Matthew Schrader

Consider a structure that is larger than you can visualize. A structure only grasped in its entirety by the buildings, or entities it inhabits. A government? A faith? All the PVC piping in Philadelphia?

My project is informed by the often imperceptible materials and systems that drive the transportation of ideas, goods and bodies around the world. This is the space of infrastructure, the space between, or a space in relation. My work begins by thinking about what is visible in this space and what is not, what are the forces that are acting to shape an experience, an object, or an institution? My interventions, sculptures, drawings and photographs aim to collapse the physical and social implications of force.

My process begins through a material or spatial investigation. Two terms that I have been working with are the conduit and the field. The conduit traces through space as well as language, acting as ‘a natural or artificial channel through which something (as a fluid) is conveyed’. Concrete form and forms of speech, the simultaneously rigid and flexible. The field is what contains and what frames.

I utilize materials that have been mined from the earth and subsequently, have gone through a level of processing. I am interested in considering the forces that have imprinted upon or shaped these fragments of industrial production. This set of materials contains but is not limited to steel sheets, rods and bands, various industrial rubber gaskets and conveyer belts, industrial plastics, plastic films, antennas, pipes, and rare earth magnets. I subject these materials to processes to find form through stacking, cutting, attaching, compressing, layering, and pressing between objects. I am interested in responding to the properties that these materials were designed to perform, which also always involves the ways in which they fail or, reach exhaustion. I then work with the objects and images that I make to gage and accentuate the already present conditions of viewing. These works point to what is existent but perhaps overlooked in a space. I engage the physical systems that pierce the space of exhibition as well as the space just outside the space of exhibition.

A recent project titled a high frequency alternating current, can serve to illustrate the relationship between my work and its context. This project took place in Baltimore Maryland, in Highfield House, a building designed by Mies van der Rohe. My project involved drawing a relationship between the building and a neighboring radio broadcast tower used by the Baltimore Police Department. The objects that comprised my exhibition functioned to make this broadcast tower visible through the gallery windows and therefore an unavoidable aspect of viewing art in this modernist building. The field in this case involves the interior space where the show took place and extends outward to include the neighboring infrastructure and physical mechanisms of control that condition the space. My work has consistently engaged what lies between. As an artist that is both Black and mixed race, my disposition for the space between is as much a lived reality as a conceptual preference.

MFA, Milton Avery Graduate School of the Arts Bard College, Annandale on Hudson, NY 2007
BFA, Rhode Island School of Design, Providence Rhode Island

Solo Exhibitions
Radical Abacus, Santa Fe, NM, ground
Metropolitan Structures, Baltimore MD, a high frequency alternating current
US BLUES, Brooklyn NY, (a non commercial artist run space), methods of charging

MOMA PS1, New York NY, TWISTER in collaboration with Hayley Silverman
Ludlow 38, New York NY, The Last Summer Fest, Take Me Down in collaboration with Hayley Silverman curated by Keren Cytter

Selected Exhibitions
Abrons Art Center, New York, NY, Settle/Unsettle
Carl Louie, London, Ontario Canada, Heavy Metal
Room East, New York NY, O/U
P!, New York NY, O/U
Regina Rex, New York NY, Engine Ocean Agitator
LG, Brooklyn NY, Daraprim
Metropolitan Structures, Brooklyn NY, Locus of Control
The Richmond Center for the Visual Arts at the University of Western Michigan, Plain Sight curated by Tom McGlynn
P!, New York NY, Tactile Pose (with Aaron Gemmill)
Nada New York with Regina Rex
Nada New York with US Blues
Bard College, Annandale on Hudson NY, Bard MFA Thesis Show
Silvershed, New York NY, Panel Discussion & Various Formats Are Appropriate
Cleopatra’s, Brooklyn NY, Gymnasia, 4:00 AM (Goldberg/Hertz/Peters/Schrader)
Garden Party Arts, Brooklyn NY, ORIENTATIONS
Hotel Particulier, New York NY, Dynasty
Evil Freaks III (at The Dependent Art Fair) New York NY
Allegra LaViola Gallery, New York NY, PDF
NADA Hudson, Hudson NY, Evil Freaks II
244 Gallery, Brooklyn NY, Schleiermacher!
Evil Freaks (at The Dependent Art Fair) New York NY

Certificates of Teaching Excellence from the Derek Bok Center for Teaching and Learning at Harvard University Fall 2015 and Spring 2016, Cambridge MA
Milton Avery Graduate School of the Arts Bard College, Annandale on Hudson, NY
Sculpture Department Fellowship

Abrons Art Center Artist In Residence, New York NY 2010
SOMA Residency, Mexico DF

Cooper Union, New York NY
Visiting Teacher in the School of Art
Massachusetts College of Art and Design, Boston MA
Visiting teacher in the Studio Foundation department (Intro to 3D/ Form Study)
Tyler School of Art, Philadelphia PA
Visiting critic for a graduate Painting and Sculpture seminar in the class of Matthew Sepielli
Harvard University, Cambridge, MA
Teaching Fellow, working with Professor Stephen Prina to teach two studio art classes per semester for Fall and Spring semesters
SVA, New York, NY
Visiting artist for the class of Marc Joseph Berg