Los Angeles-based painter Max Maslansky, along with co-host Deb Klowden Mann, talks about:
His Kchung radio show Riffin’, and his most memorable guest on the show (Jake Longstreth, with whom he debated about The Eagles); how he started the current iteration of his porn-based work, back in 2010, when he began collecting old photographs and storing them on Facebook, in both ‘public’ and ‘private’ collections, then selecting particular images to paint onto bedsheets; how porn, even in the art world, still has a taboo association to it, and how the porn Maslansky uses is quaint compared to what’s out there now, and his point that dopamine levels are higher in porn consumption now supports that, because people need stronger fixes than ever; his experience getting curated into the Hammer Museum’s Made In L.A. 2014; how being practical led him to keep his job working at Richard Telles gallery after this success, though he went from full-time to part-time; what he’s learned about artists and the art world from working at the gallery, a gig he’s had much longer than he thought he would; and how artists who become big successes may or may not maintain them, and that a significant part of their rise is beyond their control.

Brooklyn-based painter Stephen Westfall talks about:

Living in Brooklyn (Red Hook), where the rent on his loft will soon be going up 18%, and how he’s considering living elsewhere in the city, or possibly New Jersey (since he teaches at Rutgers); the crazy real estate market, via shell properties and so on, yet how their might be a tiny glimmer of hope; how his best year of sales, in 2011/12, allowed him the opportunity to purchase a cottage upstate, but since his income has dropped since then his margins are on the tight side (which is noteworthy considering something as basic as getting rid of a dying tree on that property could be a serious expense); his coming of age in San Francisco as an anxiety filled youth, and his subsequent emergence as an artist via UC Santa Barbara’s College of Creative Studies, where he began as a literary major; and we launch into a spirited debate about abstraction, including Stephen riffing on the ambiguity between figuration and abstraction; the ‘Big Bang’ of painting, starting with representation and eventually leading to, after five centuries, being about painting itself, and abstraction as the next ‘Big Bang’; that there’s “abstract painting because there are more things to paint abstractly,” also known as ‘shark’s teeth,’ in which “the more things you have, the more spaces you have between things”; the willingness to have a suspension of belief, and how, unique to painting, it is both an imagined space and a thing at the same time; and how he didn’t go to openings for 10 years after a painful breakup with a fellow artist, and how, in turn, he learned that legends in the art world can be created just by not going out to openings for a while.