Fred Eversley’s lenses and mirrored forms reflect and refract the world, and our place within it. Eversley hit his stride with his primary mode of working at the same time the Light and Space movement gained momentum in Southern California. Yet unlike his Light and Space and Finish Fetish peers who often collaborated with scientists and outsourced fabrication of their work, Eversley’s firsthand technical understanding as a scientist himself (Eversley came to Southern California in the 1960s to work as a consulting engineer for NASA and his early career was spent with United States’ largest aerospace company during that period–Wyle Labs in Los Angeles) enabled him to utilize materials in ways that uniquely position his practice.

Teresita Fernández’s work is characterized by an interest in self-reflection and conceptual wayfinding. Her immersive, monumental works are inspired by a rethinking of landscape and place, as well as by diverse historical and cultural references. Often drawing inspiration from the natural world, Fernández’s practice unravels the intimacies between matter, places, and human beings. Her work questions power, visibility, and erasure in ways that prompt reflective engagement for individual viewers.

Fernández is a 2005 MacArthur Foundation Fellow, the recipient of numerous awards, and was appointed by President Obama as the first Latina to serve on the U.S. Commission of Fine Arts, a 100-year-old federal panel that advises the president and Congress on national matters of design and aesthetics.

She and I discuss not being a specialist, emptiness, sustainability, what lives inside of us, landscapes, vulnerability, indigenous thought, silence, not needing to hide the story, trusting your instincts, mothering, and seeing yourself in something that is not you.

Sanford Biggers creates hybridized forms that transpose, combine and juxtapose classical and historical subjects to create alternative meanings and produce what he calls “future ethnographies.”   His work is an interplay of narrative, perspective, and history that speaks to current social, political, and economic happenings while also examining the contexts that bore them. His diverse practice positions him as a collaborator with the past through explorations of often-overlooked cultural and political narratives from American history.

Leo Villareal works with pixels and binary code to create complex, rhythmic compositions in light. His goal is to create a rich environment in which emergent behavior can occur without a preconceived outcome. His work is focused on stripping systems down to their essence to better understand the underlying structures and rules that govern how they work. He is interested in lowest common denominators such as pixels or the zeros and ones in binary code. The resulting forms move, change, interact and ultimately grow into complex organisms that are inspired by mathematician John Conway's work with cellular automata and the Game of Life. On March 5, 2013 Villareal inaugurated The Bay Lights, a 1.8-mile-long installation of 25,000 white LED lights on San Francisco’s Bay Bridge which has since become a permanent installation.

In April 2021, Villareal completed Illuminated River, which unites 9 bridges in central London into a single, monumental work of public art.

He and Zuckerman discuss different types of public art, connecting the flow state and creativity, circularity, being a beacon, personal and family history, NFTs, and yoga!

Fred Tomaselli’s work reveals a uniquely American vision. Growing up in Southern California, he was influenced by both the manufactured unreality of theme parks and the music and drug countercultures of Los Angeles during the 1970s and 80s. His distinctive melding of these traditions coalesces in an updated, personalized, folk-driven vision of the American West. Tomaselli amasses pills, herbs and other drugs, along with images of plants, flowers, birds, and anatomical illustrations carefully cut from books. Pulling from this visual archive, Tomaselli creates baroque paintings that draw upon a range of art historical sources and decorative traditions—like quilts and mosaics. Combining these unusual materials and paint under layers of clear epoxy resin, Tomaselli’s paintings explode in mesmerizing patterns that appear to grow organically across his compositions in a multilayered coexistence of the real, the photographic, and the painterly.

Robert Nava draws inspiration from sources ranging from prehistoric cave paintings to Egyptian art and cartoons to create hybrid monsters populating a mythical contemporary world. Rendered through a raw, energetic mixing of spray paint, acrylics, and grease pencil, his large-scale paintings of fantastical beasts exude a playful candidness that defies the pretensions of high art. An MFA graduate from Yale University, Nava builds on the gesturalism of Cy Twombly and Jean-Michel Basquiat.

This week on my podcast “Conversations About Art” we are reissuing one of our earliest—recorded in October 2019–when I spoke with artist Seth Price. Price in addition to making paintings has designed a fashion line, written a novel, and made music.

Mike Kaplan is President and CEO of Aspen Skiing Company for the last 17 years. He recently announced that after 30 years with the company, that the 2022-23 winter season would be his last at the helm of the organization. Together he and Zuckerman in a completely unprecedented, brave, and innovative way collaborated to place art by world renowned contemporary artists on all lift ticket products and to integrate art into the company in unexpected places and ways.

Tamar Zagursky was born in Beer-Sheva, Israel in 1975 to an Israeli born Engineer father and an American born English teacher and translator mother. She grew up in a small town in the Negev desert and Zagursky served as a tank driver in the Israel army. From 2002 to 2020 she was the Director of Sommer Contemporary Art in Tel-Aviv, one of top galleries in Israel, curating exhibitions and representing the gallery at art fairs all over Europe and the United States. In 2029 she began to manage the studio of Guy Zagursky, a renowned Israeli sculptor and her husband. She also launched SIDDUR, an innovative line of Contemporary Judaica, all designed and produced by Guy.

She and Zuckerman discuss Judaica (ceremonial objects used in Jewish rituals), working with your life partner, organizing a table, female entrepreneurs, courage, contemporary spirituality, the value of awkwardness, and being a working mom in the art world. 

Christopher Y. Lew is Chief Artistic Director at Horizon Art Foundation and Outland Art. He has over fifteen years of experience working at American museums and arts nonprofits. He is a former curator at the Whitney Museum of American Art where he oversaw the emerging artist program and was co-curator of the 2017 Whitney Biennial. At the Whitney, he organized Pope.L: Choir (2019), Kevin Beasley: A view of a landscape (2018), and mounted the first US solo exhibitions for several artists. Prior to joining the Whitney, he was assistant curator at MoMA PS1. Lew has contributed to publications including Art AsiaPacific, Art Journal, Bomb, Huffington Post, and Mousse.

He and Zuckerman discuss art as a window into another world, spending time with things we don’t yet understand, being entrepreneurial, doing curatorial work in museums, being a parent, NFTs, transformational invitations, slowing down, and why should anyone care.