Rank #1: Ep. # 203: MRS. - the rise of a young gallery in Queens, NYC, with Sara Maria Salamone and Tyler Lafreniere
We get into the reasons behind the rise of a young gallery in Maspeth, Queens, NYC. Including discussion of art fairs, the importance of social media for building collectors, and the perils of over-connectedness.
Rank #2: Ep.#162: Ryan Wallace, Brooklyn-based artist and gallerist (co-owner of Halsey McKay Gallery in East Hampton)
Brooklyn-based artist and gallerist Ryan Wallace talks about: Living and working in Greenpoint, Brooklyn, and how it's changed over the 17 years he's been there, and the precarious rental situation he's in with his apartment building's future, and a rapidly rising studio rent; how is exhibition is doing (open for another several days at the time we spoke) at Susan Inglett Gallery- about half sold; art that rises quickly in popularity with certain movements, and the many casualties that result amid just a few artists that stick around; the 'art fund' collectors who are looking for the quick score, and how their stock-based buying affects the good collectors, and how collecting is not a get-rich-quick scheme; the gallery in East Hampton that he co-owns with Hilary Schaffner- their program, their schedule (full-time during June-July-August, tapered to appointment only in the winter), his role in the gallery (he goes into a different mode at art fairs), how much that he had to put up to get the gallery up and running initially (about 17k), etc.; how he wound up in the Hamptons in the first place, and decided to set up shop there; the difference for Ryan being a dealer at the gallery in East Hampton, where it's low pressure, very educational about the work, and so on, whereas at the fairs it's all about commerce, which has taught him that you can't tailor work to fit the market, because 'commerce and work cross on their own agenda;' how some local collectors who have come to 50% of their shows in East Hampton haven't bought a piece until they were in their booth at a fair; the one time representing at a fair was soul-crushing, when he had to do it alone (which was only at one fair so far); and we have a spirited debate about potential conflicts of interest, as an artist and/or a gallerist, including how Ryan, being an outsider for so long, is now pro-nepotism because he wants to support the artist friends in the scene he's built around his gallery, and how it's a case-by-case basis in which, as a business, you ultimately make decisions; and yet how as an artist and a gallerist, he tries to stay away from cross-pollinating directly; and we talk about the Hamptons vs. Montauk, the latter of which has had problems with entitlement mixed with 'vacation behavior' which has led to a level of revelry that has had the locals up in arms.
Rank #3: Ep.# 152: Nato Thompson, Part 1 - artistic director of Creative Time & author of Seeing Power: Art and Activism in the 21st Century
In Part I of II, Nato Thompson, Creative Time artistic director, and author of Seeing Power: Art and Activism in the 21st Century, talks about: Being on the radio (the Leonard Lopate Show) with Vito Acconci; living in Philadelphia, a city he loves (and can afford to own a home in), commuting to NYC from there, and how and why he left New York as a residence 6 years prior; also, how he gets perspective on the art world/the arts by living outside of it, in a very scalable, civic-oriented community; as a child, living with his parents in the dorms at CalArts, where his father was in grad school as a painter (memories include the entirely naked pool, and playing D & D with then-undergrad actor Don Cheadle); his book touring for Seeing Power, including a Facebook chat w/New York Cultural Commissioner Tom Finkelpearl; the reality that the market portion of the art world produces luxury goods for the ruling class, and how for even experienced visitors to art fairs, "it's hard not to be hypnotized/repulsed" by it, and how it's a hard thing to overcome to be sympathetic to the arts; the urgency of certain activism, as best exemplified right now (as we spoke) by Black Lives Matter, and how things have changed in the political arena even since Nato's book came out—including the fact that you can't have Bernie Sanders' candidacy without Occupy Wall Street; the 'crucible' of gentrification, and how it forces us to think about equity in all sorts of areas; two shows he curated while working at MASS MoCA, Becoming Animal and The Interventionists, and the complex and even confusing takeaways from those shows in terms of audience-artist relationships, as in, what does a typical museum-goer want to see/experience? Who are the people (demographics) going to see shows?, and how people in the art world underestimate art audiences; how, after being raised in a greenhouse of an advertising-based culture, we are naturally paranoiac of cultural material, to the point where people's paranoia becomes their truth; the differences between the small scale, community-based projects and communities of his young adulthood and the large scale works he works on with Creative Time (including Kara Walker's A Subtlety, which had an attendance of 135,000 people; the Creative Time Summit, which is art and social justice-based, and includes smaller-scale roundtables; the importance of DIY, and making things/making things happen instead of waiting around for other people to make them happen.
Rank #4: Ep.#142: Brooklyn-based painter Kadar Brock
Brooklyn-based painter Kadar Brock talks about: His non-association with the cohort of process-based abstractionists, and how though you could compare what he does on the surface as similar, he points out that he doesn't have time to participate in the market-based machine element of it; the studio building he has a studio in and subleases (at a very low $2/sq. foot avg.) to fellow artist tenants in East Williamsburg, and how, in combination with an affordable apartment nearby – part of the fortune one needs to maintain traction as an artist in NY; how his career turning point came through participating in a group show that was curated into Ross Bleckner's studio in Chelsea; how he became a full-time artist, by gradually transitioning out of art handling/preparing and in combination with managing the sublease of his studio building made it financially viable; fond memories from his art trucking days; how he was courted by, and eventually came to do business with, his primary dealer, Vigo Gallery in London, which has been a dream gallery for him; his passion for fantasy online games, including Dark Souls, where he met a wild punk dude in Detroit whom he now follows on Twitter; his thoughts on the explosion of abstract painting, which he argues comes down to marketing by the powers that be, whether they're trying to sell abstraction or figuration as the dominant trend, and is ultimately about people trying to make a profit, and yet Brock admits that his being able to paint full-time is indeed connected to that market rise in abstraction; and how he manages his studio time, which he keeps on a regular daily schedule, by balancing it out with external activities (openings, dog walking, basketball, etc.); and what he'll be doing while listening to this (his) episode of the show.
Rank #5: Epis.# 235: Art in the 21st Century with Nick Ravich of Art21
Nick Ravich, director of production for Art21 in New York, talks about: His approach as both a producer and a director of Art21 artist docs, which are produced in both shorter form as well as longer form on their most well-known platform, Art in the 21st Century, which is broadcast on PBS; the variation in artists’ approaches and responses to being subjects of Art21, and how inevitably they’re often made to be vulnerable, at the least by having a camera on them in their studio for an entire day.
Rank #6: Ep.#171: L.A.-based artist Claire Colette, on abstraction, activism and existentialism, and bartending in San Francisco vs. L.A.
Los Angeles-based artist Claire Colette talks about: Leaving San Francisco (the Mission neighborhood) after 10 years by essentially being priced out; her various perceptions about SF, including the fact that she still has friends who live there and goes back to visit and insists that not everything is over--that it will take a lot to beat the arts community there--it's not just going to go away; how she has supported herself, including thru grad school, bartending as well as working at art galleries and non-profits, and the pros and cons to each job; her grad school education (Mills College in Oakland), which she chose with intent, and her undergrad, the for-profit Art Institute of Los Angeles, which she chose on her own naively because she didn't know enough about the school/quality art institutions generally, until she got there, and wound up making the most of it despite its critical limitations (including rounding out her education by taking more classes before going to grad school); the benefits of what more "sophisticated" schooling has been for her, having also taken classes at the SF Art Institute; her bartending, both in SF and L.A., how she prefers to work at bars that are more connected to artists/the art scene so she can be herself, the difference between bars during the week vs. over the weekend (which applies to 'every bar ever'), and the pros and cons of it (pays well, but it's a service job), and how ultimately neither bartending nor gallery work appears to be sustainable long-term (of course, a classic dilemma for most artists); how she believes that every artist should work in a gallery for at least six months, to see how it's run on the other side; how she's managed to sell her work both through shows and directly to collectors out of her studio, esp. out of grad school, even more recently--having been in L.A. for just two years; her arrival at abstraction, which is sourced from thought experiments and is rooted in everything from the existentialist philosophy and religion of her Catholic French early-upbringing, to science fiction, specifically Ursula Le Guin; and how she's come to realize that, even having worked in activism, that her artwork in poetics and thought experiments through abstraction is still very important to her--she recognizes the futility in each, and yet that there needs to be room for each as well (we both acknowledge that it – activism, abstraction and the market, anti-capitalism, art as object – is, as a whole, problematic), and that the solution is not to stop painting/making art.
Rank #7: Ep.#149: Art history lecturer, art critic and pop culture writer William J. Simmons wants to be editor-in-chief of both October and Vogue
Art, fashion and pop culture writer and art history lecturer William J. Simmons talks about: Why he repurposes Instagram memes for Tweets, one of which led to our initial connection; how he studied initially under the October magazine people (a journal of particularly arcane art content), and how he came to realize that there has to be a way to combine the important advances theory has made with a populist theory of how people actually interact with art; how his editors at general interest-based outlets including Flaunt, Interview and W magazines have things to say that are equally if not more insightful than the people at Artforum; how he told a guy he was on a first date with that his goal was to be the editor-in-chief of Vogue and also the e-i-c of October; how he saves up to go to biennials and art fairs as opposed to taking third-party funds to pay his tickets; his role in bringing a substantive role to the conversation through his writing, whether it's artists or pop cultural figures (he did an interview with Jessica Chastain, among other big names); what goes on at the high-powered art magazines, including half the time hating what they're writing about; how artists don't have privileged access to the meaning of their own work; admitting that he writes about canonical artists, because he feels he can do better there than writing about non-canonical artists, and because it's a way of getting into the larger conversation through his writing; his seminal artist interview experiences, including with Sue de Beer and Jack Pierson; and we have a hearty – impassioned while civil – debate over whether artists (including particularly Marilyn Minter, Deb Kass and Laurie Simmons) shape the larger culture and the world, as opposed to the influence and effects of their work being confined to art and the art world; the exchange also includes calling into question certain sexist tendencies towards successful women artists vs. men artists, being an activist through art and otherwise, and ultimately ends on a light-hearted yet very pointedly pro-feminist agenda.
Rank #8: Ep.# 153: Nato Thompson, Part 2 - artistic director of Creative Time & author of Seeing Power: Art and Activism in the 21st Century
In Part II of II, Nato Thompson: begins by answering the question of when he became "radicalized"…answer? one being the alt globalization movement that began during the WTO protests in Seattle in November, 1999, and the other living in a collective/cooperative in Berkeley, which enlightened him to self-empowerment, an entirely different way of living; taking the Creative Time Summit to the Venice Biennale, which Democracy Now's Amy Goodman came along to cover, where she was able to interview artists Emily Jacir and Mariam Ghani, an example of Nato connecting the 'activist left' with the 'art left' (far left-wing artists); the realities of social and cultural capital, as far as how it's gained (being with the right people, telling the right jokes, dropping respected names, etc.) and how by calling it out, as he does in the book, it has to be addressed as opposed to just taken for granted; how he grew up broke and always had anxiety about rich people and these New York City kids who went to fancy private schools and how it's taken time to work through that anxiety, which to some extent is still there; how those living in a social bubble (the bubble of rich people) lack perspective on much of what's going on with people around them; how board members of museums tend towards supporting work that has an air of glamor, as opposed to activist-based, the latter which you wouldn't see at Miami Basel; the influence of former director and creator of Creative Time Anne Pasternak, who set up a system that allows for a flexible board with more open-mindedness toward selections; how certain think tanks, which rely on public perception, and which claim objectivity but are really just covert lobbying arms, are vulnerable to attack (especially ones without plans of defense) my outside forces in challenging that ultimate lack of objectivity; the critical left community of the art world, which both tends to hate the art world and yet knows how to navigate power well enough to get into important exhibitions (Documenta, etc.); how great it is that pluralism is reaching a critical mass, thus diluting the contemporary canon in the process; "if what makes things historically relevant has something to do with where the conversation is at, then the art market is a gigantic bubble"; the impact of social media (Instagram) in terms of becoming prominent new sources; and the events on the docket for this year's Creative Time Summit coming up in October in Washington, D.C.
Rank #9: Ep. # 198: New York gallerist Jimi Dams, of Envoy Enterprises, eviscerates the state of the art world, but also sets an example of how to make it better
New York gallerist Jimi Dams, of Envoy Enterprises, eviscerates the state of the art world, but also sets an example of how to make it better
Rank #10: Ep. #179: Lisi Raskin, Providence-based artist and head of sculpture at R.I.S.D., on hierarchies, gentrification and privilege
Providence, R.I.-based artist and RISD head of sculpture Lisi Raskin talks about: Her former residence in Brooklyn Heights, which was made possible by her aunt and uncle, who ultimately were her biggest patrons – through contract negotiations and more - and made it possible for her to live a long stint in New York; the staying power it takes to exist in the art world, which she acknowledges in her coming from a privileged background (and later in the conversation emphasizes the question: 'what do you do with your privilege?'); a basic description of her getting her job as head of sculpture at RISD, and her roots in teaching at Columbia University in grad school and then getting hired right out of grad school; the serendipitous success she had at Columbia, including the intellectual and political alignment, the boom time it was in and the great people she got to work with as well as be mentored by, including Jon Kessler, Heather Roe, Coco Fusco, Mark Handelman and Kara Walker; her way of artmaking, which involves setting up challenges and rules to be broken, allowing her to be in a state of not knowing, and in this light we have a rather extended debate about the use of the word 'practice' (my biggest pet peeve word on the show); her non-hierarchical approach to both artmaking, as exemplified in her rock band as well as in a show she collaborated with a team on at Bunkier Sztuki in Krawkow Poland; and we finish where we started, with commentary on gentrification generally, and specifically in Philadelphia and Providence, her former and current homes, on responsibility gentrifying and being a good steward, not a colonialist.
Rank #11: Ep. #138: Ben Davis of ArtNet News and 9.5 Theses on Art and Class--gets real about the art world artist's futures
http://theconversationpod.com/ Please subscribe to The Conversation on iTunes, and leave a positive review: https://itunes.apple.com/us/podcast/conversation-artist-podcast/id481461646 Ben Davis, National Critic for ArtNet News and author of 9.5 Theses on Art and Class, talks about: His time in Australia at the (x) conference, and his meetings with artist Ben Quilty (also a social activist work); art and activism, and art & politics; the mutually incompatible art tribes that exist among the different 'art worlds;' how the fact that all the different complaints from various factions of the art world(s) can all be true at once, and how disorienting that can be (for Ben); how outside of the cities where there's a market, the conversation is almost always about social aesthetics (what Ben calls "social practice") instead, and how that's where government arts support tends to gravitate; how some of the most interesting art – art that's 'underground and weird' - is being made outside of the art world bubble, among them Fee Plumley, an artist based in Adelaide; sections from his book "9.5 Theses on Art and Class" -- the title and also a specific chapter of his book which was originally written as a pamphlet and intervention of an art show in NY on art and class – including trickle-down theories of both economics and art; and art education, and particularly what for Ben was a profoundly moving article: A Eulogy for Hope: The Silent Murder of Gallery 37 ; what explains the fact that grad schools are made up of 2/3 women, but galleries represent 1/3 women…what happened in between?; what the mechanisms are that make up the art world/how it works; his piece "Do you have to be rich to make it as an artist?"; how the conversation about the art market is a complete dead end; how cities with much smaller art markets, but much cheaper housing, are better for artists; and how without the writing, without the intellectual circulation around the production of art, art's just an overpriced piece of decoration. The Conversation on Stitcher (the alternative to iTunes): http://www.stitcher.com/podcast/wwwstitchercompodcasttheconversation/the-conversation-art-podcast?refid=stpr The Conversation on Facebook: http://www.facebook.com/pages/The-Conversation-An-Artist-Podcast/254884424579431 http://instagram.com/artistpodcast Twitter: @artistpodcast Your support of the podcast is very much appreciated- donations can be made via the website, and help keep the show going.
Rank #12: # 196: Matthew Gardocki, formerly of Patrick Painter and Mark Moore galleries, on managing a gallery, navigating the market(s), and interviewing for jobs as a father of a 2-year-old
Los Angeles-based Matthew Gardocki, former gallery manager at Patrick Painter and Mark Moore galleries, talks about: His decade-plus time working for two long-running L.A. galleries, the different management style of each, how he transitioned from one gallery to the other (they were across the parking lot from each other at Bergamot Station in Santa Monica), and how he became a good fireman (by getting really good at putting out fires)
Rank #13: Ep.#155: Andrew Goldstein, editor-in-chief of Artspace: takeaways from art fairs worldwide and great collectors vs. just collectors
Artspace editor-in-chief Andrew Goldstein talks about: His work as e-i-c of Artspace and, since the publisher Phaidon purchased Artspace, his additional role as chief digital content office of both Phaidon and Artspace; how Artspace emerged within months of both Paddle 8 (online auction house) and Artsy (discovery platform), with the emergence of a high luxury commerce space, and how this ecommerce model is in its toddler-hood in terms of growth; and how the art market is lagging behind the audience growth in art; the landscape of Artspace and how its editorial content is the primary source for bringing users to the site; how the big perk of his job is the opportunity to go around the world to art fairs and biennials, being on the ground so he can stay on top of what's happening in contemporary art; the difference between being a collector going to an art fair (hint: everyone treats you like it's your birthday) and being a writer at an art fair (when it becomes a trade show); how he convers art fairs, which is like a starting gun going off as soon as you get there, and so he needs to cover, cover, cover, maximizing every single second without really getting a chance to breathe…it was more the "you can sleep when you're dead" approach when he first started out on the scene; the merits of Belgian collector Alain Servais, who Goldstein describes as an art advisor and a collector combined; how he sees the same people at art fairs over and over and over again, and yet such a large profusion of them that it's hard to keep straight who many of them are…there are the friends, the sources, the dealers and artist you respect and admire, and then the people you don't know who they are, but they say hello to him and he says: "hello, nice to see you again;" the art "market" (small) vs. the art "audience" (immense); how his approach to covering art fairs is to actually cover the art itself, by really diving in and wrestling with each given work (as compared with most coverage which talks about who's buying what and for how much, etc.); how for many collectors, it's about the works they buy and what association(s) it gives them access to, including a certain social milieu, as compared with the exceptional collectors who are passionate and uniquely quirky in their own ways; and we talk about his interview with Stefan Simchowitz, the often provocative collector and art world interventionist, who Andrew describes as having a totally worked-out worldview, his business built around addressing the industry's inefficiencies, and what the fall-out from Andrew's article was (hint: it was an interesting phenomenon).
Rank #14: Ep. #226: Brigitte Mulholland, assoc.director at Anton Kern in New York
Brigitte Mulholland, associate director at Anton Kern gallery, talks about: the troubled realities of the way some collectors behave, from flirting all the way to virtually demanding sexual favors for them to make a purchase, and how Brigitte decided not to wear a wedding ring because, as her married colleagues told her, ‘it would only encourage them;’ how #MeToo has thus far only affected curators and publishers in the art world, and her skepticism that it will take down collectors anytime soon.
Rank #15: Ep.#166: Mat Gleason, Part 2: on 'punching up,' gallery visitor etiquette, takes on the CAM St. Louis scandal and Boyle Heights' gentrification, and more
In the 2nd half of our conversation with Los Angeles-based provocateur Mat Gleason of Coagula and Coagula Curatorial, he talks about: The benefits of having interns, and people he didn't hire because he knew they'd graduate too quickly to even have them start; how he 'punches up, not down,' meaning going attacking bigger fish, not smaller ones (MFA shows); why gallery staff at the desk act the way they do, and how Mat trains his staff to act towards visitors, while Deb argues that it's a service to their community, but that visitors have misconceptions about what gallery staff are doing (not just greeting), and Mat refers to the 'bozos' and 'yahoos' who come into the gallery and how inappropriately they act; he talks about his litmus for leverage (at openings/parties), the 'Peter Frank' point; the obscurity of artists in relation to celebrities (and which Mat put in context of the pyramidal hierarchy); speaking of celebrities, Mat shares a great anecdote eavesdropping on Loni Anderson talking to Burt Reynolds at an art opening (at maybe Ace gallery); his most recent episode of getting in trouble for writing in a recent Coagula issue, and how he needs to report significant episodes even though now that he's known he's more likely to be heard from by his subjects; who he's against in the art world, in particular those who are pretentious, social 'practicers,' people who speak to you as a child, and academia; how he taught at Claremont Graduate School not having a college degree himself, to many students' chagrin, and yet years later students told him how much he told them how it is in the art world; how he realized he was a Foucault-ian after years railing against him; the controversy around the Kelley Walker show at Contemporary Art Museum St. Louis, which Mat has very strong opinions about, including his analysis of the repercussions of the botched artist talk, his hope for change in a private club-culture art world as well as his vehement disapproval of the artist and curator in question; and lastly we discuss the gentrification scenario in the Boyle Heights neighborhood of Los Angeles, particularly the area where galleries have moved into commercial spaces (around Mission and Anderson Streets)…Mat, having been a lifelong Angeleno and having friends who have galleries in the neighborhood, offers various provocative but thoughtful angles on the situation, including that the protesters won't go after the government entities that have brought on the gentrification –that would be biting the hand that feeds them – or big businesses like Warner Bros., which is moving into a big building nearby, so they go after galleries, the easiest target, and how the protesters started getting media attention by doing so, what Mat calls 'gold' for their cause.
Rank #16: Ep.#159: Ann Lewis, Brooklyn-based artist, performer and activist on social activist art, gentrification and the future of artist's migrations
Brooklyn-based artist and activist Ann Lewis talks about: Her recent move to Greenpoint from Bushwick, where she was kicked out of her live/work loft when the building was bought by two hedge-fund entities; the realities of living in an ever-increasingly expensive New York City, gentrification, and Ann's experience with it both as a tenant – including negotiating with the owners for a modest settlement that helped with her move out – and as an activist (she was actually protesting at an anti-gentrification rally at the time she received a 30-day-notice warning under her loft door); her concern that New York, Brooklyn in particular, will just continue developing into a mass of suburban sprawl, with nothing that can be done from the ground to stop it, leaving only the hope of the bubble bursting; a deconstruction of New York City government's complicity in maintaining a corrupt system that fosters unbridled development, to a large extent a system put in place during Bloomberg's administration; how, with artists being the canaries in the coal mine, we can learn from the past problems of neighborhoods being unstably gentrified by moving into homeowner-dense neighborhoods and collectively investing in them for the very long-term, in hopes of diverting the gentrification train; how she feels we're seeing change coming out of social activism very quickly now, through social media and greater attention being paid to issues, and how there's been a big increase in the # of artistically minded people being more regularly engaged in social and political issues via FB and beyond; how her activist work started with street art (stencils) because she felt so strongly about certain issues (Abu Gharib, mass incarceration, etc.) that she needed to start having conversations with anyone who would listen; one of her performance pieces, a protest piece from 2014, in which she spent a month wearing a prison-issue orange jump suit in public, engaging with both strangers and people she knew in conversations about mass incarceration; how when she pushes herself out of her comfort zone, which she does in her performances, learning new things and providing ever more meaningful experiences for those experiencing her pieces; her maze wall paintings, which include subliminal messages contained within them; and she entertains the potential of Detroit as a future home and artist community, should living and working in New York become untenable, though we hope it won't.
Rank #17: Ep. # 191: Tim Schneider, Los Angeles-based writer behind The Gray Market, shining a light on the shadowy fine art industry
Los Angeles-based art business writer Tim Schneider, creator of The Gray Market blog, talks about: His nerd roots in the Midwest; "COINs," which stands for "Collectors Only In Name," who tend to be labeled villains for art flipping tendencies, as opposed to collectors such as hedge funder Steven Cohen, who 'plays by the rules' at least as perceived by gallerists, even though he's also been known to flip works himself; his Gray Market blog, which he describes as "peeling back the layers of what we can see reported…traditionally, and asking: Why are people doing these things? What's the strategy?"; choosing between screenwriting and art for a career, and why he chose the path he chose; how he navigates the art world as a professional skeptic and somehow still get access to the inside, where some of the most useful intelligence is; the prospect of becoming "the Anthony Bourdain of the art world;" his upcoming book, "The Great Re-Framing: How Technology Will and Will Not Change the Gallery System," which he's self-publishing, because it includes time-sensitive information that can't be wasted on the overly long traditional publishing process (the book is slated to come out by June 1st, on the Amazon Kindle platform); and what it's like living in Downtown L.A. right by the Grand Central Market (directly downhill from MoCA, the Broad and Disney Concert Hall on Grand St.).
Rank #18: Ep.#169: Hilary Pecis, Los Angeles-based artist- on leaving a transformed S.F., + her day job as a registrar at a major L.A. gallery
Los Angeles-based artist Hilary Pecis talks about: Her exodus from San Francisco to L.A. in 2013, when many other artists and creative types left SF because of its skyrocketing, prohibitive cost of living; the 'perfect storm' (even though she doesn't like that term) that led to the massive change the city has gone thru that led to so much exodus,; her gradual welcoming of the more home-bound lifestyle of L.A. as compared with her and her husband's life in SF, when they ate out and went to bars often, a lifestyle that had them out of their apt. much of the time; Mt. Shasta, where her dad and stepmom live and she visits regularly, which is also home to Lemuria, an occult-associated 'lost continent' whose legend is kept alive in the area and prompts visits from spiritual questers; her role as a registrar at a major Los Angeles gallery: what it entails (logistics of shipping, storage, condition reports and client communique re: artworks) and its biggest challenges, including when works arrive damaged; one complicated scenario that had to do with assessing blame -- for a painting with a puncture through the canvas -- among the person sending the work, the shipping company, and Hilary's gallery…a scenario that's still unresolved since around the time she started at the gallery three years ago; how 80% of her job is arranging artworks' shipping to clients, and the irony that no matter how expensive the artwork they've purchased, they don't want to pay for shipping at all, so wind up going cheap as possible (FedExing a $100,000 painting, for example); her stress-relievers for work (audiobooks and running); the complex sentiment of an artist's 'entitlement' when working in an environment that is so supportive of its artists; the conversations she has with her husband (a full-time artist) and how they inform her perspective as an artist in relation to having what she refers to as a "real grown-up job;" the dramatic change she experienced at Art Basel Miami between 2007, her first time, to 2009, post-crash; her current, work-related dynamic with Art Basel, and the significant sums her gallery has at stake in the fair since it's such an immense financial commitment to participate on that level; and her studio time, including the pros and cons of having an in-home studio, and how her son Apollo may not have become her perfect studio assistant yet, but occasionally his own (Lego) projects can allow her a couple extra hours of studio time.
Rank #19: Ep. #140: Emma Hanley, gallerist at Jack Hanley Gallery on the Lower East Side (her father's gallery)
http://theconversationpod.com/ Please subscribe to The Conversation on iTunes, and leave a positive review: https://itunes.apple.com/us/podcast/conversation-artist-podcast/id481461646 New York gallerist Emma Hanley, associate director at her father Jack Hanley's Lower East Side gallery, talks about: Growing up in the Bay Area with two artist parents, and a collector grandmother, and her experiences hanging around and eventually doing small jobs at her dad's gallery in the Mission district of San Francisco; her stints working at Sotheby's and, more recently, Christie's, where she worked up until switching to her post at Jack Hanley Gallery, where she's been a little over a year; how a comment from Jerry Saltz led her to start working for her dad; the challenges of working with artists, including when they get approached by big New York galleries (when the gallery was based in San Francisco); how being a middle child is serving her well in being able to handle artist personalities, and to remain unemotional in their various moments of stress and freaking out, by taking herself out of the equation; how often what the artist is freaking out about is the fact that they need to address any unresolved issues with their work on their own, a reality they typically don't want to face head on, hence the acting out; and how, thanks to having had a lot of strong personality types in her family, she gets along well with both artists and collectors, perfect qualifications for her job. The Conversation on Stitcher (the alternative to iTunes): http://www.stitcher.com/podcast/wwwstitchercompodcasttheconversation/the-conversation-art-podcast?refid=stpr The Conversation on Facebook: http://www.facebook.com/pages/The-Conversation-An-Artist-Podcast/254884424579431 http://instagram.com/artistpodcast Twitter: @artistpodcast Your support of the podcast is very much appreciated- donations can be made via the website, and help keep the show going.
Rank #20: Ep.#147: Brooklyn-based artist Caitlin Masley, veteran of artist residencies, reconciles getting out of town with staying put.
Brooklyn-based artist Caitlin Masley talks about: Her Carroll Gardens home virtually right under the BQE, and how she's frequently lived near (or under) trains, and how that's been comforting; her recent couple years co-running Guttenberg Arts, an artist residency and community-based art organization, and how her working there came out of her many years doing artist residencies all over Europe and the States; how she had to turn down a 6-month residency in Finland -- which would have included a house, a studio, a daily stipend and a Finnish-English language school for her daughter – because her son was too young at the time; the internal challenges she grapples with daily around living in an urban center with inspiring cultural benefits, and yet one that's also filled with environmental detriments (her son suffers significantly from asthma and food allergies), and the proposition of leaving New York is always on the table, and yet she essentially puts the researching on that topic out of her mind because she's afraid of what she'd find; the 'goldfish scenario' that applies to where they do and might live; the paradoxes of her family's Carroll Gardens neighborhood, which has become extremely pricey due to location and its charming brownstone, while at the same time through its proximity to the Gowanus Canal and a cement-making factory, among other things, the air quality is at dangerous levels; her master's thesis on building a community air trust, relating directly to her neighborhood experience and her son's health issues; the fact that despite her prolific record doing residencies, she's had to apply prolifically as well, getting accepted only 1 out of 50 times, by her count; and her latest residency, Artist Residency in Motherhood.