Las Vegas-based artist and museum director Alisha Kerlin talks about:

The arc that led her to be in the 2010 Greater New York show at MoMA PS1, and subsequently how that changed her career, including working at Greene Naftali Gallery; the social anxiety of being in the show, while also feeling honored to be included with so many artists she deeply admired; the opportunities she received from being in the show, including the solo show she had concurrently at the gallery Real Fine Arts; dealer Zach Feuer coming into the show at Real Fine Arts and buying all Alisha’s paintings, leading to a solo show with him, allowing her to cut down on her day jobs and spend a lot of time working in the studio; how getting an artist-in-residence led her initially to Las Vegas, and within a few days she realized she probably wouldn’t want to go back to Brooklyn; how ultimately it was more satisfying to get the residency gig at UNLV, five years ago, than it was getting into Greater New York; what it’s like living and working (as interim director of the Marjorie Barrick Museum of Art at UNLV) in Vegas for the last five years, including buying a house and having a kid;

And in the follow-up conversation, Alisha talks about how even though Greater New York was huge in giving her opportunities, including leading to the artist-in-residence gig and ultimately moving to Vegas, the show for her is the least interesting thing to talk about, and how she is excited and inspired by discovering unfamiliar, veteran artist’s work, which comes with her current role at the Museum; the importance and influence of her former teacher at University of Tennessee, Knoxville, Michael Brakke, who started the school’s artist-in-residence program and was hugely influential on generations of students, among them Alisha and Wade Guyton.

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.