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I don’t quite know how to start this. It feels important to repost this interview because of Hilde.
Hilde Lynn Helpenstein was a kickass human.
“Jerry Gogosian” was a lance aimed directly at our pretensions and self-importance. I, and all of us at Bad at Sports, will miss our fellow traveler.
In this episode of Bad at Sports, recorded at the tail end of a sun-soaked, sweat-drenched, and somehow still magical Miami Art Week, Duncan MacKenzie and Ryan Peter Miller sit down with curator and cultural programmer Esther Park—the force behind this year’s public programming at New Art Dealers Alliance (NADA).
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Recorded live in the blazing Miami heat (seriously, surface-of-the-sun conditions), Duncan, Ryan, and crew sit down with Heather Hubbs, Executive Director of the New Art Dealers Alliance (NADA), for a conversation about art fairs, artist ecosystems, and what it actually means to build a sustainable contemporary art community.
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Chris Succo joins Duncan MacKenzie, Ryan Peter Miller, and Tom Sanford in Miami for a conversation that slides easily from pronunciation jokes into a deep dive on abstraction, immediacy, and the quiet, often unspoken labor of sustaining an art practice.
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Recorded in the sunburnt delirium of Miami, Duncan and crew stumble out of the Midwest and into the heat of the fairs, only to find a familiar sensibility in an unexpected place: Dreamsong. Rebecca Heidenberg joins the conversation to talk about building a gallery ecosystem in Minneapolis that resists isolation and instead fosters dialogue between regional artists and those working in larger art centers…
Recorded live at NADA Art Fair, this episode finds the crew in full fair-mode: cramped booths, warm beverages, and the particular energy of artists, curators, and dealers trying to make something real happen in public. Joining the conversation is Amy Kligman, founder of Special Effects Gallery, a Kansas City–based gallery barely out of the gate and already showing at fairs. Alongside Tom Sanford, the conversation moves quickly from logistics and booth banter into something deeper: how artists carry histories, how objects hold people, and how a gallery can function less like a marketplace and more like a host.
