Mark Bradford: You know, I grew up in a hair salon.
Nell Zink: People with magazines. Different world.
Bradford: Well, the climate was right for the story.
Zink: They’ll buy it. Because warthogs are just not polite. (laughs)
Bradford: They show you what they want you to see and then you have to kind of disappear on your own and start talking to other people. So I grabbed my backpack and wandered.
Zink: I moved into this dark room and never looked back.
Bradford: It blew my mind. I had to get out.
Zink: I tended to take sort of an ethical view of bands and their songs, but nobody wants to hear that, so I thought I could analyze and assess animals based on their ethical qualities.
Bradford: Often people just want the easy narrative.
Zink: Either that or it's some impenetrable prose poem full of modernist experiments I can't make head or tail of, which I'm expected to like and be interested in because I'm arty.
Bradford: Oh, shut up.
Zink: Nope. You asked why I moved to Tel Aviv.
Bradford: I’m pretty fluid. It's like trying to make a movie in the fast lane of the Santa Monica Freeway with the top down.
Zink: The reduction in the cast of characters makes things more dramatic, and that's what Philly anarchism is like.
Bradford: I wanted to extend this conversation into something I call urgency.