I like to do a lot of different things.

I'm a professor. I'm an artist. I make films. For about a decade I published an online magazine. I've written art criticism, given lectures and sometimes I write about history.

This website is a showcase for various projects that I've been a part of recently. Most of these projects have their own websites, so follow the links to dig deep into the work. You can navigate this site by clicking projects on the left to go up and down. Click the arrows to the right to learn more, to watch videos and to link to the projects. Thanks for stopping by. This website is more than you'll ever want to know about me. Maybe you'll enjoy some of it.

For a little glimpse into my thoughts on creativity, teaching and the future, check out this short interview I gave after my keynote at the 2014 Flash Forward Festival.

Also, there was the time that I was on The Rachel Maddow Show. Here's the clip:

While putting together this website, I thought a lot about what kinds of things people want to see on an artist's webpage. Should I be professional, and provide a downloadable version of my CV? A link to my Facebook page, or the Facebook page for my documentary? Or would visitors to this site prefer to see pictures of my cats?

Well, I know what everyone really wants. So, here are the cats:

Seamus and Olive snuggle on the couch

Seamus and Olive

Olive and Seamus make new friends

Olive waits for treats

Olive as a kitten, when we first brought her home

Olive gets some sun

Olive in the winter, on the couch

Seamus is a very good boy

Seamus in a box. Because cats like boxes.

Seamus in his crate, waiting for the vet

In 1992 I started collaborating with my best friend Jason Egan. We made art and played in a few punk bands. Harvey Loves Harvey started as a band and continued as a creative collaboration, and we have created experimental videos, music, performance interventions, interactive projects and a wide range of work for exhibition. We are currently represented by Gallery Kayafas in Boston.

To explain 20+ years of work is very difficult, but generally our themes are: the failure of communication; music and nostalgia; history and connection to the past; technology; the Civil War; and failure as an lifestyle choice.

Our website features many of our projects and you are encouraged to spend some time checking them out. We've posted most of the good ones, dating back to our first exhibition in 1993 while we were still in high school. Our most recent solo exhibition "What Are We Doing?" showcases recent work, and we're busy finishing up our next show for Gallery Kayafas, opening in September 2015.

Harvey Loves Harvey also co-founded The Number Foundation in NYC (with Josh Bernstein and Aaron Augenblick), and more recently launched 454 Productions to support our film work.

With only a small stack of his grandfather's photos for guidance, filmmaker Matthew Nash tries to understand a family secret that began on April 4, 1945. His search reveals the horror of the first concentration camp found by the Allies and the amazing story of the soldiers who uncovered the Holocaust. Click here to watch the film

On April 4, 1945, American soldiers uncovered a concentration camp in the German town of Ohrdruf. It was the first camp that the Allies would liberate.

On April 4, 2013, I was proud to release my film 16 Photographs At Ohrdruf in Cambridge. The screening was introduced by Dr. Geoffrey Megargee of the U.S. Holocaust Memorial Museum. Since the release, the film has gone on to win several awards and to have many national and international screenings. The film continues to inspire people to ask questions about lost family history, and to seek understanding of those intense last days of the war.

The film has won awards at the G.I. Film Festival for Founder's Choice For Best Of Festival, at the Chain NYC Film Festival for Best Documentary, and at the Boston International Film Festival for Best Cinematography. It has screened on Department of Defense Channel and the Roving Eye International Film Festival, as well as many theaters, events, and public screenings. It was shown in Ohrdruf for the memorial of the 68th anniversary of the liberation, as well as at the Buchenwald events later the same week.

On the day of the film release, the Associated Press published an extended article about the film. Also that day, National Public Radio featured a lengthy piece about the film. Listen below:

Dysopticon is a fun, fast-paced science fiction film that we shot in summer 2014. We shot in Boston and Fitchburg, MA. The team was amazing to work with and full of very talented people. Jeffu Warmouth was the Director of Photography, and he made some amazing images. James Manning and Rob Coshow helped me produce, and our production team was incredibly professional and fun to work with.

The official website is here, and you can see cast photos, a crew list and behind-the-scenes pictures and video.

Below are some storyboards by Josh Cornillon for the film. I love them and don't have another place to share them, so here they are...

I wrote this bit of history in 2007. It remains true today. In 2012 I finally left the Big Red & Shiny organization, after nearly a decade as the founder, publisher and president. Click to the right to read the articles I wrote over the years.

In the autumn of 2002 I was starting my second year of teaching at the Museum School in Boston. Among the graduate students, and some of the faculty, there was an intense energy that was, for the moment, being fueled by Boston's thriving alternative scene. Yet that scene was also showing signs of strain, as the number of alt-venues and the availability of cheap space both declined. It seemed important to bring more attention to the art happening in the city, beyond the decent but limited scopes of the local print press.

One evening on my way to teach a web design class, I got caught up in a conversation with an energetic graduate student named Sean Horton, who wanted me to consider an idea for bringing arts coverage in Boston to the web. The idea was very strong, and since blog culture was still in its infancy and Boston was a fairly small scene, it seemed feasible to pool the efforts of motivated artists and create something worthwhile.

One of the questions I often get is "What does Big RED & Shiny mean?" The name is an art school joke, told in various forms at different institutions, but the Museum School version goes: "If you can't make it good, make it big. If it doesn't look good big, make it red. If you want it to sell, make it shiny." Among the students and faculty, saying that someone's art is "Big RED & Shiny" is saying that it is bad art, cheap, generic, and trendy. Jennifer Schmidt revived it as a title option for the site, and it seemed funny to start off calling ourselves cheap and bad before going out and critiquing others.

As fall turned to winter, then spring, I poked around on the project, using it as an excuse to learn Perl, and eventually created a basic working model for an art journal. By the time it was ready to go, Horton was bogged down with his thesis exhibition and backed out of the project. After some searching, I found Michael Brodeur (currently at Boston's Weekly Dig) as an editor. He helped with the site design, and is the reason all the pages are pink. However, his availability soon waned, and again the project sat dormant.

The longer the project sat, the more frustrated I grew. I knew that it would take the efforts of more than myself, yet every editor that came along faded before we could actually launch the site. Eventually I decided to cancel the site, let Big RED & Shiny become another failed attempt at something meaningful, and save myself the money. I was on the verge of clicking the cancel button when the phone rang: it was Sean Horton.

Having hung his thesis, he now had more free time and was wondering what happened to the art journal project. Over the course of an hour-long phone conversation it became clear that the project should go forward, and that Sean would make things happen quickly. I finalized some code while he recruited writers, and within a few weeks the project I thought dead was live and drawing a modest audience.

Sean worked very hard for the first seven issues, recruiting writings and defining the voice and the scope of our little pink website. He worked tirelessly to ensure that Boston was represented accurately, covering shows at major museums, commercial galleries, in basements, attics, and anywhere that the energy of the city found voice. However, just prior to our eighth issue, a curatorial position in Burlington (and later New York) caused him to resign.

If Sean Horton laid the groundwork for Big RED & Shiny, it was Matthew Gamber who truly realized its potential. Stepping in as editor for our ninth issue, he has led the project ever since. Under his leadership we have seen a drastic growth in audience, in contributors, in donors, and in coverage. What was once a small pink website covering Boston has become a large pink website covering New England, with regular reports from many cities beyond.

Alongside Gamber and myself, Big RED has seen a series of executive editors who work to recruit writers, coach projects and ideas to completion, and generally ensure the quality of the site. Christophe Perez helped out for a brief period around issues 9 thru 12. Later, when Gamber moved to Savannah to take a teaching position, regular contributors Micah Malone and Rachel Gepner stepped in to handle executive duties while Gamber focused on overall thematic development. Micah and Rachel each brought tremendous talents to the project, and the marked change in Big RED & Shiny since issue twenty-six is due to their leadership and ideas. In early 2007, Rachel decided to take less of a role in editing, while continuing to contribute as a writer, and founding contributor Christian Holland stepped up to an executive position.

Overall, Big RED & Shiny is an evolving and changing project, and a home to many diverse voices. We have never turned anyone away (including an accused art thief), and hope to present the best picture of the Boston art scene that we can. This does not mean that we are always nice, or say only glowing things, as that does not represent the art of a city well. We hope, instead, to speak honestly about what is happening in our region, and make the arts of New England a topic of discussion around the world. We are never the same magazine twice, always looking to surprise and delight with each new issue.

What's the most annoying thing you can say to someone? "Hey, you should look at my blog."

A few years ago I started writing about things I found interesting. At the time, I was working on my documentary film 16 Photographs At Ohrdruf and many of the things I wrote about were related to that research. Many of the things I found in my research, and much of what I've learned since the film was released, has only been shared on this blog.

In addition to the WWII content, I have spent a lot of time in Boston's Franklin Park. I have written a lot about the park's history and current environs. This beautiful place is Olmsted's last and greatest park, yet it has been ravaged by time and lost to history. I keep trying to find ways to see across the gap of history, to rediscover what has been lost, and to share my thoughts with anyone who might be interested.

If you are interested in reading my rants, click here.

Click the image above to view an interactive map of my Franklin Park writing.

Click the image above to view photos from Franklin Park overlaid to show past and present.

Associate Professor. Chair of Video & Animation. Coordinator of Interdisciplinary Studies.

I began teaching at The Art Institute of Boston as a full-time professor over a decade ago. Before that I was an adjunct professor and digital printing specialist. I was originally hired to build the digital printing studio, and then I took over as the Professor of New Media until I was hired full-time as a Professor of Photography.

The Art Institute of Boston merged with Lesley University in 2000, and recently changed its name to the Lesley University College of Art & Design.

For many years I taught in the Photography department, expanding the digital photography curriculum and adding video courses for our students. My favorite project was expanding the Sophomore Seminar program to include a conceptual development course, which I still teach and love every semester. I also took over a popular course called Taking In which published a book of juried student work each year. From 2008 until 2014, this was one of my most fulfilling courses.

My course load has varied from year-to-year, and I have been lucky enough to teach a wide range of classes such as: Senior Portfolio, Sophomore Seminar: Concepts, Sophomore Seminar: Projects, Taking In, Video Projects & Installation and Advanced Digital Printing.

In 2012 I was given the task of creating a new self-designed Interdisciplinary Studies major. Working with a team of professors and administrators, we created an expansive program that allows students to make their own path through the College of Art & Design, working with a mentor and myself as their advisor. While this is still a small program, the students have great autonomy and flexibility, and the work from our first Senior Studio course was exceptional.

In addition to the the Interdisciplinary major, I was also tasked with creating a Digital Filmmaking major in 2013. This was based, in part, on the success of my documentary film. Working with a dedicated team of professors and administrators, we crafted a 4-year major that brings a professional filmmaking program to our wonderful and quirky art school setting. Launching in fall of 2015, Digital Filmmaking will be a revolutionary and forward-thinking program that introduces students to all facets of filmmaking in the 21st century, giving them tools, ideas, history and vocabulary to succeed after graduation.

Looking forward, the university has created a new department of Video & Animation, which they have asked me to Chair. The 3 programs in this department are those I've talked about above. Each program will remain distinct and have its own requirements, faculty and personality. I look forward to helping all of these programs grow and succeed.

My time at the university has been full of fun and interesting challenges. I've been the Chair of the Faculty Assembly, served on the University Council, co-chaired the Budget & Planning Committee, and much more. The future awaits, including the final move to the new Lunder Arts Center in Cambridge in 2015.

Click here for the Lesley University website.

Lesley 3

Email has been a part of my life for a long time, and it's my preferred method for communication. Sometimes people ask me for my phone number, and I give it very reluctantly. If I give you my phone number, I want you to text me. My phone should only ring if there is death in the family or I missed a dentist appointment. I like email because I can think about my response, come up with the right words, and not feel the need to improvise.

When I was a kid, we used phones very differently. You didn't call a person, you called a place. I certainly remember that feeling of fear and excitement as the phone was ringing, trying to call a girl I liked, hoping that her father wouldn't pick up. Sometimes you just called places hoping to find a person. Is my friend at home? At our other friends house? At his job? Call them all.

In the mid-90's I took a job at a hospital that required me to be on the phone a lot. I worked in the stockroom, and I was in charge of purchasing all the non-stock items. There was another guy who bought all the standard stuff like toilet paper and surgical gear -- it was my job to buy the weird stuff. This meant hours on hold with medical supply companies, followed by extended and detailed conversations about very specific products. I developed a "phone personality" and also a hatred of the telephone.

As an odd side-note, that job also trained me to type on the phone keypad (1-3 at the top with the 0 at the bottom) with my left hand while using the computer number pad (7-9 at the top) with my right. This is one of my many useless talents.

In college, I got a beeper. Most of my friends had beepers. Of course, there are only 3 types of people who have ever needed beepers: doctors, IT guys and drug dealers. Most of my friends were geeks. The pager was the first time I could contact a person directly. We used "beeper codes" to let the other person know what was going on. Everyone had a id: mine was '454' (of course) and, to no one's surprise my group also had a '420' and '666.' To communicate, you would beep a person with your code followed by another code: '911' for emergency, '411' for information about the party or whatnot. There were other obvious ones like '69,' '58008' and a few others. Since we were all in Boston, we could also leave a voice message, which was a call-in number for anyone with a land-line, then beep with the number of the call-in voicemail.

Affordable consumer cell phones, email and texting all arrived at roughly the same time. For me, this changed everything. I think it changed how all of us thought about the social aspects of communication. In the past we called a place, hoping to find someone near their phone. Now, you call a person no matter where they are. Can you imagine calling someone without texting or emailing first? How rude! It's an intrusion on personal space to demand voice contact without planning ahead. Sure, there are reasons on the job or within the family to call without warning, but this is usually based on some mutually agreed parameters. Cold-calling someone to chat is just awkward and fast-becoming socially unacceptable.

So all of this is why I won't be giving out my phone number. I probably won't pick up anyway.