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).

Artspace editor-in-chief Andrew Goldstein talks about:

His work as e-i-c of Artspace and, since the publisher Phaidon purchased Artspace, his additional role as chief digital content office of both Phaidon and Artspace; how Artspace emerged within months of both Paddle 8 (online auction house) and Artsy (discovery platform), with the emergence of a high luxury commerce space, and how this ecommerce model is in its toddler-hood in terms of growth; and how the art market is lagging behind the audience growth in art; the landscape of Artspace and how its editorial content is the primary source for bringing users to the site; how the big perk of his job is the opportunity to go around the world to art fairs and biennials, being on the ground so he can stay on top of what’s happening in contemporary art; the difference between being a collector going to an art fair (hint: everyone treats you like it’s your birthday) and being a writer at an art fair (when it becomes a trade show); how he convers art fairs, which is like a starting gun going off as soon as you get there, and so he needs to cover, cover, cover, maximizing every single second without really getting a chance to breathe…it was more the “you can sleep when you’re dead” approach when he first started out on the scene; the merits of Belgian collector Alain Servais, who Goldstein describes as an art advisor and a collector combined; how he sees the same people at art fairs over and over and over again, and yet such a large profusion of them that it’s hard to keep straight who many of them are…there are the friends, the sources, the dealers and artist you respect and admire, and then the people you don’t know who they are, but they say hello to him and he says: “hello, nice to see you again;”  the art “market” (small) vs. the art “audience” (immense); how his approach to covering art fairs is to actually cover the art itself, by really diving in and wrestling with each given work (as compared with most coverage which talks about who’s buying what and for how much, etc.); how for many collectors, it’s about the works they buy and what association(s) it gives them access to, including a certain social milieu, as compared with the exceptional collectors who are passionate and uniquely quirky in their own ways; and we talk about his interview with Stefan Simchowitz, the often provocative collector and art world interventionist, who Andrew describes as having a totally worked-out worldview, his business built around addressing the industry’s inefficiencies, and what the fall-out from Andrew’s article was (hint: it was an interesting phenomenon).

For this episode, we reunite several members of the late Michael Asher’s Post-Studio seminar class, as portrayed in the 2nd chapter of Seven Days in the Art World under the title, “The Crit,” which took place in the fall of 2004.
Fiona Jack, now back in New Zealand and one of the students presenting work that day, is the first part of the episode, followed by a group conversation with Josh Stone (another of the three students who presented), Julie Orser, Phil Chang, and, by phone from Brooklyn, Nate Harrison (www.nkhstudio.com).

The Conversation revolves around both the influence and legacy of Michael Asher through the class, and what it was like being involved in these marathon crit sessions, in which an individual crit could go for five hours, while a day with three students presenting typically went from morning until midnight and sometimes later.