Artist and budding tech entrepreneur Katrina Neumann talks about:
being a resident at NewInc., an art & tech incubator space run by the New Museum, for her project Rivet, a web platform for creatives to find opportunities faster and easier, which she co-founded with two partners; Rivet’s startup logistics, including paying a web developer most of the modest money they’re currently pulling in via Patreon and a grant, and what they would pay themselves if and when they have a more ambitious budget; her ambition to create a moral company that pays both its creators and its employees market fair salaries; her first project, Rate My Artist Residency, which was born out of a residency in Berlin in which she slept with a knife under her bed, and eventually led to a platform that provides transparency towards what residencies worldwide are actually offering; using her platform(s) to promote thinking locally, as opposed to an artist feeling the need “to go to India to do a body of work…unless you really need to;” her work as director of Kent Fine Art gallery, a program that really fit her more socially conscious sensibility; taking a break from her own work thru a combination of burnout, wanting to focus on Rivet and to create a lifestyle for her job work, and her artwork, that’s sustainable; and how she firmly believes that boredom feeds creativity.
MASS MoCA curator Denise Markonish talks about:
The immense size of the museum (300,000 sq. ft.), including the football field-sized main exhibition space, and how despite its being three hours from the big cities (NYC, Boston…), it gets tremendous attendance- the parking lot’s full even on weekday mornings; how half of her time is devoted to the road, having conversations w/artists in their studios, and prompting some of them to make work that melds with her exhibition concepts; curating Oh, Canada, a survey of Canadian artists for which she did 400 studio visits across the country over three years, pissing off much of Vancouver in the process (kidding!); working with Nick Cave, whose massive installation was immensely popular with visitors, as well as working with emerging artists at the museum; and she shares the harrowing story of driving to pick up a vintage, cast-iron black-faced lawn jockey for Nick Cave’s sprawling installation.