James D. Balestrieri is the Clark Hulings Foundation’s Writer-in-Residence. He is currently working on a new book on Hulings, Clark Hulings: Quantum Realist. Jim is the proprietor of Balestrieri Fine Arts, a consulting firm that specializes in catalogue research and arts writing, estate and collections management, and marketing and communications for museums and auctions. Jim has a BA from Columbia University, an MA in English from Marquette University, an MFA in Playwriting from Carnegie-Mellon, and was a Screenwriting Fellow at the American Film Institute. He served as Director of J.N. Bartfield Galleries in New York for 20 years and has published over 150 feature essays and reviews in a wide variety of national arts publications.

In this episode, Jim gives us an in-depth look at the themes of the upcoming Hulings book, and discusses how Clark Hulings’ career strategy applies to working artists today. Inspired by Hulings’ successes both within—and outside of—art tastemakers’ approval, Jim and Daniel question who gets to decide which artists matter, and how the canon does and does not serve the best interest of the arts, or artists. Hulings’ accomplishments, both as an artist and a small business owner, call to his deeper understanding of the dignity of work—from running a market stall to the act of making a living as a painter—as a way of belonging to the world.

• “Clark Hulings was an American artist. A realist—in a way. He began his career as a very successful illustrator in the golden age of illustration.”
• “The thing that sets him apart is the subject that he found, chose, and made his life’s work. His life’s work is depicting work. Working people in working situations—whether they’re farmers, laborers, whether it’s an urban setting, a village setting, or a rural setting. What he captured was working people at work, doing what they do. And that sets him apart from almost any other American realist of that time.”
• “Lots of people associate Clark with Western Art. [...] But really, the number of paintings he did that could be considered Western or Southwestern is miniscule compared to the numbers of paintings he did in Mexico and Europe. So there’s a whole idea that Elizabeth [Hulings] and I have talked about, which is repositioning Clark Hulings as an American Artist, and indeed, an international artist.”
• “[Hulings] doesn’t really give you a story. They’re not narrative paintings. He moves his easel painting as far from illustration as you can imagine. You see these people working and you wonder what they’re thinking, and what they’re like, and what their inner lives are. But he gives them their privacy.”

• “For Hulings, travel—and if you look at his paintings, you can see it—travel was a way for him to find places. I would use the word 'traditional places,' where the traditions of work and of life were on a long continuum. He seems to be very interested, not only in showing, ‘oh yeah, those women are washing clothes in a street today,’ but in showing that the place around them was a place that had been inhabited for a long time, so that what they were doing was on a long continuum of existence. A kind of deep time. And for those, you’ve got to travel.”
• “There's a whole tradition of travel painting where there are paintings of the famous places: paintings of Notre Dame, paintings of the Ponte Vecchio, paintings of this [or that]...That's not Clark Hulings is about. The first painting that really attracted me to his work is this small painting he did of Naples. And it's this narrow street. Narrow. You couldn't even get a car, one car down there, much less two. And there are deep shadows and the laundry is hanging across it. This is not the Amalfi Coast, this is not some