Epis: 343- Flora, Public Art and loving New York even if NY doesn’t love you back: Brooklyn-based artist Nancy Blum

Brooklyn-based artist Nancy Blum talks about:

Her relationship with Judaism, both growing up and as an adult, where her exploration of healing and self-soothing from generational trauma, which ultimately connects with her art; her alternative interpretation of the word ‘therapeutic,’ in relation to art-making, how it can be something deeply personal that artists are trying to share; the use of flowers in her work, which was radical when she started using them 20 years ago, and how their use has risen since the pandemic; her experience making it work as an artist in New York City, where she’s settled after many years living and working as a nomad; how artists can now have successful, legitimate careers anywhere in the U.S., and why she’s chosen to live in NY because it meets her needs and she loves it, even if it doesn’t love her; bringing a Buddhist approach to the way she thinks about her work can career, and how important it is for artists to have the tools to deal with discouragement so that they keep going; questioning what defines success for an artist, and how the distorted perceived norms of success and what we should be or have become vehicles of defeat and low self-esteem for artists; how meaningful it’s been for her to make the public art mosaic for the 28th Street Subway station, and how she wants her public works to do the work- healing, bringing joy to people, etc. – for her; her earliest public projects, which got her into making public art; and why university art teaching was unsustainable as part of her career path.

If you would like to access Bonus Episodes of the show (releasing once a month, two weeks after this one), please consider supporting The Conversation on Patreon here:

The Conversation Art Podcast | creating a podcast that goes behind the scenes of the art worlds | Patreon

                                

                 

                                                               

BONUS Epis. 342: Stefanie Kogler-Heimburger, assistant to the curator at Kunstmuseum Reutlingen and veteran museum professional

[this episode is available for Patreon subscribers to the podcast. To become a Patreon supporter, please visit: The Conversation Art Podcast | creating a podcast that goes behind the scenes of the art worlds | Patreon

In this inaugural guest Bonus/subscriber-only episode, museum professional and long-time Conversation listener Stefanie Kogler-Heimburger talks about:

Her pronounced accent in English which sounds not at all like her native German; her podcast consumption, including a German podcast about gin, in addition to art podcasts; her fellow German, and 2-time past guest Lee Wagstaff, from whom she bought a print early in the pandemic; what Stuttgart, where she lives, is like as far as its art spaces and community, including its central museum; her job at the Kunstmuseum Reutlingen as the assistant to the curator, which is part-time and very accommodating as a career in terms of being able to work from home and being paid for maternity leave (she had a year off); but also, the challenges of the museum curating hierarchy, in terms of advancement, and existing in the job as a ‘nice to have’ rather than a necessity in a world that is chronically underfunded, and how one gets treated with that ‘nice to have’ status; the work she does as assistant to the curator, including a lot of PR & marketing work; working on one of her favorite shows at the museum, with Italian artist Gianni Caravaggio; and we share our own thoughts and feelings about the whole ‘separating the artist from the art’ phenomenon, vis-à-vis Tom Sachs et al; and the douchy-ness of the art world, from the hierarchies to the artists and curators who behave like douches, and whether we’re turning a corner as far as there being too much tolerance on the part of workers, and too much douchery on the part of those in positions of power.

If you would like to access this, and other Bonus episode of The Conversation, please become a supporter of the podcast on Patreon:

The Conversation Art Podcast | creating a podcast that goes behind the scenes of the art worlds | Patreon

                                

                 

                                                               

Epis. 341: ‘Class Issues’- artists and class with Berlin artist Norbert Witzgall

Berlin-based artist and co-curator of the exhibition ‘Class Issues: Art Production in and out of Precarity,’ Norbert Witzgall talks about:

The term/phenomenon of “Hope Labor,” which drives the economy of fine art and is based on the presumption that your hard work will pay off when you ‘make it;’ how Berlin has become prohibitively expensive for artists, which among other things has led to artists creating platforms such as the Ministry for Empathy to help artists in need; mental health in connection with artists’ labor conditions; the challenge for migrants in getting German grants, largely because of accessibility and knowledge; the intersectionality of exclusion, which is essentially how access includes less frequently acknowledged statuses such as class background and housing in addition to race and gender; art’s struggle to represent the society at large, using the example that there are no Germans of Turkish descent who are recognized in the art world; homeless artists, in particular a German collective, ‘Anonymous,’ included in ‘Class Issues;’ the poverty of some artists in old age; the transparency they used in ‘Class Issues,’ including production costs for the artworks, the family background of the artist, and what an artist’s pension is/will be; his at one time 11 simultaneous freelance jobs, which meant a big ‘class journey,’ or class switching, between gigs; his decision to re-train as a fine arts school teacher, which he started but then left at 19, coming back this time because he has the life experience to bring with him; and the hope that we can decrease the amount of ‘hope labor’ being put out by many, many artists.

If you would like to access Bonus Episodes of the show (releasing once a month, two weeks after this one), please consider supporting The Conversation on Patreon here:

The Conversation Art Podcast | creating a podcast that goes behind the scenes of the art worlds | Patreon

                                

                 

                                                               

The Conversation MIDWAY- between epis. 340 and 341: on the art services industry, including Irving Blum, Daniel Weinberg, Ed Keinholz, Nan Goldin, and Tom Sachs

In this Conversation MIDWAY – between epis. 340 and 341 – I talk about the bonus episode for Patreons, featuring Blum-Weinberg-Keinholz-Rottweiler, as well as talk about the art services industry via the Worst Job Posting Ever Created, the Nan Goldin documentary, and Tom Sachs, among other related topics.

If you would like to access Episode 340A, which features four great stories from Art Can Kill, you can support The Conversation on Patreon here:

The Conversation Art Podcast | creating a podcast that goes behind the scenes of the art worlds | Patreon

                                

                 

                                                               

Epis. 340: Veteran art handler Bryan Cooke on 50+ years in the art handling business, including several brushes with death

Episode 340- Veteran art handler and preparator Bryan Cooke talks about:

Cooke’s Crating, the business he started back in 1975, and how it’s essentially a service business, one that has grown with the art market, particularly in the last 10 years; why they don’t use the word ‘art’ in the company title, and how they discreetly move art around, especially high-priced works; how and why he self-published his book, Art Can Kill; some of his near-death experiences in art handling, including two involving elevators (one of my least favorite places); why he put himself in the line of risk, shielding his employees from danger; and he tells a condensed version of an epic story from the book in which a client for all intents and purposes kidnaps Bryan and his colleague during a moving job, on a large estate outside Chicago.

If you would like to access Episode 339A, which features three great stories from Art Can Kill (with more special episodes to come), you can support The Conversation on Patreon here:

The Conversation Art Podcast | creating a podcast that goes behind the scenes of the art worlds | Patreon

                                

                 

                                                               

Preview/Teaser for Epis. 339A- Art Can Kill: The Art World’s Crooks, Clowns & Connossieurs

In this Teaser for Episode 339A, which is only available to Patreon supporters of the show, we talk about becoming a supporter of the show, read from a bit of the intro to the book Art Can Kill, and talk about the comments from an article on the collector Adam Lindeman’s upcoming March 9th auction at Christie’s.

If you would like to access Episode 339A, which features three great stories from Art Can Kill, by Bryan Cooke (an upcoming guest on the podcast), you can support The Conversation on Patreon here:

The Conversation Art Podcast | creating a podcast that goes behind the scenes of the art worlds | Patreon

                                

                 

                                                               

Epis. 338: Former pro surfer and current arts writer Jamie Brisick on why success is its own form of failure, and Raymond Pettibon, Paul Chan and Francis Alÿs, among others

Arts writer and former professional surfer Jamie Brisick talks about:

What it was like being on the pro surfing tour back in his late teens and early 20s, and how he developed his Plan B career initially as a surfing writer before moving into arts & culture writing; how he comes to art/the art world with a relatively fresh perspective, and has experienced some unsavoriness in the upper spheres in its being too much like high school in terms of popularity, etc.; what it means when, to quote the artist Paul Chan in this case, ‘Success is its own form of failure;’ the varied and fascinating work of Francis Alÿs, whom Brisick tried to get an interview with but was essentially blown off, but whom he still highly respects and reveres as an artist; the artworks, storytelling, and other idiosyncrasies of quintessential surfing-art artist, Raymond Pettibon, whom Brisick has profiled extensively and become friends with; the surf-skate pioneer Craig Stecyk (also a mentor of Brisick’s) and his crazy performance art stunts; and his relationship with the journalist and writer William Finnegan, whose struggle with his memoir may be a source of inspiration for listeners.

                                

                 

                                                               

Epis. 337: Art & Politics- how can they co-exist? The Conversation’s 14th Virtual Cafe

In the 14th installment of the podcast’s Virtual Café, we take as our prompt a Dec. review by NYTimes art critic Holland Cotter about politics in art:

About 10 artists in the Virtual Café (including past guests Ianna Frisby of Art Advice and William Powhida) talk about art and politics, including successful examples of political art; the nimbleness of capitalism to absorb all things protest; the challenges and failures of artists to organize, particularly artist unions; the question of whether artwork being in a gallery is neutered, in terms of its political/social power; virtue signaling in art, particularly political art; Theaster Gates as a strong example of an artist changing a community, and of socially engaged art; the importance of the rhetoric around so-called political art (including the good side of the word ‘didactic’); the lack of transparency in galleries reporting where their donations to (political) causes are allocated; and how to take political art to the people, as opposed to through the gallery system.

                                

                 

                                                               

Epis. 336: on The Death of the Artist, a frank conversation with writer and cultural critic William Deresiewicz

Writer and cultural critic William Deresiewicz, author of The Death of the Artist, talks about:

His motivations in writing the book, largely motivated by dispelling the myth that this (our current internet/social media era) was the greatest time ever to be an artist, as well as trying to understand how artists (not just visual, artists across all fields- writing, music, film & television) were adapting to making art and surviving in an this world; why he strongly believes that not everyone can be an artist; how and why the monopoly on taste has been broken through a more middle-brow level of connoisseurship; how we can’t dispense with the gatekeeper, whether it’s the curator of artists or our listening playlists; artists’ relative comfort (or discomfort) with using social media, which isn’t as tied to age as you would think; the wide variety of day jobs that artists do (including a list of 50 jobs/gigs that Deresiewicz compiled), and the degrees of poverty artists live with; the delicate and complex dynamic of artists walking away from being artists (which is of course very hard to document); the artist Paul Rucker (perhaps the only artist profiled in the book whom I should have heard of) who’s had a wide-ranging and remarkable career; the challenge of finding and working with the ‘typical’ working artist- artists whose careers were coming up but not yet well known; and what a solid work-lifestyle balance looks like for one of the artists in the book, as well as for Deresiewicz himself.

                                

                 

                                                               

Epis. 335: Mashed potatoes hurled at Monet, Artists being replaced by AI Robots, a Bad Studio Visit cartoon, and new email etiquette for the Uffizi Gallery, with a very special guest-host

For this latest roundup of OLD NEWS stories, we’re joined by a Very Special Guest, to talk about:

The MASS MoCA union; the new monument to the Central Park 5; the debate about bringing attention to the climate crisis by throwing food and attaching body parts to famous artworks in museum, as analyzed by Jerry Saltz in his piece ‘MASHED POTATOES MEET MONET,’ as well as through our own lenses on the phenomenon; how a stolen painting was turned into a popular throw pillow (which you can purchase online for $18.40 plus shipping); the struggles of Pace Gallery’s Superblue, and the history of Pace through the Glimcher family, including a botched diversity hiring of Marc Glimcher’s daughter; Guy Richards Smits’s cartoon, “WHAT DO YOU SAY TO SOMEONE AFTER A VERY BAD STUDIO VISIT?”;  a consideration of big tech’s plundering of art and illustration for its generative AI projects, as poetically analyzed through Molly Crabapple’s LA Times Op-Ed, “BEWARE A WORLD WHERE ARTISTS ARE REPLACED BY ROBOTS;” why the director of Florence’s Uffizi Gallery is demanding employees follow strict guidelines for email etiquette; and what our respective OLD NEWS favorites for the week were.

                                

                 

                                                               

Epis. 334: The challenges of green-lighting public art that’s actually good- curator and arts administrator Zoë Taleporos

Oakland-based curator and arts administrator Zoë Taleporos talks about:

Her straddling independent curating and government-supported public art curating/administrating in her role working for the City of Berkeley; how her curating is more about bringing artists in, as artist outreach, but not cultural gatekeeping; why public art looks the way it does, and why the language of public art has remained unchanged for so long, as well as the problems professionals are faced with in trying to change the face of public art; how one sculpture in San Francisco, while avoiding the problem of becoming a target for skateboarding, but instead became an ad-hoc BMX bike ramp; the alternative and more interesting version of public art: temporary public art, which allows a lot more flexibility and freedom; how panelists judge all public art candidates (Zoë has presented) by a list of criteria, and how she’s always in the room, but never voting as a panelist; the tension in the room when panelists with a wide range of experience with contemporary art weigh in on the candidates who are submitted; the strong mural history and presence in the Bay Area, which are not necessarily a deterrent to graffiti; and how it’s exciting for her to take a given artist’s work and translate it into public art.

                                

                 

                                                               

Epis. 333: Amsterdam-based artist Tjebbe Beekman, on how a major life turning point became a turning point for his art

Amsterdam-based artist Tjebbe Beekman talks about:

His show in New York at GRIMM gallery (which just opened when we spoke); his 9-year stint living in Berlin, before moving back to Amsterdam at the time his son was beginning school, and how he misses the big-city benefits of Berlin; the big turning point in his work and in his life, when in a span of less than a couple of years his mother died followed by his father’s tragic death in a boating accident, early on in a journey attempting to travel the world; how his father’s death was complicated by the slow to non-existent communication about what happened, and then the time it took to get his remains back, all of which led him to stop painting for half a year; how he re-engaged his artmaking by visiting friends at the Luceberthuis residency in the Netherlands, where he also found himself listening to a lot of John Coltrane, and between the music and getting in the heads of well-known painters, he got his mojo back; the influence the legendary painter Luc Tuymans had on him while doing a residency at the Rijksakademie; and how he’s thankful to make a living from his work, because even though the Netherlands offers lots of funding to artists, most artists who rely on it need to have 2nd jobs.

                                

                 

                                                               

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