Los Angeles-based art business writer Tim Schneider, creator of­­­­­­­­ The Gray Market blog, talks about:

His nerd roots in the Midwest; “COINs,” which stands for “Collectors Only In Name,” who tend to be labeled villains for art flipping tendencies, as opposed to collectors such as hedge funder Steven Cohen, who ‘plays by the rules’ at least as perceived by gallerists, even though he’s also been known to flip works himself; his Gray Market blog, which he describes as “peeling back the layers of what we can see  reported…traditionally, and asking: Why are people doing these things? What’s the strategy?”; choosing between screenwriting and art for a career, and why he chose the path he chose; how he navigates the art world as a professional skeptic and somehow still get access to the inside, where some of the most useful intelligence is; the prospect of becoming “the Anthony Bourdain of the art world;” his upcoming book, “The Great Reframing: How Technology Will––and WON’T––Change the Gallery System Forever,” which he’s self-publishing, because it includes time-sensitive information that can’t be wasted on the overly long traditional publishing process (the book is slated to come out by June 1st, on the Amazon Kindle platform); and what it’s like living in Downtown L.A. right by the Grand Central Market (directly downhill from MoCA, the Broad and Disney Concert Hall on Grand St.).

New York video & animation artist Adam Shecter talks about:

His job history after moving to New York (from school in Montreal at McGill University), including being a receptionist and a creator of visual internals among other gigs; his  animation videos, including his relatively epic New Year, and how he anticipates viewers will take it in in a gallery (vs. film) context.

Links to two of Adam’s videos:  New Year (2014)Last Men (2011)


Brooklyn-based artist Colleen Asper talks about:

Her short-lived fight against the rogue landlord  of her Bedford Stuyvesant apartment building, and subsequently learning about renter’s rights; her experience with Occupy Wall Street and other activist groups, and the surprisingly regressive anti-feminist attitudes she experienced there as well as in academia; her teaching experiences and wisdom learned at art schools including Massachusetts College of Art and Design and Yale (among the 14 schools she’s now taught at); and how her training in ballet has more recently translated into her painting, and her explanation of why dance in contemporary art has become something of a trend.

New York-based artist Alison Kuo talks about:

living in the Financial District of Manhattan–how she came to live there and what it’s like; her performances using food, including her recent Chinese restaurant-inspired New Jin Guang II at Motel in Brooklyn and her piece ‘Serve Me a Drink;’ her being from Texas (Dallas), and the Texas expats that she’s congregated with in New York;  thoughts on molecular gastronomy, including her experience eating at the renowned (and now close) WD-50; her popular photo blog Accidental Chinese Hipsters; her love of tiny old people; her route to performance through teaching ESL to adults; and as a bonus, she and Michael Shaw play a game of name-a-food-artist.


Austin Thomas:  “…[I feel that] everybody’s an artist: potlucks and cake and beer making…that’s who I am.”

New York-based artist Austin Thomas talks about: being a ‘gallerartist’ – a mix of artist and gallerist, and the various ways she’s engaged the art world and community through her Pocket Utopia galleries and projects; her experiences both working for and collaborating with artists as a gallerist and artist advocate; her community organizing-oriented public sculpture ‘the perch,’ which will be unveiled in the spring (of 2016); her path to living in Chelsea, despite originally trying to buy a house in Williamsburg; and her upcoming incubation period in which she contemplates her next steps as an artist advocate, booster and supporter of community-building art ventures.


Along with co-host Deb Klowden Mann, Eileen Cowin talks about:
her being a long-time Angeleno, yet still feeling (more) at home in New York, where she grew up; her 30-plus-year career teaching at Cal State Fullerton; her epic ‘studio visit’ experience, which are combined into her video of the same name; how her work’s critical reception has changed in New York vs. L.A. over the years, depending on the decade; being in the 1983 Whitney Biennial; her upcoming project for the MLK Jr. Metro in Los Angeles; and, in a special bonus segment recorded after our initial three-person podcast, she talks about the differences between the “ART World” and the “Real World,” and how embracing what she had led to good things happening for her.

Andrew Russeth of ArtNews talks about: the business model of art agent/dealer Stefan Simchowitz generally, and the lawsuit between Simchowitz and one of his charges – Ghanaian artist Ibrahim Mahama – in particular; another of Simchowitz’s former charges, Oscar Murillo, and his relative value or lack thereof; the painter Joe Bradley (who along with Murillo appeared in MoMA’s Forever Now), and how his work – even his “Schmagoo paintings” – has managed to hold up; 100-year-old abstract painter Carmen Herrera, an artist who best represents why Russeth loves his job; up-and-coming artists whom Russeth is taking note of, including Annicka Yi, Jared Madere and Josh Kline, and how sculpture is where it’s at now in contemporary art; the greatness of artist David Hammons; the ‘asshole artist’ schtick of Richard Prince, and how as a critic, Russeth vacillates between covering the underdogs and otherwise under-exposed artists, and those in the biggest arenas whom he feels warrant coverage, sometimes in order to counterbalance their badness; and his love of sweets, his Instagram -ing of them, and the similarity between enjoying art and sweets.

New York-based art collector Steve Shane, during Miami art fair season 2015, talks about: working at Anina Nosei’s gallery while Jean-Michel Basquiat was making work down in the basement; how and when he started collecting (in college); his collection, including the salons and tours he hosts to share it, and his visiting collector stints at various art schools (UNLV, Cranbrook, Pratt); how he navigates Miami and what he loves and doesn’t love about it and other art fairs; why he didn’t make art his career (he’s an anesthesiologist) despite his passion for art; and his enamor of Broadway and entertainment celebrities, including Cheyenne Jackson.

Artist Irena Jurek talks about: her blog featuring artist studio visits, her YouTube studio visit interviews for White Hot Magazine, her curating, and how she was known for these other endeavors before she became known as an artist and ultimately all three (artist, curator, writer); the sexual nature of her art, to what degree it describes her life experiences, and how her work has be responded to with a surprisingly moralistic and Puritanical response in New York among a small but vocal part of the art community; the arc of her career and the seven years she’s been in New York, to the point where she’s now making a living from her work, and how that came to be.

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.