Hudson River Valley-based artist Anne Lindberg talks about:

Her relatively new (as of 2+ years) home in the Hudson River Valley, after having spent 28 years prior in Kansas City; her roots in Iowa City, where her mom was an artist and her dad taught at the University; her and her husband’s decision to move from Kansas City to Ancramdale, NY, partially engineered through their pied-a-terre on the Upper West Side, which her husband moved into when he started teaching at Parsons School of Design; her unusual home and studio setting, surrounded by farms, and how the move to rural New York has been a clarifying process in terms of her priorities and the downsizing of possessions; how because of her relative remoteness, especially in relation to NYC, studio visitors need to make a day of it, between the roundtrip train ride, ride from the station, and taking a walk in the neighborhood, in addition to the studio visit itself; how the Hudson River Valley in general, though particularly its light, which she describes as both amber and seeming to come from the side, affects her work; her unique process of using a 10-foot-long architectural parallel bar on a 10-foot vertical table that raises and lowers on an electric wench; how pivotal her participation in the Omi Residency Program was for her work; and the whole world of farmers in her rural neighborhood that have opened up a new community for her.

Brooklyn-based painter Stephen Westfall talks about:

Living in Brooklyn (Red Hook), where the rent on his loft will soon be going up 18%, and how he’s considering living elsewhere in the city, or possibly New Jersey (since he teaches at Rutgers); the crazy real estate market, via shell properties and so on, yet how their might be a tiny glimmer of hope; how his best year of sales, in 2011/12, allowed him the opportunity to purchase a cottage upstate, but since his income has dropped since then his margins are on the tight side (which is noteworthy considering something as basic as getting rid of a dying tree on that property could be a serious expense); his coming of age in San Francisco as an anxiety filled youth, and his subsequent emergence as an artist via UC Santa Barbara’s College of Creative Studies, where he began as a literary major; and we launch into a spirited debate about abstraction, including Stephen riffing on the ambiguity between figuration and abstraction; the ‘Big Bang’ of painting, starting with representation and eventually leading to, after five centuries, being about painting itself, and abstraction as the next ‘Big Bang’; that there’s “abstract painting because there are more things to paint abstractly,” also known as ‘shark’s teeth,’ in which “the more things you have, the more spaces you have between things”; the willingness to have a suspension of belief, and how, unique to painting, it is both an imagined space and a thing at the same time; and how he didn’t go to openings for 10 years after a painful breakup with a fellow artist, and how, in turn, he learned that legends in the art world can be created just by not going out to openings for a while.