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The Conversation Art Podcast

A podcast that goes behind the scenes and between the lines of the contemporary art worlds, through conversations with artists, dealers, curators, and collectors--based in Los Angeles, but reaching nationally and internationally.
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The Conversation Art Podcast
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Now displaying: August, 2018
Aug 18, 2018

In the 2nd half of our long conversation, NYC-based artist Joshua Citarella talks about:

The end of his run making a living from his work – by selling it through galleries and through his and Brad Troemmel’s UV Production House – and his urgency to get a full-time job lined up as soon as possible, only to find that, as a photo re-toucher, the only jobs available were freelance or “permalance;”  our current gilded age of income inequality, which led him to quote Mike Peppe, who coined the term “cloud feudalism”; the precarity of being a freelancer, and how it’s affected his thoughts about artists and their choices, as well as his assertion that the cost and barrier for entry into the art world is so high that it’s almost exclusively restricted to the leisure class, and how the tensions around that divide is particularly apparent on the ground in New York; pieces from his and Brad Troemmel’s UV Production House, which they ran out of Ebay for a while until they were kicked off for the 7th time (for breaching the terms of service); and more about the inequities of the market, especially for those trying to figure out how to make a living, via their artwork and/or otherwise.

Aug 11, 2018

In the part 1 of 2 episodes, NYC artist Joshua Citarella talks about:

Why he grew disillusioned with the art world vis-à-vis the art market, including his having early success but also being part of the ‘pump-and-dump’ market rise and fall between 2012 and 2015; his collaborations with artist Brad Troemmel - who was profiled in a New Yorker article by Adrien Chen, and in which Citarella was also featured – particularly their online marketplace project UV Production House; his thoughts on social media, particularly his wisdom about Instagram, and how artists should aim to be tastemakers rather than following trends that the algorithms like; his hope in using social media (via Meme culture and more) to take down established structures of the art world, and the subsequent hard dose of reality that followed; untangling the concept, or the presumption even, that an artist is a progressive; and navigating the roles of artist and activist, and where an artist can be most productive.

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