A podcast featuring both one-on-one and three-way roundtable conversations with contemporary artists, dealers, curators, and collectors--based in Los Angeles, but reaching nationally and internationally.
Profound effects on the art market, ‘Rich-Kid’ art, and a painting of a polar bear
In this OLD NEWS-oriented episode of the show, I talk about:
Immersive art exhibits, which are booming, much to my chagrin; a follow-up on the art world’s ‘ponzi-like scheme' involving a new participant, “Rich-Kid art,” effects on the art market in both the UK and the U.S. through new laws and regulations, a union formed at Pasadena’s Art Center, reconciling NFT’s with their environmental footprint (and their financial decline), and a painting of a polar bear in the Royal Academy’s Open Call.
Working as an artist's assistant, learning to pay attention, and dedication to the process- James Griffith, part 2
In the 2nd part of our conversation, James and I talk about: working as an assistant for various artists, including making large-scale paintings for other artists, and wanting to be credited for his work, with a title such as “lead painter,” something that officially acknowledges his contributions; and meanwhile, how important the process of the making is to his own work; the things that keep James up at night, from the climate crisis to worldwide political bifurcation…basically, “human tragedy is running deep…;” further connecting collectors to his work through his artist talk at his recent show; a story he accidentally left out from his talk, that has to do with searching for enlightenment; buying a piece of land in the canyons of Malibu, which became an education in native plants and paying attention to the landscape (his wife is now a landscape designer emphasizing native plants); and how the person he’d like to emulate is not an artist but rather a zen master or the like, someone who lives as fully as possible.
James Griffith, L.A.-based painter, on painting with tar, and re-building his home, studio, and outdoor amphitheater- part 1 of 2
Altadena (in L.A. County)-based artist James Griffith talks about:
Discovering the town of Altadena, where they first bought a house, and then a studio building, formerly Altadena’s fire house, back in 1999, and fixing them both up from tear-down conditions; being connected to nature while also being in the city, and not ever buying into owning a cell/mobile phone (although he does use an iPod, which he can text with); having renters in both the converted garage at their home, and in a section of their studio building, providing he and his wife with more freedom to make their art without needing ‘the monthly nut;’ working with tar as his primary medium, which he’s done for well over a decade and gotten a lot of mileage from one 5-gallon bucket of the stuff; and his and his wife’s decorative/faux finish painting business, which his wife launched in the 80s, and allowed them to buy their fixer upper house and studio building.
Epis. 319: Sarah Thibault, S.F.-based artist, on residency hopping, conversing with ghosts and the Fairchain
San Francisco-based artist Sarah Thibault talks about:
How she’s the last artist in S.F., or at least so it seems; a ghost encounter she experienced in Edinburgh (Scotland), as well as her engaging in Tarot cards and other new-age spiritual pursuits, largely as a byproduct of the pandemic; her experiences going to a range of artist residencies, from remote ones with just a couple fellow residents in Portugal, to a more professionalized one at Plop in London; the Minnesota Street Project, a subsidized artist studio and gallery complex in SF where Sarah has a long-term lease at ‘below-market rate,’ and the barriers for entry there; her transition from working in executive assistant jobs to becoming a recruiter; and we talk about my concerns about Sarah’s giving me a tarot reading (and spoiler: we eventually do one in a bonus episode to come).
Andrew Russeth- art writer formerly in New York, now living in Seoul, South Korea
Freelance art writer (often for the New York Times) and past guest royalty Andrew Russeth talks about:
Why he moved to Seoul, South Korea, where he’s expanded his freelance writing opportunities; a book on Chris Burden’s unrealized sculpture projects, which he wrote about for the New York Times- the book includes a one-stop pneumatic subway under the Gagosian gallery; artists using assistants, and the optics that go along with the various levels of production that certain artists employ, for us as viewers of their work; the art scene(s) and community in greater Seoul, which has a metropolitan population of 25 million, nearly half that of the whole country of South Korea; the vast artist-run gallery scene in Seoul; how some of the trends in Korean contemporary art overlap with international contemporary art, including airbrushed figuration, humor, and meme culture; and last but not least, Andrew holds forth on South Korea’s incredible food and drink culture (including Bibimbap and soju), which has been heaven for him.
Epis. 317: museums’ Invisible Labor, and how exhibition rooms are suspensions of common sense- Fernando Dominguez Rubio, part 3
with Fernando Domínguez Rubio, author of Still Life: Ecologies of the Modern Imagination at the Art Museum, he talks about: Storage- how much it takes to maintain it; how museum curators put the longevity of artworks in the context of geological time, when thinking about ‘eternity,’ and how exhibition rooms in museums are effectively ICUs for the art- conditions must be monitored and controlled carefully, because humans, just by their organic natures, are an immediate threat to artworks’ longevity; how exhibition rooms in museums are highly mediated spaces by exhibition designers to control viewers’ experiences; the complex logistics and mimeographic labor that goes into the maintenance of artworks within the museum- where and whether they get loaned, get exhibited, etc.; Fernando’s own experience of violence when he first encountered contemporary art, because, as is the case for most individuals, he didn’t have the grammar for reading the exhibition room; how his working class background, and change in classes as an adult, has informed his focus on the invisible labor at the museum, as opposed to its ‘celebrities;’ and how exhibition spaces have been “conquered for a suspension of common sense.”
Such an amazing podcast - some of these conversations are mind blowing ( Nato !)
Insightful and important
This is a must listen for anyone working in the art world, thinking about it, or simply interested in this sector. The conversations are in depth and transparent.
Great podcast that reflects how artists really really live
Michael Shaw’s podcast is great for hearing about how other artists deal with the daily stuff that all of us wrestle with from ‘making a living’, getting shows, doing residencies, making the most of social media etc. Plus interviews with gallerists, curators and writers reflect the other side of things. A great podcast to listen to while you are in the studio.