Art Advisor Lisa Schiff has been in the news over the last two weeks, because of lawsuits being filed against her by clients who weren't given the artworks they paid for, and Schiff has subsequently filed for bankruptcy.
How did this happen? Was there any indication, from the warm and thoughtful conversation I had with her in late 2014, that anything like this would happen down the road?
We re-visit Episode 99, from early 2015.
In Bonus Episode 344, San Francisco and northern Virginia-based artist Alex Nowik talks about:
The art communities he’s been part of in the Bay Area, which have been fruitful for him as a self-taught artist, and how he feels that there are little ‘bubbling’ art scenes that are continuing to thrive around the Bay, whether in Oakland or San Francisco, with young artists; his complicated family background, including a half-Japanese, half-Polish mother who grew up in California, often passing as white (she sometimes called herself ‘Eurasian’) and his father, who was from Poland and escaped the Holocaust through a harrowing series of hidings and passing as a gentile with fake names until he was able to emigrate to Montreal; his ability to distance himself from his parents’ respective traumas; his various day jobs over the years, which he describes positively, particularly working as a gardener; his car-free lifestyle both in SF and in Virginia, just outside of D.C.; and his thoughts on the Philip Guston exhibition at the National Gallery (which he’s seen twice), and how he thinks about the controversy around Guston’s hooded figures in terms of the Jew in America and assimilation.
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Brooklyn-based artist Nancy Blum talks about:
Her relationship with Judaism, both growing up and as an adult, where her exploration of healing and self-soothing from generational trauma, which ultimately connects with her art; her alternative interpretation of the word ‘therapeutic,’ in relation to art-making, how it can be something deeply personal that artists are trying to share; the use of flowers in her work, which was radical when she started using them 20 years ago, and how their use has risen since the pandemic; her experience making it work as an artist in New York City, where she’s settled after many years living and working as a nomad; how artists can now have successful, legitimate careers anywhere in the U.S., and why she’s chosen to live in NY because it meets her needs and she loves it, even if it doesn’t love her; bringing a Buddhist approach to the way she thinks about her work can career, and how important it is for artists to have the tools to deal with discouragement so that they keep going; questioning what defines success for an artist, and how the distorted perceived norms of success and what we should be or have become vehicles of defeat and low self-esteem for artists; how meaningful it’s been for her to make the public art mosaic for the 28th Street Subway station, and how she wants her public works to do the work- healing, bringing joy to people, etc. – for her; her earliest public projects, which got her into making public art; and why university art teaching was unsustainable as part of her career path.