Los Angeles-based sound artist-artist-musician Chris Kallmyer talks about:

Living in the El Sereno neighborhood of Los Angeles, where he and his wife just bought a house, with the objective of becoming neighborhood citizens rather than investors; how and why an artist like Chris is able to buy a house (a partner with a more stable job situation than an artist helps), and why they chose El Sereno; the freedom of being alternately a sound artist, a musician or an artist, depending on the context; the importance of hierarchy in his collaborative projects, because ultimately there needs to be a final-decision-maker in order for everyone to feel safe; his musical performances, including Paradise Choir at SF MoMA, and a cheese-tasting with musical accompaniment; some of the reactions to his experimental music/performance work, which he describes as abstract but also often involves the public; how he’s gotten his pieces performed in venues such as SF MoMA and LACMA relatively early in his career; and his side gigs to supplement his limited paid sound art gigs, including video editing for friends and playing guitar for a local touring chamber orchestra.


Los Angeles-based painter and sculptor Sarah Cain talks about:

living in Highland Park, and the trials and tribulations she went through in buying a house (with a studio) there; moving to France as a foreign exchange student at 15, with only a year of French under her belt; going to grad school at UC Berkeley, as opposed to the Cooper Union-to-Yale dual track that she thought was the ticket at the time; being a woman who goes after what she wants, and, as a woman in the art world who’s been accused of being too forthright with certain museum curators; her ambition, and how that’s informed her career, including getting out of her Upstate New York hometown; the lack of discovery and experimentation in some art; her reputation while in San Francisco and how it’s changed since moving to L.A. in 2007; the many routes to success in the art world, whether through the work and NOT being an immense socialite, or the ‘fake it till you make it’ approach; her relationship to class, having come from a lower-middle class background, to now frequently being in the company of the 1%; how she works in the studio vs. how she works onsite when doing over-the-top installations; and what she thinks about abstraction in its different forms, including her thoughts on having made it when it was very unpopular, vs. now when it’s become so popular.