NYFA Fellowship, EYEBEAM Fellowship, Harpo Foundation Grant, Jerome Foundation Grant, Art Matters Grant, Yale School of Art Fellowship, Knight Foundation Grant, Marie Walsh Sharpe Residency, smArt Power Award, Bemis Center for Contemporary Arts Residency
Mary Mattingly (born September 8, 1978) is an American visual artist living and working in New York City. She is the recipient of a Yale University School of Art Fellowship, and was a resident at Eyebeam Art and Technology Center from 2011 to 2012.[1]
Mattingly explores the themes of home, travel, cartography, and humans' relationships with each other, with the environment, with machines, and with corporate and political entities. She has been recognized for creating photographs and sculptures depicting and representing futuristic and obscure landscapes, for making wearable sculpture, "wearable homes," and for her ecological installations, including the Waterpod (2009).
Wearable Home (2004–06)
In this expansive series of photographs, Mattingly portrays scenes from a post-apocalyptic world where nomadic individuals survive with the help of wearable technology. Mattingly envisions a future where technology has "made people separate, even afraid of others".[4] The wearable homes are meant to convey notions of home and sustainability, but also to address specific survival issues like finding water and temperature regulation. While the images resemble science fiction scenes, Mattingly designs the suits for actual treks through the wilderness and was even commissioned to design a survival kit for the disaster-relief company Black Umbrella.
Opera (2006)
In December 2006, she released a multimedia opera at White Box in New York titled Fore Cast.[5]Fore Cast was positioned as an environmental disaster opera and featured an art installation with music and performances depicting World War IV which was predicted by Albert Einstein:
"I don't know what World War III will be fought with, but I know World War IV will be fought with sticks and stones."[6]
The gallery was filled with water, sand, and tree stumps with a circular projection that covered the space.
Waterpod (2009)
The Waterpod barge in New York City
From June through September 2009, Mattingly led a NY-based multinational team of artists, designers, builders, civic activists, scientists, environmentalists, and marine engineers to launch the Waterpod, a free, participatory New York Citywide event docking in all 5 boroughs and at Governors Island. Designed as a new habitat for the global warming epoch, the Waterpod represented a sustainable, sculptural art and technology habitat, with as many as four artists living on and off it, generating food, water, and power in a contained and self-sufficient environment.[7]
While focusing on collaborative artistic projects, the resident artists emphasized the repurposing and transformation of all forms of materials. The Waterpod included space for: (i) community and artistic activities; (ii) eco-initiatives including food grown with collected rainwater, and gray water recycling, with energy provided from environmental and human sources; and (iii) an artists' residence. A critical intent of the Waterpod was to showcase the importance of water and the natural world, while serving as a model of an autonomous living system.[8]
Mattingly says she was inspired to create Waterpod in 2006 because at the time she felt that NYC was not doing enough to bring attention to rising water levels.[9] Over the life of the project a rotating cast of artist joined the crew of the Waterpod. A number of them were interviewed about the project, and reported that life on the boat forced a shift in focus onto everything it takes to keep a fragile, man-made ecosystem running.[10]
Flock House (2012)
Flock House premiered in May 2012 at The Clocktower Gallery in NYC, and is an extension of previous projects to do with water, nomadic structures, and sustainability such as her Waterpod project from 2009.[11] The project featured a series of four portable, self-sufficient ecosystems built with reclaimed materials and installed at temporary sites across the five boroughs of New York City. The structures are meant to be demonstrate the possibilities of small scale systems and run off a combination of passive and human-powered energy, and include human-scale gardens and systems for collecting water from rain run-off.[12][13][14]
Following the May 2012 premier, the migratory structures traveled the New York City park system between June and August 2012, appearing in places such as Flushing Meadows Corona Park, Battery Park, and the Snug Harbor. During each installation of the work, and different person lived within the structure for the duration, sometimes for as long as two weeks at a time. Participating people include Christopher Robbins from Ghana ThinkTank, Greg Lindquist, and Amelia Marzac.[15] The Flock Houses also traveled to Bronx Museum, the Maiden Lane Exhibition Space, and Omi Sculpture Park in Ghent, NY.[16]
After the initial run in NYC, Flock House travelled to other cities, including a commission for the Bemis Center in Oklahoma from March–September 2014.[17] Additionally, it was the focal point of an exhibition at College of Fine Arts School of Visual Arts at Boston University's 808 Gallery.[18][19]
Mary Mattingly's Flock House Project: Omaha, a citywide workshop and exhibition curated by Amanda McDonald Crowley, was developed while she was a resident at the Bemis Center for Contemporary Art, in Omaha, Nebraska. Inspired by patterns of global human migration and pilgrimage, the Flock House Project is a group of mobile, sculptural, public habitats and self-contained ecosystems that are movable, modular, and scalable. It debuted in Omaha on March 13, 2014, the exhibition included selected works from her Island, Anatomy of Melancholy, Second Nature, Nomadographies, House and Universe; and Wearable Portable Architecture works, and her works for her Tools series made at the Bemis Center. The centerpiece for the exhibition was one of the three portable structures.[20]
smArt Power Project, Manila, Philippines (2012)
In 2012 she was a part of the smARTpower project, "Wearable/Portable Architecture project", and worked with Green Papaya Art Space in Manila, the Philippines, initiated by the US Department of State and the Bronx Museum. The project discussed the possibilities of having a locale create portable architecture based on the conditions of its environmental, urban and cultural conditions. It was organized to find ways in providing new arguments and sustaining an artistic impetus to our immediate environment. It addresses the timely issues of flooding and mobility, engaging participants to come up with designs that would respond to current environmental disasters and if portable architecture is applicable in our urban landscape.[21]
WetLand (2014)
From August 15- Sept 17, 2014 on the Delaware River, WetLand was a mobile, sculptural habitat and public space constructed to explore resource interdependency and climate change in urban centers. A floating sculpture, it resembles a partially submerged building, integrating nature with urban space. Narrating a watery urban ecotopia, the interior contains a living space, work space, and performance space, it combines art, architecture, and ecology. WetLand's overall ecosystem includes rainwater collection and purification, greywater filtration, dry compost systems, outdoor vegetable gardens, indoor hydroponic gardens, and railing gardens circling the perimeter.
Swale (2015–ongoing)
Swale is a floating food forest situated on a 130-foot by 140-foot barge that docks in harbors around NYC. It is part art installation, part community engagement project, and was launched during July 2016 after a year of planning and building in collaboration with numerous community groups. After receiving initial seed funding from A Blade of Grass as part of a fellowship, Mary Mattingly and her team, including curator Amanda McDonald Crowley, launched a Kickstarter campaign to raise additional funds and awareness during May 2016 where they raised $32,523 from 333 people.[22][23]
The inspiration for Swale came after Mattingly learned that is generally illegal to grow food on public land. By utilizing marine law, Swale Park avoids facing repercussions of land-based laws by growing publicly accessible gardens on a floating barge rather than a plot of land.[24]
Following the studies of social scientist Elinor Ostrom, Swale's construction bases itself around the concept of sustainably managing Commons. With no limit to foraging, Swale Park aims to act as a source of provision while encouraging mutual trust and responsibility between participants. The food gardens on Swale include vegetables like broccoli and kale and also fruits like tomatoes and plums, and can be harvested for free distribution via community partners.[25] During summer 2016, Swale docked in the Bronx at Concrete Plant Park, Brooklyn Bridge Park and Governors Island.[26] The Bronx is one of the largest food deserts in the United States.[27] So, the creation and launch of Swale Park in this area act as a literal and figurative platform to discuss the necessity of universal food accessibility.[28]
Additionally, Swale functions as a community hub for events, scientific research, public discussions, and workshops, developed in collaboration with local communities and stewardship groups.[29]
Currently, under renovations, Swale Park is set to become a permanent floating park in 2022.
Mattingly was selected as a shortlist finalist in the inaugural Prix Pictet[31] global environmental photography competition (2008). She has been awarded artist-residency grants at: New York University; Lower Manhattan Cultural Council, New York City; Braziers International, Oxfordshire, England; and Yale Summer School of Music and Art, Norfolk, CT. Mattingly was an Eyebeam Fellow from 2011 to 2012.[32][33]
Hunts Point is a neighborhood located on a peninsula in the South Bronx of New York City. It is the location of one of the largest food distribution facilities in the world, the Hunts Point Cooperative Market. Its boundaries are the Bruckner Expressway to the west and north, the Bronx River to the east, and the East River to the south. Hunts Point Avenue is the primary street through Hunts Point.
Storefront for Art and Architecture is an independent, non-profit art and architecture organization located in SoHo, Manhattan in New York City. The organization is committed to the advancement of innovative positions in architecture, art and design.
Eyebeam is a not-for-profit art and technology center in New York City, founded by John Seward Johnson III with co-founders David S. Johnson and Roderic R. Richardson.
The Bronx Museum of the Arts (BxMA), also called the Bronx Museum of Art or simply the Bronx Museum, is an American cultural institution located in Concourse, Bronx, New York. The museum focuses on contemporary and 20th-century works created by American artists, but it has hosted exhibitions of art and design from Latin America, Africa, and Asia. Its permanent collection consists of more than 800 paintings, sculptures, photographs, and works on paper. The museum is part of the Grand Concourse Historic District.
The West Harlem Art Fund, Inc. is a public art and media organization based in the City of New York, founded in 1998. Savona Bailey-McClain is its Executive Director and Chief Curator.
The Waterpod was a community-based public art project in New York City in 2009. Open to the public, an ecosystem on a barge called the Waterpod visited the five boroughs at eight different piers for two weeks at a time during the summer of 2009, hosting a series of events. It was designed as a futuristic habitat and an experimental platform for assessing the design and efficacy of autonomous marine living systems in preparation for an assumed future. A multinational team including artists, designers, marine engineers, and civic activists led by the artist Mary Mattingly alongside the New York City Office of the Mayor Special Projects, the United States Coast Guard, and the New York City SBS Dockmaster Unit, this was a cross-disciplinary project that took place in the waterways of New York City in 2009.
Amanda McDonald Crowley is a New York-based Australian curator and arts administrator who has created exhibitions and events focused on new media art, contemporary art, and transdisciplinary work. She has served as the executive director of Eyebeam Art + Technology Center in New York City and as the artistic director at the Bemis Center for Contemporary Arts in Omaha, Nebraska.
Tom Christopher is an American painter known for his expressionist urban paintings and murals, mostly of New York City. Christopher began as a commercial artist, and has become internationally recognized with galleries and exhibitions in France, Germany and Japan.
Ricardo Miranda Zúñiga is an American new media artist who approaches art as a social practice that establishes dialogue in public spaces. Themes such as immigration, discrimination, gentrification and the effects of globalization extend from his experience and observations into works that tactically engage viewers through populist metaphors while maintaining criticality. He has said, "I have always felt very strongly that for art to matter its need to be socially relevant and exist outside of the gallery and museum amongst people at large."
Mary Miss is an American artist and designer. Her work has crossed boundaries between architecture, landscape architecture, engineering and urban design. Her installations are collaborative in nature: she has worked with scientists, historians, designers, and public administrators. She is primarily interested in how to engage the public in decoding their surrounding environment.
Blanka Amezkua is a Mexican-American Latinx inter-disciplinary contemporary artist. Collaboration, radical pedagogy, and community building are central to her art making and projects. Formally trained as a painter, her creative practice is greatly influenced and informed by folk art and popular culture, from papel picado to comic books.
Brooke Singer is a New York City–based media artist, co-founder of the art, technology and activist group Preemptive Media, and a professor of New Media at Purchase College, State University of New York. She works across disciplines engaging technology and science as an artist, educator, and collaborator. Her work exists in the form of websites, photography, maps, installations, workshops, and performances that involve public participation with an eye to social change.
Ree Kaneko is an American artist, arts administrator, and arts consultant from Omaha, Nebraska.
Janet Henry is a visual artist based in New York City.
Geraldine Juárez is a Mexican and Swedish visual artist. She lives in Gothenburg, Sweden.
Chloë Bass is an American conceptual artist who works in performance and social practice. Bass' work focuses on intimacy. She was a founding co-lead organizer of Arts in Bushwick from 2007 to 2011, the group that organizes Bushwick Open Studios. She is an Assistant Professor of Art and Social Practice at Queens College, CUNY, and holds a BA from Yale University and an MFA from Brooklyn College. Bass was a regular contributor to Hyperallergic until 2018. She is represented by Alexander Gray Associates.
Cecile Chong is an American artist based in Brooklyn, New York, whose work addresses the process of cultural assimilation and the development of individual identity. For many years she has contributed to New York City public school art programs as a teaching artist.
Caitlin Cherry is an African-American painter, sculptor, and educator.
Alexandria Smith is an American mixed-media visual artist based in London and New York City. She is currently the head of painting at the Royal College of Art.
Moses Ros–Suárez is a Dominican–American architect, sculptor, painter, printmaker and muralist who lives and works in New York City.
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