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 Reframing: How Technology Will––and WON’T––Change the Gallery System Forever,” 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.).

Mat Gleason, Los Angeles-based creator of the infamous zine Coagula, and owner of Chinatown gallery Coagula Curatorial, speaks in quintessentially outspoken fashion about:

How people in the art world are so committed to being neutral, and unwilling to speak their mind frankly out of a fear of going on the record and being tied to that position; his position not to be jaded manifesting as, “if I’m going to trash something, I’m going to trash it…”; how Coagula started as a “punk zine for the art world,” in 1992, and which became his entry into the art world; how as he became more enmeshed in the art world over time, he found himself having to be more careful about whom he trashed in print (or otherwise); how he and his friends decided to try and loot MOCA during the L.A. riots; one of his most illustrious and hated writers for Coagula, Charlie Finch, based in New York, who was(is) the ultimate character; the lawsuit for libel against Coagula, one year into its run, that he had to face and endure, from a former employee of Threadwaxing Space who Coagula had written about regarding alleged embezzlement (though ‘alleged’ was missing from the article), taking eight years to go to trial…though it cost him 30K in legal fees, he got a lot of media attention for Coagula out of it; why he decided to fight the lawsuit, which helped him decide that Coagula was his most important and successful endeavor after numerous failures, and that he needed to fight for it; how and why he started his gallery Coagula Curatorial (print was dead, information was free…); how there really isn’t any purity in the art world, and every relationship worth its mettle is a conflict of interest to some degree; how to sign artists to your program who aren’t flakes (and what the definition of “flake” is in L.A. vs. New York); and how if his interns were in his place of running a gallery, “they would never hire me…”

Along with co-host Deb Klowden Mann, Eileen Cowin talks about:
her being a long-time Angeleno, yet still feeling (more) at home in New York, where she grew up; her 30-plus-year career teaching at Cal State Fullerton; her epic ‘studio visit’ experience, which are combined into her video of the same name; how her work’s critical reception has changed in New York vs. L.A. over the years, depending on the decade; being in the 1983 Whitney Biennial; her upcoming project for the MLK Jr. Metro in Los Angeles; and, in a special bonus segment recorded after our initial three-person podcast, she talks about the differences between the “ART World” and the “Real World,” and how embracing what she had led to good things happening for her.

Tulsa Kinney talks about: coming to Los Angeles from southern Missouri; her art career, which was eclipsed by her writing and then her launch of Artillery, Los Angeles’ first glossy contemporary art magazine, in 2006. We talk about the struggles of running and surviving as an art mag, working with writers who are afraid to write critical reviews, the onerous aspects of the art world as Tulsa sees them, and the changing and expanding L.A. art world and how that might be affecting the magazine’s future. We’re joined by frequent co-host Deb Klowden Mann.

Artist and curator of the Luckman Gallery at Cal State Los Angeles, Marco Rios talks about the trials of being a curator; the wrath of curators who want your job; what he looks for in working with artists on a show; why his best exhibition experience was with an artist-run gallery in Vienna; and how he became so exhausted that he required being carried off…twice.

An especially fun conversation with the Times’ David Pagel, in which he talks with us about: the relative influence of the L.A. Times stamp of approval as an art review; the correspondences and relations with those he’s reviewed; the value and relevance of really going after an artist critically in a review, as opposed to positive reviews; the trouble with the appropriation and use of the words “curating,” “practice” and “criticality;” any conflicts of interest he may face as a critic; and his experiences as a teacher at Claremont, and the inhabiting the various roles of art critic, professor, and curator.