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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: October, 2019
Oct 26, 2019

Artists’ rights and laws expert and PhD Candidate Lauren van Haaften-Schick talks about:

 Her first big experience with the secondary market via the runaway auction sale of a work by an artist showing at Nicole Klagsbrun – where Lauren was working at the time – and how it set her on a course re-considering artists’ contracts, resale royalties and activism for artists’ rights; how many of the resale royalties going to artists in the U.K., where they actually have a law supporting artists this way, have been on the small side, supporting the premise that resale royalties don’t only benefit big-name artists in big auctions; the Scull Auction of 1973, which marked the first time that contemporary American art was sold in such a brazenly speculative way, and led to a famous encounter between Robert Scull and Robert Rauschenberg; how activism works in artists’ rights in terms of potential redistribution, and ‘smart’ contracts; how big-name artists in the past (Robert Mangold, Jenny Holzer, Hans Haacke) showed up at congressional hearings for artist’s royalties, whereas recent generations of big-name artists have been relatively absent; and the ‘Artist’s Reserved Rights Transfer and Sale Agreement, Seth Siegelaub’s 1971 contract which has had a long-lasting effect in this realm of the art world, despite the lack of awareness of its existence.

Oct 11, 2019

Ann Schnake, an East Bay artist and the co-founder of the Oakland project space Dream Farm Commons, talks about:

Her background as a nurse practitioner before she more formally became an artist, working in very intense environments (emergency rooms in communities with turmoil) and how those experiences affected her generally and left her yearning to become involved in the ‘poetics’ of art; why she continues to choose to live in the Bay Area after living there the majority of her life (she’s proud of its diversity, for one: Alameda County is 2nd only to Queens, NY for having the most diversity in its population), and how Oakland has such a vital history as well as present by way of the people who were pushed out of the area financially but come back to visit; starting to organize art in the county health centers via a program called Arts Change; how going back to school – for an MFA at California College of the Arts – at an older-than-usual age informed her experience, which was very positive as far as what she was able to get out of it, though she couldn’t avoid ageism from many of the younger students, and which she’s experienced in the art world at large, which she theorizes is connected to younger artists’ m.o.’s to stake out formidable peer groups for most effective impact; how she came to found her space Dream Farm Commons, largely because she “always preferred starting my own things…as opposed to applying to somebody else’s,” and the intentions and trials of running the space, which include finding ways to keep the doors open and adapting to walk-in computer thieves.

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