Artist and Hyperallergic writer and editor Thomas Micchelli talks about:

His working class roots in New Jersey; how his busy life (full-time job, making his art, seeing shows, writing and editing for Hyperallergic Weekend) keeps him from time-consuming ‘social’ conversations; how the most gratifying feedback he gets on his writing is when an artist says that he’s “got” their work; how he doesn’t see himself as someone who makes judgments in his reviews but rather as someone who explores his personal reaction; how Jeff Koons’ retrospective at the Whitney showed a total concession to the market, and why; other topics include the artist Judith Bernstein and her late-in-life re-emergence as an artist of consequence in NY after decades in the wilderness treated like a pariah; the late, legendary Italian filmmaker, artist and poet Pier Paolo Pasolini – a gay communist atheist at a time when being gay in Italy was illegal – who made one of the darkest films ever: Salo, or 120 Days of Sodom; the most memorable review he’s written (also his hardest to write); the fact that he’s most drawn to abstraction as a viewer (because it comes down to his interest in formal issues, and abstraction lays them out in very stark terms), despite being a figurative painter himself; and how growing up working class led him to making figurative art as opposed to abstraction.

Roger White is an artist, the co-creator and co-editor of the art journal Paper Monument, and authored the recent book, The Contemporaries: Travels in the 21st-Century Art World. Because White is both an artist and one who has delved widely and deeply into the art world, it provided the longest and one of the best episodes the podcast has had.

We discuss entering and exiting the art world with varying degrees of attention; the pros and cons of working for other artists; the challenges of creating alternate/regional art centers; the exhuming of vintage artist’s careers, and how in the future that may no longer be possible; and Roger weighs in on painting, why he does it, and attempts to argue for the irrelevance of its being relevant.

Carolina Miranda covers art both high and low, as well as writing the occasional piece about architecture or music.
We talk about: her Latina heritage; her philosophy and approach as an arts journalist; the issues around race brought up in her piece on the Donelle Woolford/Joe Scanlon Whitney Biennial scandal; her posts that went viral, including breaking the story that Hello Kitty is not a cat; as well as stories on a velvet painting museum, and a pool in the middle of the desert.
Carolina also makes her world debut reading of “A Shiny Poem for Jeff Koons,” culled from the many flowery-worded reviews of his retrospective.