Artspace editor-in-chief Andrew Goldstein talks about:

His work as e-i-c of Artspace and, since the publisher Phaidon purchased Artspace, his additional role as chief digital content office of both Phaidon and Artspace; how Artspace emerged within months of both Paddle 8 (online auction house) and Artsy (discovery platform), with the emergence of a high luxury commerce space, and how this ecommerce model is in its toddler-hood in terms of growth; and how the art market is lagging behind the audience growth in art; the landscape of Artspace and how its editorial content is the primary source for bringing users to the site; how the big perk of his job is the opportunity to go around the world to art fairs and biennials, being on the ground so he can stay on top of what’s happening in contemporary art; the difference between being a collector going to an art fair (hint: everyone treats you like it’s your birthday) and being a writer at an art fair (when it becomes a trade show); how he convers art fairs, which is like a starting gun going off as soon as you get there, and so he needs to cover, cover, cover, maximizing every single second without really getting a chance to breathe…it was more the “you can sleep when you’re dead” approach when he first started out on the scene; the merits of Belgian collector Alain Servais, who Goldstein describes as an art advisor and a collector combined; how he sees the same people at art fairs over and over and over again, and yet such a large profusion of them that it’s hard to keep straight who many of them are…there are the friends, the sources, the dealers and artist you respect and admire, and then the people you don’t know who they are, but they say hello to him and he says: “hello, nice to see you again;”  the art “market” (small) vs. the art “audience” (immense); how his approach to covering art fairs is to actually cover the art itself, by really diving in and wrestling with each given work (as compared with most coverage which talks about who’s buying what and for how much, etc.); how for many collectors, it’s about the works they buy and what association(s) it gives them access to, including a certain social milieu, as compared with the exceptional collectors who are passionate and uniquely quirky in their own ways; and we talk about his interview with Stefan Simchowitz, the often provocative collector and art world interventionist, who Andrew describes as having a totally worked-out worldview, his business built around addressing the industry’s inefficiencies, and what the fall-out from Andrew’s article was (hint: it was an interesting phenomenon).

Art, fashion and pop culture writer and art history lecturer William J. Simmons talks about:

Why he repurposes Instagram memes for Tweets, one of which led to our initial connection; how he studied initially under the October magazine people (a journal of particularly arcane art content), and how he came to realize that there has to be a way to combine the important advances theory has made with a populist theory of how people actually interact with art; how his editors at general interest-based outlets including Flaunt, Interview and W magazines have things to say that are equally if not more insightful than the people at Artforum; how he told a guy he was on a first date with that his goal was to be the editor-in-chief of Vogue and also the e-i-c of October; how he saves up to go to biennials and art fairs as opposed to taking third-party funds to pay his tickets; his role in bringing a substantive role to the conversation through his writing, whether it’s artists or pop cultural figures (he did an interview with Jessica Chastain, among other big names); what goes on at the high-powered art magazines, including half the time hating what they’re writing about; how artists don’t have privileged access to the meaning of their own work; admitting that he writes about canonical artists, because he feels he can do better there than writing about non-canonical artists, and because it’s a way of getting into the larger conversation through his writing; his seminal artist interview experiences, including with Sue de Beer and Jack Pierson; and we have a hearty – impassioned while civil – debate over whether artists (including particularly Marilyn Minter, Deb Kass and Laurie Simmons) shape the larger culture and the world, as opposed to the influence and effects of their work being confined to art and the art world; the exchange also includes calling into question certain sexist tendencies towards successful women artists vs. men artists, being an activist through art and otherwise, and ultimately ends on a light-hearted yet very pointedly pro-feminist agenda.

Huffinton Post Arts writer Priscilla Frank talks about:

Writing about art and culture for the Huffington Post, including how her writing and their audience differs from other visual arts hubs like Hyperallergic, and the difference between paid staff writing for the site and blog writing for the site, as well as the realities of click bait; outsider art, including the Outsider Art Fair, and why she’s a fan of the niche and its artists; her piece “F**k Your Idols: What Celebrity Worship Reveals About Female Sexuality,” which deconstructs women’s ambiguous desires to both be and/or f**k a given celebrity hero, in this case Rihanna…she argues her point by contrasting females tendencies with males through the avant garde-ish Is Tropical video “Dancing Anymore” (seen below), as well as John Berger’s Ways on Seeing, and how a woman puts more into how she presents herself is part of that; how, in contrast to what art writer Ben Davis suggested, Frank believes that art does for sure trickle into the popular culture (Beyonce, etc.); how cats have always been associated with femininity and feminine power, but it’s the artist Carolee Schneeman who has really tapped into that connection in her photo and video work; her discovery of the Oakland-based artist Stephanie Sarley, and her crazy-great fruit-sex Instagram videos and anthropomorphized vagina drawings; and how both she and Sarley’s goals are to get more women artists recognized, and how proud Frank is of her record of such a smorgasbord of coverage she does for the Post.

Megaforce Is tropical Dancing Anymore from website on Vimeo.

New York gallerist Emma Hanley (far right in photo above), associate director at her father Jack Hanley‘s Lower East Side gallery, talks about:

Growing up in the Bay Area with two artist parents, and a collector grandmother, and her experiences hanging around and eventually doing small jobs at her dad’s gallery in the Mission district of San Francisco; her stints working at Sotheby’s and, more recently, Christie’s, where she worked up until switching to her post at Jack Hanley Gallery, where she’s been a little over a year; how a comment from Jerry Saltz led her to start working for her dad; the challenges of working with artists, including when they get approached by big New York galleries (when the gallery was based in San Francisco); how being a middle child is serving her well in being able to handle artist personalities, and to remain unemotional in their various moments of stress and freaking out, by taking herself out of the equation; how often what the artist is freaking out about is the fact that they need to address any unresolved issues with their work on their own, a reality they typically don’t want to face head on, hence the acting out; and how, thanks to having had a lot of strong personality types in her family, she gets along well with both artists and collectors, perfect qualifications for her job.