Clearfield, Pennsylvania-based artist Rebecca Morgan talks about:

Her hometown of Clearfield, a financially distressed former coal town, where she currently lives in the home she grew up in with her mom, in between teaching gigs in other states, which affords her tons of time to work, but also feels like suspended adolescence; the liminal relation she has to the town, which both rejected her and she rejects, and despite those rejections she’s roughly the only one among her fellow school kids who’s still (for the moment) there; her dating life in all its challenges and even brutality, through dating sites and aps, and which include things like driving 4 hours to New York to go on dates with art dudes; how happy she’ll be to settle in just about any city EXCEPT New York, even though she went to Pratt and connected with the gallery that now represents her before leaving the city, and how her current home in the middle of nowhere affords her the time and space just to exist (vs. killing herself to survive in NY); how she doesn’t think she would have left NY had it not been for her landing gallery representation; her very substantial Instagram following: how she got there, what she posts, how she interacts with her followers, and how it gives her a presence, and even sales, even while living in ‘the middle of nowhere;’ her most impactful IG supporters: Juxtapoz magazine and Amy Sedaris; body image in relation to her self-portraiture, which ranges from naturalistic to over-the-top; and we close with an audio dating profile for Rebecca, where she makes her intentions known and I begin playing a little matchmaker.

Jennifer Dalton, Williamsburg, Brooklyn artist and co-founder of Auxiliary Projects talks about:

Her Williamsburg neighborhood from numerous perspectives, including a breakdown of some of its sections, the re-zoning that has enabled high-rise development and exceptionally high-priced real estate, the fact that she’s been there 20 years, and with her husband owns a row house since 2003 (which she feels privileged to have), from which she’s seen the neighborhood go through numerous changes, where artists are moving-whether out of Brooklyn or out of New York altogether-and what, if anything, can be done in response to the intense gentrification; the project Month2Month, which she co-organized with William Powhida, and was a lottery-based ‘guest living’ arrangement in which people temporarily lived in housing deemed either ‘affordable’ or ‘luxury,’ and open-to-the-public dinners and the like were hosted there; how by co-running a progressive gallery in Bushwick, she’s both part of the solution and part of the problem simultaneously as a culture provider and gentrifier; the ‘smoke & mirrors’ element of living in NYC: people living large, and possibly living beyond their means in the process; how she’s continued to keep a day job over her career, even though there have been periods of a few years where she could have made a living from her work, which turned into a conversation about which artists make a living from their work, and the smoke & mirrors once again applies to artists who she may have thought were making a living, but had some side gig, or family assistance, sustaining them; how she’d rather be a “day job artist” than a “housewife artist;” art fairs, and how she (and we) can alternate between feeling alienated and inspired walking around one, which inspired her “Hello, I’m” piece, stickers with various comments about one’s art fair state that Chicago Expo goers wore in great numbers in 2015; how in the moment, art fair presenters always say it’s going great, and only admit to it going badly the next year; how the one year she and her Auxiliary Projects co-founder Jennifer McCoy had a booth at the Untitled art fair in Miami, they broke even, which is great for a young gallery, but if you count time invested they figured they made 12 cents an hour; “elitism” in its various forms, an exchange inspired one of her images; the ‘confidence’ game, in terms of selling yourself in studio visits, and how in Jen’s experience men are more confident in women in those situations; and we have a spirited debate/concurrence about the use of sales-y words in the studio and in relation to one’s art, and because she refrained from using it, we talk about the “P” word at great length, and why she likes it (and I don’t).