Investing in Creativity: A Study of the Support Structures for U.S. Artists (2003), an Urban Institute publication authored by Maria-Rosario Jackson, Florence Kabwasa-Green, Daniel Swenson, Joaquin Herranz, Jr., Kadija Ferryman, Caron Atlas, Eric Wallner, and Carole Rosenstein, sheds light on the economic and employment situation of individual artists in the United States following the cessationRead More
In late September 2011, I started following Occupy Wall Street’s (OWS’s) Arts and Culture committee with the goal of understanding, and critiquing, its organizational structures for a Createquity article. However, I soon found that the same way the movement as a whole resists neatly following one set of demands (though its anti-corporate greed and incomeRead More
The impact of public art seems harder to measure than almost anything else imaginable. Some have tried anyway. Here’s what they came up with.
The term “site-specific” is ubiquitous in contemporary visual art organizations. For art historian Miwon Kwon, the term encompasses projects that are linked not only to a physical location (like a sculpture installation designed for a particular gallery), but to a specific community and its cultural traditions and values. Can we also apply the term “site-specific”Read More