Brooklyn-based artist and gallerist Ryan Wallace talks about:

Living and working in Greenpoint, Brooklyn, and how it’s changed over the 17 years he’s been there, and the precarious rental situation he’s in with his apartment building’s future, and a rapidly rising studio rent; how is exhibition is doing (open for another several days at the time we spoke) at Susan Inglett Gallery- about half sold; art that rises quickly in popularity with certain movements, and the many casualties that result amid just a few artists that stick around; the ‘art fund’ collectors who are looking for the quick score, and how their stock-based buying affects the good collectors, and how collecting is not a get-rich-quick scheme;  the gallery in East Hampton that he co-owns with Hilary Schaffner- their program, their schedule (full-time during June-July-August, tapered to appointment only in the winter), his role in the gallery (he goes into a different mode at art fairs), how much that he had to put up to get the gallery up and running initially (about 17k), etc.;  how he wound up in the Hamptons in the first place, and decided to set up shop there; the difference for Ryan being a dealer at the gallery in East Hampton, where it’s low pressure, very educational about the work, and so on, whereas at the fairs it’s all about commerce, which has taught him that you can’t tailor work to fit the market, because ‘commerce and work cross on their own agenda;’ how some local collectors who have come to 50% of their shows in East Hampton haven’t bought a piece until they were in their booth at a fair; the one time representing at a fair was soul-crushing, when he had to do it alone (which was only at one fair so far); and we have a spirited debate about potential conflicts of interest, as an artist and/or a gallerist, including how Ryan, being an outsider for so long, is now pro-nepotism because he wants to support the artist friends in the scene he’s built around his gallery, and how it’s a case-by-case basis in which, as a business, you ultimately make decisions; and yet how as an artist and a gallerist, he tries to stay away from cross-pollinating directly; and we talk about the Hamptons vs. Montauk, the latter of which has had problems with entitlement mixed with ‘vacation behavior’ which has led to a level of revelry that has had the locals up in arms.

Brooklyn-based painter Kadar Brock talks about:

His non-association with the cohort of process-based abstractionists, and how though you could compare what he does on the surface as similar, he points out that he doesn’t have time to participate in the market-based machine element of it; the studio building he has a studio in and subleases (at a very low $2/sq. foot avg.) to fellow artist tenants in East Williamsburg, and how, in combination with an affordable apartment nearby – part of the fortune one needs to maintain traction as an artist in NYC – has been vital in facilitating his full-time artist career; how artist Bryan Savitz has been in invaluable friend and connection in jobs throughout the art world; how his career turning point came through participating in a group show that was curated into Ross Bleckner’s studio in Chelsea; how he became a full-time artist, by gradually transitioning out of art handling/preparing and in combination with managing the sublease of his studio building made it financially viable; fond memories from his art trucking days; how he was courted by, and eventually came to do business with, his primary dealer, Vigo Gallery in London, which has been a dream gallery relationship for him; his latest fetish: the effects of social media on people and relationships, and how the market reinforces and regurgitates popularity; his passion for fantasy online games, including Dark Souls, where he met a wild punk dude in Detroit whom he now follows on Twitter; his thoughts on the explosion of abstract painting, which he argues comes down to marketing by the powers that by, whether they’re trying to sell abstraction or figuration as the dominant trend, and is ultimately about people trying to make a profit, and yet Brock admits that his being able to paint full-time is indeed connected to that market rise in abstraction; how his type of artmaking involves a process where the decisions are not always conscious but rather evolve slowly out of the process, as opposed to formulaic processes; and how he manages his studio time, which he keeps on a regular daily schedule, by balancing it out with external activities (openings, dog walking, basketball, etc.); and what he’ll be doing while listening to this (his) episode of the show.