger into its parted mouth. More was probably the right answer. There was the sibling flip flop, and some cat toys, but those didn’t seem right. I put my hand back into the frame and wiggled it. The torso began moving its arms under and over its shirt. This was working. It typed again. “Mroe.” I curled over the back of my laptop and thought “Oh, fuck. I’m going for it.”

The torso sat back in its chair, frozen, like a deer in headlights.

I pitched my body forward and pressed the palm of my hand against the baby polar bear’s face. I twisted it back and forth. The torso responded, clearly excited. I fumbled over the polar bear’s eyes and nose, but rhythmically. The torso kept moving its hands over its body! I wiggled my hand some more, my brain alternating between “I can’t believe this is working” and “the fuck?” Torso typed again “MROE,” all caps this time. I contemplated introducing another body part into the frame, but thought maybe it’ll ruin it. “Oh, what the hell.” Fully in the moment, I thrust my other hand onto the baby polar bear’s ear. This. This is it. The Torso bolts up and kicks back its chair. With a lot of dramatic tension, it turns away and starts to move its hips. It turns back around, and I can see it’s a he and he is jacking himself off. It is all real. I am totally fucking this dude on Chatroulette right now by fondling my side table. He is going and I am going and for a moment it comes together. I rock back and forth, working my hands together over the polar bear. And it’s weird, but I’m not watching the screen, I’m looking at my hands and contemplating my performance. I glance back at his frame for a second and glimpse a knick-knacked table I couldn’t see before. Then I think about my neighbors seeing me hunched into a ball over my laptop in reverse, through this window. There’s a knock at the door; my windows collapse.


Julie Nymann video still from Kys

Somewhere Along the Edge Of Potentiality An interview with Winston Chmielinski text by Eric Russ, photograph by Frances F. Denny, artwork courtesy of Envoy Enterprises

A surprisingly long and nauseating ride on one of the city’s water taxis to see the inaugural Frieze Art Fair in New York set in motion a series of events that were going to make me late for my appointment to meet artist Winston Chmielinski in his Lower East Side gallery. Winston, being the kind and gentle soul that I now know him to be, happily postponed our meeting. The burgeoning gallery scene in the Lower East Side has come a long way in the last couple of years. Converting storefronts into exhibition spaces, enterprising young gallerists have put the neighborhood on the map in the competitive landscape of the New York art market. Winston’s gallery, Envoy, has not only managed to secure an unusual amount of space for the area, but has also outfitted a gorgeous bar in their backroom. We settled into a sundrenched table at the back of the bar to talk. Winston joined Envoy Enterprises in January after having had a solo show there a year ago. “What Jimi [the owner of Envoy] does really well, is he

opposite: High Tide

nurtures young artists, and tries to get them the best exposure that he can get for them. I need someone like that, because I’ve always been quite alone in my pursuits,” says Chmielinski. At just twenty-three, the young artist is poised to enter a new phase of his already exciting career. Working in his studio near Boston, he is producing a new body of work for his upcoming show at Envoy in November. “Right now I’m actually spending this time just trying to teach myself about oil paints and how to get that real object– painting look to it,” he explains. “I’ve been working on them for I guess four months now, starting off with acrylic base and then putting oils on top of it, and now I’m trying to do the whole thing in oils.” The show will find Chmielinski exploring new directions not only in terms of media, but also in his use of figuration. “I think painting people has been a way for me to delineate the enjoyment I get out of those colors and forms, and when you have that within an outline it’s easier to make it into a composition because it’s


Bill I Don’t Know You

“ I’m going to delineate a sacred space on my floor with tape, so that

all around there’s room for drips and splatter–and in this center I’ll take my breaks and read, or stretch my arms and legs. Then, with ideas like this, I’ll beat myself up for not following through and, so quietly inwardly furious, my face basically breaks. In this moment is where I paint: somewhere along the edge of potentiality. ” Flower Bed



just recognizable and people can identify with it immediately. But I think the true challenge for me is not following a predictable pattern and really getting back to painting as an exploration rather than a rendering. I’m in this phase of exploration.” It seems exploration is a common theme with Winston. “I have a travel bug,” he confesses. “I tend to think possibilities are elsewhere.” For a young man, Winston has already made his home in a surprising number of cities including Berlin, Paris, and Beijing. “Right now I’m really antsy. I want to go to Hong Kong,” he says. The accumulation of these experiences has helped him form an appreciation for space. “When I went to Berlin I was able to afford a space of my own, which I’ve never had. I’ve always lived in really small rooms in good locations, and in Berlin I could actually spread out and do my thing, and not be disturbed, and not feel like I was limiting myself by the space. So I think in that sense, it was an enabler for me to kind of develop more.” Travel has no doubt also encouraged Chmielinski to adopt a Zen-like attitude toward his belongings. “I brought a bunch of old paintings to a thrift store and left them there,” he recalls. “My mother is kind of a childhood-memory hoarder, so she was like, 'how can you do that?' I don’t even want them there. They did what they did for me inside, and I’ve retained that. The less physical things that could bring me back, the less possessions, the more you can move forward.” The same kind of thinking has weighed on his decision to not do what many artists of his generation are doing, and get a Master’s Degree. “You might just start referencing, referencing, referencing, and getting a little bit too caught up in that,” he explains. That is not to say that he has ruled it out all together. “My belief is that no educational experience can be detrimental, I think everything is positive, but at the same time, I think that I am easily swayed. So if it’s working for me right now, if it seems like I have a personal style then I want to keep that going for awhile, and then maybe when I feel more solid, then I’ll go.” For the moment Chmielinski seems content to have free–


reign over his creative process with the support of his gallery. “I’ve never been part of that Brooklyn arts scene,” he offers. “I don’t have a performance persona. I’m not outgoing that way, so it’s really helpful to have a gallery behind me right now. And also just for the mundane things, stuff like talking with people and sales. I can’t set prices that are consistent and if somebody looks like they really want it, and they can’t afford the price, I don’t hesitate to lower it, and I guess that’s an unhealthy practice.” For a seemingly confident and outgoing guy, Chmielinski admits to feeling self-conscious about his work. “Having an opening and being there,” he says, “is one of the most uncomfortable experiences, because I’m already there and I’m letting you judge me freely, but then I don’t want to see what you think. I’m happy to let you think whatever you want, but I think if I’m there, that inhibits people from experiencing what they want to experience. I think that I can start embracing that and just hide away, and just be more of a secluded person and just present my art as something different than me the person. But there’s always this interest in who I am as an artist, and I think that’s totally valid as well, but I do like when I’m allowed that separation between the two.” If his career continues to grow at the rate it has over the last couple of years, it is unlikely that Chmielinski will be able to recede too much from the limelight. Still, it is clear that he enjoys sharing his talents, and his insatiable desire to broaden his own experience should afford him almost limitless inspiration. Winston Chmielinski’s second solo exhibition at Envoy Enterprises in New York is scheduled to open November 22 and run through December 23 y

opposite: Spring XYZ

See Something, Say Something Looking at Art with Unhee Park

world as a female artist? NINA: How do you live in the art field as a female artist? Well, I think it’s important to validate feminine imagery and to not be afraid to use it in your work, that work doesn’t have to be cold or minimal.

UNHEE: If you have the $5,000 today, are you going to buy that one? MAN #2: Yah. Yeah. UNHEE: Ok, that’s good. MAN #2: I would…I don’t know what their shipping is like here though…that’s my only problem! MAN #1: I’ve got to say to you, I don’t have the 5,000 dollars… UNHEE: Ok, this is so great interview, thank you! MAN#2: Thanks ever so much. Bye!

THE VERDICT: SCRAPPED: Would you recommend for people to come see this show? UNHEE: Yes, why not? SCRAPPED: And why? MAN #1: So…I’m a little bit ignorant about it… but we’ve done some of the other museums in our time here, we were at MoMA yesterday.

UNHEE: [laughs] It’s very unique, I don’t know how to explain the very great video pieces by words, but it’s great to see and think about myself, like identity, so it was great.

Nina Yuen − “The School” at Lombard-Freid Projects

UNHEE: oh…MoMA…ok

SCRAPPED: Ok, so out of 10, how many stars?

Our intrepid gallery guide, Unhee Park, goes to The School to see what she can learn, asking a few good questions along the way. Here is a partial transcript. *

MAN #1: … and we’re at the Met tomorrow…

UNHEE: 10? That’s a lot! How about five?

UNHEE: Tomorrow? Where from?

SCRAPPED: Ok, you have five, how many?

MAN #1: London

UNHEE: Probably…four, but it’s my first time interviewing in a gallery so it should be four.

UNHEE: London?! Ok, the accent is London…British? MAN #2: Yes! That explains it all doesn’t it? UNHEE: So which one is your favorite piece? NINA: Should I look in the camera?

MAN #2: Definitely that one [points to a sculpture], without a doubt and I…

UNHEE: Yes, If you want! Would you mind to describe about the sculpture work, installation?

UNHEE: this one? [also points]

NINA: This is…it’s called “White Blindness” and it’s about a disease, an imaginary disease called White Blindness, where you see nothing but a white glare. And it comes from a Wikipedia list of fictional diseases. So, the interest is when you have symptoms of something, it makes you sick, but it’s not real.


MAN #2: …we’d be tempted to buy that. At least, some of it. MAN#1: Would we? MAN #2: Um…I would! UNHEE [to Man #1]: how about you? MAN #1: How much would it cost?

UNHEE: If you have to choose one, the best thing, from this show…

one is my favorite.

UNHEE: I don’t know. $5,000?

NINA: From the show? My favorite work is this little one on the monitor [points] in the corner there, that

UNHEE: I study photo and video at SVA and I wonder, how should I fight or live in the artistic

MAN #1: For the whole thing? MAN #2: No, for a small portion.

* Please visit for the full video review.


DIRECTORY Jesse Aldere Jesse Aldere studied art at the State University of New York at Albany, Savannah College of Art and Design, Full Sail, The Art Students League, and The New York Film Academy. He has won several awards in the past for his art and has been part of many shows and events throughout America. He is a painter, filmmaker, web designer, photographer, and graphic designer.

Karolyn Gehrig

Noah Michelson

Athena Torri


Karolyn Gehrig is a multidisciplinary artist, writer, and erotic life coach currently living in Los Angeles. She occasionally accepts appointments.

Jessica Gordon

Cortney Andrews Andrews received a BFA in Photography & New Media from the Kansas City Art Institute, and an MFA in Photography from the Rhode Island School of Design. She currently lives and works in Brooklyn, New York.

Alan Charlesworth Alan graduated this spring with an MFA in Photography from the Rhode Island School of Design where he explored various facets of the gay community, subcultures, and sexuality. In 2010 he won a Photography Fellowship through the New York Foundation for the Arts with his project "Brotherhood of Bears."

Winston Chmielinski I apply pigment to dust and people still ask why the paint’s falling apart. The intention was never to create something solid, but build upon my own body. I guess it misled; one can imagine these, then, as the quilted skins of others, a slick parachuted sheen against a picture-perfect sky, set afire simply for yellows and reds and ashrimmed circles of blue.

Jon DeCola

Jessica Gordon received a BFA from NYU, and a Master’s Degree in Art Education from Teachers College, Columbia University. She is an artist and a writer, or more accurately, an unemployed stay-at-home mom. Her visual art can be viewed at

Adam Green

Allen Frame Allen Frame lives in New York where he teaches photography at the School of Visual Arts, Pratt Institute, and the International Center of Photography. He co-founded the contemporary art center Delta Axis in Memphis in 1992 and has been a Contributing Editor of artwurl ( and BOMB.

Adam Green operates and creates from the perspective of our stunted generation. Fueled by unrealized fantasies and desires, his art represents his own personal pursuit of the cathartic revelation that will make him a man.

Brenton Hamilton Brenton Hamilton is a visual artist and photography historian that lives and works on the coast of Maine. Hamilton combines human anatomy, astronomy, and biology to create intriguing and provocative arrangements.

Sylvia Hardy Sylvia Hardy is a New York-based artist and nomadic traveler. With a name that means “from the forest,” she loves to relate everything to landscape, seasons, cardinal directions and the processes of change.

Cole Don Kelley Jessie Mott received her BFA from NYU and an MFA from Northwestern University. She lives and works in Chicago.

Chason Matthams Chason Matthams is a New York-based artist, illustrator and adjunt teacher of painting and drawing at NYU. He has also illustrated several children's books, done animation for music videos, and does portraits on commission. The few unfortunate enough to know him think he is much better at Twitter than any art-related endeavor. Follow him @CMatthams.

Sam McKinniss Sam McKinniss is an artist living in Brooklyn.

Athena Torri is an Italian-born, New York-based artist. She received her BFA in Photography from Ringling College of Art and Design and completed the General Studies Program at the International Center of Photography. Torri's work represents both a portrait of another person as well as a diary of the artist's own life. In the most current chapter of her work, Torri assumes the identity and profession of a wood worker. She views her process as a marriage of sculpture and photography.

Julie Nymann

Corinna Triantafyllidis

Born 1987 in Copenhagen, Denmark. Her media varies in the interplay of video, still image, image in motion, and sound. Currently, Julie Nymann lives and works in New York City.

Unhee Park Unhee Park is a Korean artist who studied photography at the International Center of Photography and is currently pursuing her MFA at The School of Visual Arts in NYC. Her deadpan comedic approach to the role of media reporter has a touch of absurdity, as her naïve persona allows her to ask blunt and disarming questions.

Jose Perozo Jose Perozo is a Venezuelan mixed media artist who explores gay, gender, and acceptance topics in his work. He lives and works in Venezuela.

Lives and works in Athens, Greece.

Monica Velez Monica Velez is a Colombian-born, NYC-based mixed media artist. Her work has been internationally exhibited in both solo and group shows in New York, Paris, and Colombia.

Carmen Winant Carmen Winant is an artist and writer living and working in Brooklyn. She holds an MFA and an MA in Visual and Critical Studies from California College of the Arts in San Francisco. Carmen is a contributor to KQED, WNYC, NPR, Squarecylinder, Daily Serving, SF360, BOMBlog, X-TRA Journal, and Dossier Journal.

Charlie Rubin Charlie Rubin’s work embodies various subject matters and forms while retaining the traditional methods of portrait, landscape, and still-life. Through bookmaking, installation, and mixed-media, his every-day observations uncover complex relationships. Cole Don Kelley lives in Chicago where he is pursuing a BFA in Photography from The School of the Art Institute of Chicago.

Fryd Frydendahl Lives in New York where she works within the fields of photography and video. Besides her own practice, she is also a part of the performance group ”Birds Production, Bird Mitsudahl."

Jessie Mott Studied at Parsons and ICP. Freelance photographer. Enjoys sleep, olive oil, Venn diagrams, physics, POV porn, Bernard Purdie records, epistemology, and perfecting trick basketball shots off roof-beams in former ice-cream factories. Lives and works in NYC.

Noah received his MFA in Poetry from NYU; he is the Editor of "Gay Voices" at The Huffington Post.

Eric Russ Eric has a Master's in Art Business from the Sotheby's Institute of Art. His articles have appeared in Art in America, Art Market Views, Highbrow Magazine, and Elmore Magazine. He is also the publisher of the blog Is It Weird That I Like Art and is an editorial assistant at Sotheby's in New York.

Andrew Seguin Andrew Seguin is a poet and photographer. He is the author of Black Anecdote, a chapbook that was a winner of the Poetry Society of America’s New York Chapbook Fellowship. His poems have appeared widely in literary magazines, including Western Humanities Review, LIT, CROWD, horse less review, Boston Review, Denver Quarterly and Gulf Coast.

Anne Wölk Anne Wölk was born and raised in the former East Germany and grew up drawing obsessively in little black books. For the past 10 years, she has worked as an artist and since 2004 she has been living in Berlin. Anne Wölk studied painting and drawing at The School of Art and Design Berlin and at the Chelsea College of Fine Art and Design, London. Since then, she has focused on making mixed media works with bright colors, geometric shapes and formal, street-art references.

James Woodward James Woodward is an artist living in NYC. He uses individual and cultural refuse and is interested in regression, abstraction, elegiac fetish and the confusion of language. He makes sculptures, video, and collage. Exhibitions and screenings include Museo Reina Sofia, Madrid; The Queens Museum of Art; The Museum of New Art, Detroit; NADA, Miami; Whitebox, New York and Camel Art Space, Brooklyn. He is currently pursuing his MFA from NYU Steinhardt where he also teaches Intro to Digital Photography.

Noura Al-Salem Noura received her BFA from NYU and is a graduate of the General Studies Program at the International Center of Photography. She lives and works in New York.

Allen Chen Allen Chen is an artist living and working in New York. Allen is a graduate of ICP's General Studies Program and holds a BS in Biotechnology from California Polytechnic University. This fall he begins Yale's MFA program in Sculpture.

Frances F. Denny Frances received a BA from the Gallatin School of Individualized Study at NYU, is a graduate of the General Studies Program at ICP and will begin the MFA in Photography program at Rhode Island School of Design this fall. New York City has been her home for the last nine years.

Nicole Horton Nicole Horton is a Brooklyn-bred and based artist (and sometime graphic designer). She is a 2010 graduate of the School of the International Center of Photography and holds a Bachelor's Degree from Georgetown University. When she's not off on some far flung adventure, she can usually be found debating the finer points of cheeseburgers and New York pizza.

Osvaldo Pontón Osvaldo Pontón is a Venezuelan photographer based in New York. He holds a degree in Political Science, is a graduate of the General Studies Program at ICP. He goes back and forth between taking pictures of strangers he meets on the Internet and models for fashion magazines.


Sylvia Hardy and Charlie Rubin Photo Cake, (Trash II)

“ Today, the photo cake has become known as a form of visual vernacular; traditionally

consumed in the spirit of love and celebration. This collaboration takes an antiaesthetic approach to this form of celebration, using the ice cream cake as artistic medium. The invention of edible sugar ink in recent years has transformed the visual experience of viewing and consumption; approximate representation becomes literal. Adorning a cake with an image of refuse, to be consumed hastily before it melts, acts as a metaphor for our relationship to, and responsibility for waste. By seeing and embracing trash, we expose ourselves as the cause of environmental destruction. And it is by this examination that we build the foundation for real and systematic change.” 79

How To TRASH A WORK OF ART A collaboration between Scrapped, Sylvia Hardy and Charlie Rubin

Thank You To our families, friends and loved ones; to everyone who offered advice—legal, business, artistic, grammatical or otherwise; to those who acted as focus group; to the myriad coffee shops and bars that served as surrogate conference rooms: We are grateful for your support and would like to offer our heartfelt thanks. And to those below, we truly couldn't have done this without you! 25CPW Jane Al-Salem Nasser Al-Salem Valentina Alvarado Nicasio Andrade Joshua Brau Brooklyn Brewery Cotton Codinha Amos Denny George P. Denny III George P. Denny IV Dorado Tacos Joan FitzGerald

Allen Frame Laura Grey Sylvia Hardy Stella Horton Nick Misani Unhee Park Arlenys Pontón Osvaldo Pontón Sr. Eric Russ Jackie Sindrich JuAn Song Jens Søgaard Rebecca Weiner

All of our artists who so generously shared their work with us.




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