SFMOMA Stories from the Evacuation from Jonn Herschend on Vimeo.

San Francisco-based artist and filmmaker Jonn Herschend talks about:

The Thing Quarterly, a 10-year-old, subscription-based project of customized book-inspired artworks/objects he co-runs with Will Rogan; it was launched with Miranda July’s pull-down window shade, which read, “If the shade is down, I’m not who you think I am;” The Thing has been so successful that there are two full-time and one part-time staff; Herschend describes it as an alternative route for art to be disseminated into the world, that it comes directly to your house (or office), which was perhaps the main ingredient that has brought so much attention to the project over the years; Dave Eggers’ project, a custom essay he wrote for a shower curtain; how he self-identifies (if he has to), and the dynamics of having a good conversation with a stranger; the lack of art education in describing the wide gap between contemporary art (& the arts in general) to the mainstream; his time living in S.F. (since ’93), from the Bohemian days of The Mission, through two tech booms and the rise of the ‘tech bro,’ entitlement, and how he resolves to remind himself that he was part of an earlier phase of gentrification of The Mission, and now he’s just experiencing another, later phase…and how he’s sympathetic because it’s the only way to not become pissed all the time; how his biggest problem now is Uber drivers (he’s been hit twice), who are actually people who live out of the city but come in to pick up rides; how he grew up with a front-of-house/back-of-house perspective in terms of entertainment and attractions, which led him to a documentary on the move/renovation of the San Francisco Museum of Modern Art – Stories from the Evacuation – which features a surprise twist; where he is with his filmmaking: he’s self-taught, and used a real casting director for the first time (instead of Craigslist) for the SFMoMA film, and he may or may not make a feature-length film at some point in the future, since there are obvious benefits to making films for an art audience as opposed to making more marketable films for a much wider audience, and how for now he’s happy to be in the in-between space of the art and film worlds.

Manhattan-based art writer and budding curator Emily Colucci talks about:

Her place on Avenue C in the East Village, and how she’s managed to live in a Manhattan that’s now cheaper in many cases than Brooklyn; the C Squat next door to her place, which has existed since the ’70s and the city allowed them to permanently inhabit if they brought it up to code (which they did), and which also runs the Museum of Reclaimed Urban Space, which does walking tours of former squats and community gardens and non-profit art spaces in the neighborhood; the heydays of St. Marks Place and the East Village, and how each generation looks down on newer generations’ scenes as not having the same level of artistic relevance; her cultural blog Filthy Dreams, which she founded as a place for “minorities who don’t even fit into our own minorities,” inspired by John Waters’ quote, and for the queer and LGBT communities; writing about (and taking down) James Franco’s show at Pace gallery, which was his attempted version of re-creating Cindy Sherman’s iconic Untitled Film Stills series…why Pace had the show in the first place, what Cindy Sherman’s reaction to it was, plus Emily brings Filthy Dreams’ take on Franco’s history of appropriating Queer culture while simultaneously publicly declaring that he’s not gay; her curatorial projects, including a past show Party Out of Bounds: Nightlife as Activism since 1980 (which was about nightclubs, activism and AIDS), and an upcoming show on Disco’s legacy, and the two years of work that goes into each show, including relying on oral histories from eras where many of its notable participants have passed away; how exhibitions, unlike articles on art, can actually make a tiny difference in exposing people to things and even changing minds; how it’s terrifying at times being a freelance writer, but because she’s allergic to office work, she wouldn’t trade it for anything, and she always has Filthy Dreams to write for when the other gigs aren’t happening, and how even though she knows there are more readers, she always assumes there are two people reading her blog: her mom and her best friend (though she did get to experience what it’s like for your article to get some serious attention, after her piece on James Franco was picked up by Live Journal).