New York artist Will Cotton talks about:

His neighborhood of Tribeca, where he and his girlfriend bought a place, and how he’s seeing Chelsea galleries starting to move there; his studio schedule, and how he still allows time to be social and finds the need to be out – including providing face-time for collectors, et al. – even though he’s had gallery representation with Mary Boone since ’99; how he consciously keeps it down to just himself making his work (he does have an assistant, Emily, who handles the desk/administrative duties), because he’s seen artist friends turn into managers more than artists; how he builds his ‘tabletop maquettes,’ and one of his anecdotes in which he got in trouble for the overuse of a root beer waterfall for one his scenes; another anecdote involving discovering something inside one of the cakes from his maquettes, after its long-since dried shell cracked; the genesis of his using live models in his candy scenes, and how that’s both been fruitful and also gotten him into a little bit of trouble for accusations of exploitation; the ‘hedonistic and druggy’ (specifically vodka and cocaine) phase of his life, just prior to starting the candy land-fantasy work that’s become his oeuvre; and his gratefulness for his life in the studio.

Brooklyn-based artist and email scam vigilante Jim Gaylord talks about:

The gentrification in his home and studio neighborhoods (Clinton Hill and Fort Greene in Brooklyn), and the homelessness there compared with the homelessness in his former home of San Francisco, where it’s more visible, and how homeless populations, at least in SF, are not the last buffer of complete gentrification; how Ft. Greene is a historic district, meaning no high rises, and yet all around the perimeter of Ft. Greene high rises are visible, as if his neighborhood were a fortress against development; his earlier studio situation, in DUMBO, when he was with a roommate and painting in his bedroom-cum-studio; his various side projects, including Art Crit Zingers, a collection of harsh criticisms received by artists in studio visits, planned as a book, as well as his extended email exchanges with would-be email scammers; Jim and I perform an actual email exchange he had which he calls ‘Dancing Asparagus,’ which lasted over a month (me as the scammer, he as himself); how one of his ‘non-scams’ that he thought might be a scam was joining the collection of the young autistic adolescent Anthony in London (subject of a This American Life story); how he had a show while still in grad school before he was really ready to show based on some colleagues’ assessment, but managed to come through it unscathed; how he’s seeing more of a focus on figuration than abstraction, a backlash against the zombie formalism trend; how the way people are digesting/consuming art, and even creating it, is through its Instagram-ability; and how he personally uses Instagram.