David Prince, artist, girls private school teacher and owner of Adjunct Positions gallery in Highland Park talks about:

Teaching at a private school in Pasadena, which gives him financial stability, an art community of teachers and even some facilities he can access if needed; the impressive tools the school has, including C & C and 3D printing; how the school, while having expensive tuition (though fairly normal by private school standards), is progressive in its teaching the students to be aware of and even take part in social issues; how he counsels students getting undergrad educations to study something other than art, even if they’re going to become artists, because that background in a non-art education will make them more rounded in the long run; Snapchat, which along with Instagram is the social media of choice for his students, and why he himself likes it as the anti-social media app, free of the pretensions of the curated, manufactured image we use on other platforms; his 2 ½-year stint in NY after grad school at Art Institute of Chicago…he left New York through a combination of his business partner (in a furniture biz) left town, he lost his loft in Williamsburg to condos, and he got a residency out of town; how when he and his sister were looking for a house to buy, he had in mind one with a street-facing garage so he could start a space, which became his Adjunct Positions gallery; the open-ended approach of the gallery, including splitting install costs with artists, which they know going in, showing work throughout the house (the living room, the patio) in addition to the garage-gallery, and the exhibitions not being about showing ‘a body of work’ but a more conceptual bent, and including work that’s been produced specifically for the show; how he focuses on local artists to both support a local community as well as to grow his own network; the scarcity of opportunities in the art world, and how almost all the Adjunct Positions artist are involved in some kind of hustle; how the conversation among younger artists has shifted to include more practical questions, especially how to make a living (while being an artist); how David is more interested in showing artists than in showing “work,” which comes through meeting artists, doing studio visits with them and starting conversations that evolve into a collaborative process; and among other fellow high school art teachers, he appreciates that he has something of a dream job, while speculating that education will be one of the last casualties of the zombie robot apocalypse.

Los Angeles-based artist and witch (yes, you read that right) Amanda Yates Garcia, along with co-host Deb Klowden Mann, talks about:

Her beloved craftsman home in the West Adams neighborhood, and how she got in before the gentrification race that’s going on now; how she answers the question of what she does by saying that she’s a witch, and the ensuing conversation around that, including being a provocateur even when she doesn’t feel like being one; artists and witches through the ages, and how the meaning of being a witch can be as diverse as the meanings of being an artist; how a big part of being a witch, for her, is examining authority- who gets to make the rules; how to invoke your spirit figure, whether it’s a name that’s been invoked many times, from your own culture ideally, or more one of your own created entity; how magic, not unlike art, is not about belief, believing in magic, or believing in art; how she was raised in a Wiccan household with a feminist mother, but who also had a lot of patriarchal ideas; the failings of patriarchy today, and what happened in her “Devouring Patriarchy – Healing the Wounds of the Father” workshop; how, in addition to representing for witches, she’s also representing for ‘healing,’ a maligned word in the context of contemporary art, but she doesn’t give a f*ck—it’s desperately needed in our world now (that and love); her performance “Capitalism Exorcism” ritual; the subtle distinctions between objects used in performance/ceremony as ritual objects, and becoming art objects; how she is able to sustain herself as a witch, but not an artist; how she’s no longer attached to the idea of being known as ‘an artist,’ an identity that she (and many) was especially attached to out of grad school; and she offers a magical financial tip, having to do with getting (buying) the thing that you yourself are selling.

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.