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.

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Writer and cultural critic William Deresiewicz, author of The Death of the Artist, talks about:

His motivations in writing the book, largely motivated by dispelling the myth that this (our current internet/social media era) was the greatest time ever to be an artist, as well as trying to understand how artists (not just visual, artists across all fields- writing, music, film & television) were adapting to making art and surviving in an this world; why he strongly believes that not everyone can be an artist; how and why the monopoly on taste has been broken through a more middle-brow level of connoisseurship; how we can’t dispense with the gatekeeper, whether it’s the curator of artists or our listening playlists; artists’ relative comfort (or discomfort) with using social media, which isn’t as tied to age as you would think; the wide variety of day jobs that artists do (including a list of 50 jobs/gigs that Deresiewicz compiled), and the degrees of poverty artists live with; the delicate and complex dynamic of artists walking away from being artists (which is of course very hard to document); the artist Paul Rucker (perhaps the only artist profiled in the book whom I should have heard of) who’s had a wide-ranging and remarkable career; the challenge of finding and working with the ‘typical’ working artist- artists whose careers were coming up but not yet well known; and what a solid work-lifestyle balance looks like for one of the artists in the book, as well as for Deresiewicz himself.