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Lorna Mills and Sally McKay
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Some of you, like me, might choose to skip the occasional episode of the sassy-but-self-effacing-art-dudes-in-Chicago podacst, Bad At Sports. But here are two 2008 episodes that I very much enjoyed...when I listened to them for the first time yesterday.
Episode 167: Art Fag City is Paddy Johnson
Paddy Johnson, of course, writes a brilliant blog in NYC. Duncan does a good long interview with her, mulling over the ins and outs of her impressively committed blog practice and the pros and cons of online art criticism. I had to laugh when she said she edits non-sequitors from her comment threads. Over here things work more like word association football.
Episode 160: The All Canada Show
Duncan goes to Calgary and interviews MN Hutchinson who, in about 40 minutes, gives the most coherent and up-to-date account of the history of Artist-Run Centres and their impact that I've ever heard. Here's a bit where they are both discussing Duncan's earlier question, "Going forward, who do the Artist-Run Centres serve, what community are they serving, what does the future look like for Artist-Run Centres?"
[...]
Duncan: There is always a class of artists that exist in every city and every country that don't ever professionalize. They make a decision that they don't want to teach, and they don't want to be a gallery stable artist. They just want to do what they do, and they would rather work as a tech in an AV department, or they would rather sell stocks in their daytime, or they would rather sell shoes, or be a dentist and still make really interesting, really viable contributions.
HN: Yeah, that's exactly my point. [The Artist-Run Centres] build a kind of community, something that's really vibrant, and feeds back into those people that do choose to make it a career. I think its important for that stuff to get out there so that they don't think that there's only six people making art in Canada, and are only judging themselves against that. There is a kind of competition factor. How do you compete with somebody that can afford to not have to make a certain body of work on a regular basis, but can really just do something out of left field? And that influences the conceptual structure of the work that's being done everywhere. And what is that? That's really going back to the roots of the Artist-Run Centre beginnings.