L.A.-based painter Davyd Whaley Foundation director Nick Brown talks about :
Quitting all his teaching jobs in favor of bartending while in New York because he needed to be making significantly for the high cost of living; how he got his current day job as director of the Davyd Whaley Foundation, which gives artist’s grants in the Southern California region, and what the job entails; how his being involved in the jury process has made him more sympathetic to artists who apply, advocating for prospective grantees; how he’s found artists in L.A. to be more generous in sharing opportunities than he experienced while in New York, and how he really likes to making art world introductions; his career successes and struggles, and how he sees the Whaley grant for emerging artists as a way for them to get a boost of recognition and advances their career; how he’s maintaining his UCLA extension teaching job in addition to being the Foundation director because he loves teaching so much, despite its challenges; how he sells his work, both to collectors he’s been able to cultivate without a gallery, as well as small watercolors on Instagram; the story of when a collector rang him up out of the blue and bought $10k of his work at a moment when he was really hurting financially; and how he applied to New American Paintings two years in a row with the exact same work, getting in the 2nd time (because it was all about the viewer, he said--not the work).
ᐧCanadian but now Berlin-based artist and software engineer Sarah Friend talks about:
Living in Berlin as an ex-pat among an ex-pat community so large that it tends to keep her and others from properly integrating into a big German city, and yet the Ven diagram of her kind of people - artists and people in tech - is in full force there; her day-job projects vs. her own art projects, which sometimes have a little overlap (she’s working on a Universal Basic Income-based cryptocurrency called Circles as a recent paid gig, for example); how she got started in software engineering (on her own, self-taught, early-20s), born out of her disillusionment with the class realities of the art world vis-à-vis her fellow graduating art students, as well as needing paid work coming into the great recession job market, and becoming an Occupy-er; her Remembering Network, an interactive digital memorial to all the species that are reaching extinction; and the existential questions, in light of that piece but other works she makes as well: when does something become art, and when does it not? And the way she sometimes she’s her art-making as having an extra limb: it would be a phantom limb if it were somehow taken away.