Hudson River Valley-based artist Anne Lindberg talks about:

Her relatively new (as of 2+ years) home in the Hudson River Valley, after having spent 28 years prior in Kansas City; her roots in Iowa City, where her mom was an artist and her dad taught at the University; her and her husband’s decision to move from Kansas City to Ancramdale, NY, partially engineered through their pied-a-terre on the Upper West Side, which her husband moved into when he started teaching at Parsons School of Design; her unusual home and studio setting, surrounded by farms, and how the move to rural New York has been a clarifying process in terms of her priorities and the downsizing of possessions; how because of her relative remoteness, especially in relation to NYC, studio visitors need to make a day of it, between the roundtrip train ride, ride from the station, and taking a walk in the neighborhood, in addition to the studio visit itself; how the Hudson River Valley in general, though particularly its light, which she describes as both amber and seeming to come from the side, affects her work; her unique process of using a 10-foot-long architectural parallel bar on a 10-foot vertical table that raises and lowers on an electric wench; how pivotal her participation in the Omi Residency Program was for her work; and the whole world of farmers in her rural neighborhood that have opened up a new community for her.

Feuer/Mesler gallery director and partner Lauren Marinaro talks about:

The evolution of Zach Feuer’s gallery over the eight years she’s been working with him, to the point now where they’ve closed their Hudson, New York gallery, and merged with Joel Mesler of Untitled gallery to form Feuer/Mesler on Grand Street; growing into and evolving with Zach Feuer’s gallery, starting as a gallery assistant fill-in in the summer of 2008; how after the market crash started taking affect in the art world, she was able to stay on because she was the least costly employee; interacting with the more random population of visitors to the gallery, some of whom are genuinely curious, and others who are outright aggressive in their questioning, and how to handle them; artists who want the gallery to put an ad in Artforum- the pros and cons of doing it, and whether it’s ultimately a good business move or not; what happened to Zach Feuer’s gallery when Hurricane Sandy hit in October 2012, and how ultimately, considering the circumstances and what other galleries went through, things turned out relatively well; the evolution of the gallery over the years and to their current non-white cube space on the Lower East Side, and how impactful the Instagram-era has become to the gallery and art world; and Feuer’s solid record representing women artists as part of its program.