Read The Warhol Economy: How Fashion, Art, and Music Drive New York City by Elizabeth Currid Online

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Which is more important to New York City's economy, the gleaming corporate office--or the grungy rock club that launches the best new bands? If you said "office," think again. In The Warhol Economy, Elizabeth Currid argues that creative industries like fashion, art, and music drive the economy of New York as much as--if not more than--finance, real estate, and law. And theWhich is more important to New York City's economy, the gleaming corporate office--or the grungy rock club that launches the best new bands? If you said "office," think again. In The Warhol Economy, Elizabeth Currid argues that creative industries like fashion, art, and music drive the economy of New York as much as--if not more than--finance, real estate, and law. And these creative industries are fueled by the social life that whirls around the clubs, galleries, music venues, and fashion shows where creative people meet, network, exchange ideas, pass judgments, and set the trends that shape popular culture. The implications of Currid's argument are far-reaching, and not just for New York. Urban policymakers, she suggests, have not only seriously underestimated the importance of the cultural economy, but they have failed to recognize that it depends on a vibrant creative social scene. They haven't understood, in other words, the social, cultural, and economic mix that Currid calls the Warhol economy. With vivid first-person reporting about New York's creative scene, Currid takes the reader into the city spaces where the social and economic lives of creativity merge. The book has fascinating original interviews with many of New York's important creative figures, including fashion designers Zac Posen and Diane von Furstenberg, artists Ryan McGinness and Futura, and members of the band Clap Your Hands Say Yeah. The economics of art and culture in New York and other cities has been greatly misunderstood and underrated. The Warhol Economy explains how the cultural economy works-and why it is vital to all great cities....

Title : The Warhol Economy: How Fashion, Art, and Music Drive New York City
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ISBN : 1681020
Format Type : ePub
Number of Pages : 383 Pages
Status : Available For Download
Last checked : 21 Minutes ago!

The Warhol Economy: How Fashion, Art, and Music Drive New York City Reviews

  • Ms. Rocket Pie
    2019-02-02 12:33

    Elizabeth Currid took on an ambitious project in attempting to draw attention to the vital nature of culture and arts to the life of the economy. She offers compelling statistics and studies that point to the relevance of the arts to the backbone of the New York City. The significance of third spaces in creating an environment for art to thrive and thus the economy to thrive is a summation of her thesis; unfortunately hundreds of anecdotal stories of happenstance meetings begin to drown out the weight of her analyses. Despite the obvious academic approach in The Warhol Economy its redundancy never lost a certain juvenile feel. Throughout nearly 200 pages a case is built for the artists of New York. The arts are identified as a building block capable of rivaling the traditionally regarded economic engines such as law and finance. As New York’s economy moved away from production, creativity became the foundation for the thriving metropolis. The interdependent nature of the arts is established and therefore the vital role of third spaces as a catalyst for further growth. In light of this Currid identifies gentrification as one of the factors currently threatening the success of artists. Her solution to this particular obstacle is for the city to offer subsidized housing and work space; her idea's for propping the art world are vague and incomplete. Her book is weakened by the lack of engagement with people who haven’t “made it.” Ignoring this sector of the art industry creates internal contradictions, as these are the people she ultimately advocates for. The definition of “making it,” is also susceptible to criticism. Pop culture becomes the avenue for evaluating the art world’s success, and the commodification of art becomes a crowning point in art careers. Currids attempt to draw attention to the value of art, the nature of art productivity, necessary elements for success and threats to the art world, sends valuable messages to those who would trivialize the mathematical importance of culture. The magnitude of creativity as a building block is one that stands beside the power of law firms and financial institutions. However, this position is not presented in a concise or engaging manner that allows for influential persuasion.

  • Andrew
    2019-02-07 06:15

    In her Acknowledgments, Currid thanks the editor who agreed to publish her book after reading the first draft of the first chapter. I think he exercised poor judgment.

  • lilly
    2019-02-06 06:19

    Currid asks famous artists why they've made it. Not surprisingly, they give similar answers about being in the right place, working the network, doing work with substance judged by the world's best critical audiences. Currid reheats these answers, stitches them together in friendly prose, and serves it up as a Princeton University Press book. (I almost wrote Princeton Review there. Freudian slip.) She assumes too much and ignores too much. She assumes that NYC is the center of global cultural production. Actually, it's the center of cultural production she thinks is the best, but most of the world is wearing clothes made in places far far from NYC. NYC is worthy of study without the ethnocentric and elite assertion of its centrality. She also assumes that what is good for consumption expenditures is good for NYC. What about the availability of well paid work? Of accessible urban spaces? Surely urban planners have more to think about than boosting their booze consumption or investing in super luxury industries. Not everywhere wants to be NYC. She doesn't talk about unpaid interns. She doesn't talk about class. She doesn't talk about race or ethnicity or English fluency and how that shapes access to the art scene. She certainly doesn't talk about herself as a thin, white, fangirl and how that shapes her access to the art scene. On top of all that, she cites Bourdieu as if his "field" analytic is just the same as her "scene" analytic, but she ignores precisely what the point of field is for Bourdieu -- a space of positions within a field, the rules for action in the field, the stakes at dominating in a field, and the competitive negotiations by which people try to become dominant within it.

  • Andrew
    2019-01-18 05:21

    Early in Elizabeth Currid’s fascinating, if sometimes repetitive, exploration of New York's cultural and nightlife scenes, she quotes writer Frank O’Hara, who wrote, “I can’t even enjoy a blade of grass unless I know there’s a subway handy, or a record store or some other sign that people do not totally regret life.” This sentiment is widely shared by the many artists, designers and night club owners Currid interviews (including Quincy Jones, Michael Musto, Diane von Furstenberg). They prove Currid's point: culture drives New York's economy.

  • Mirabelle
    2019-02-08 06:31

    Currid, E. (2007). The Warhol Economy: How Fashion, Art, and Music Drive New York City. Princeton, NJ: Princeton University Press. In the Warhol Economy: How Fashion, Art, and Music Drive New York City, Elizabeth Currid provides a critical analysis of culture, art and consumption in New York City. With many examples and data she has collected, Currid allows one to understand why New York City is seen as the place for creative and cultural destination. Her argument holds that the arts and culture are the source of the city’s greatest competitive advantage over other urban centers. In her book, she explains the importance of cultural producers, which are individuals who make art for consumption whether within their specific art world or without and how with their assistance as well as the artist social life, this is what makes the culture move. Based on this premise, Currid theorizes that a culture economy is only productive if artists as well as cultural producers are in the right scene at the right time, creating a brand for themselves and networking, which at the end will lead to success. According to Currid, the success of New York City’s cultural economy is dependent on the various opportunities available for artists, such as nightlife activities. Currid’s analysis focuses on how a creative culture can flourish and the different ways public and private organizations tries to foster the arts. She does that by specifically looking at the role and functions of the arts in New York City. The first chapters of The Warhol Economy introduces Currid’s themes and provides a brief explanation of the history of New York City as a cultural center. She provides a great overview on the cultural economy and provides an example that really defends her claims. Currid explains the life of Jean Michel Basquiat as an example to prove that her theory of becoming successful in the art world is possible if one follows the methods she lays out in her book. Basquiat was an American artist, who began as a graffiti artist in the lower East Side of Manhattan. He moved to the downtown scene at the age of eighteen. He constantly frequented creative places and made himself known to the people that attended these places. Basiquat interacted with cultural producers and wanted to be successful from art. His ultimate goals was to reach fame but through his artwork. Jean-Michel Basquiat is a prime example of what Currid’s book is all about. Currid in her book spends a large amount of time discussing on how to ultimately become famous in the art world. She touches upon branding but also nightlife, which is where artists have the opportunity to interact and become involve in great dialogue, which can lead to many opportunities. Therefore, Currid argues that we should see the arts as not just an amenity or added attraction to New York City, but as one of its vital economic sector.Furthermore, Currid in her book, really digs deep in explaining why New York is seen as a built environment. First, she says that the clustering of neighborhoods helps for better exchange of ideas. Currid defends this claim by quoting Howard Becker, who says, “creative don’t just come to NYC because of creative cultural, they come knowing their creativity has a chance at making them successful”(9). New York City is the king of the art world. During and after both World Wars, the United States was able to monopolize art markets. Since the wars did not touch USA, many artists came to New York City to create art. Most artist and cultural producers came to New York and established themselves in Lower Manhattan, which was the center of the new urban economy. These creative individuals situate themselves in social realms. Currid calls these individuals “tastemakers”. Therefore, for her, nightclubs and other social venues in the meatpacking districts are places where cultural producers take part in the nightlife to interact with individuals from different levels of the cultural economy. Some artist attend different galleries not for the artwork, but to network, to describe their craft, and one day display their work at a particular gallery. For Currid, hanging out is beneficial because it has positive and social economic outcomes. An artist can potentially meet someone powerful who may want to invest, which will help take his or her business to the next level. Currid is not only explaining the importance of place, but also justifying the concept of place playing an important role in the creative consumer centers of the city. In the last chapters of her book, Currid talks about branding and networking. Even though this discussion is targeted to individuals in the art world, after reading, I felt Currid points were facts that people in all occupations can take with them in being successful. She wants people to always ask themselves internally, how do you want to be remembered? How do you constantly leave the image of your craft and skills in someone’s head? In relation to the art world, social interactions are essential to the production system and continue the cultural economy. Since the creative world is small, it is significant to know everyone for the sake of professional longevity, which in the end can make you more money. For Currid, mastering the skills of branding and networking leads to innovations, creativity, collaborations, and more possibilities. Overall, in terms of her writing style, I really appreciated the use of sources and modern day examples that Currid used because I believe it attracts a wide range of people and allows her audience to relate in one way or another. I believe that her use of secondary sources were effective in her text because she used these sources to display the popular discourse concerning her main points, which allows her audience to establish a full and clear picture of what the art world is like and the potential success of the cultural economy if following her methods. Currid’s writing style was clear and concise throughout the book and her use of personal anecdotes contributes to the book’s conversational tone without being overly informal. I really enjoyed reading this book and relating it to my experiences that I have come across while establishing myself in my career path and realizing some steps that I can take to be successful. The Warhol Economy brings about debates on cities and the creative economy that continues to be prevalent in New York and across the United States on why art and where it is placed is crucial to those who create it.

  • Mu-tien Chiou
    2019-01-30 06:41

    excellent topic and approach weakened by her literary execution.Highlight: New York's unique preeminence as a global city come from its cultural economy (rather than business clusters).“[Creative] industries operate horizontally, engaging with each other through collaboration, sharing skill sets and labor pools, and reviewing and valorizing each other’s products — and much of this often begins in the informal or social realm. Film directors and musicians hanging out at SoHo House or the Metropolitan Museum’s Costume Institutes’s annual gala that mixes high fashion with high art and has every A-list celebrity, designer supermodel and tastemaker in attendance. Creativity is so fluid that cultural producers from one industry move seamlessly into another (e.g., Claw as graffiti artist and fashion designer; Beyonce and her boyfriend Jay-Z as hip-hop superstars and fashion designers).”(Chapter three)Times of economic recession (as in the 1970s and 1980s for NYC) became chances for the concentration of artists, musicians, fashion industry specialists, and the media industry (writers, illustrators, editors, publishers): rent and other living expense became cheap. On the other hand, more recent real estate price increases and gentrification is making it more challenging for the them to form living clusters in the city.Cultural clusters work at the micro level whereby people cross over related industries through collaboration and idea exchanges .Artists, musicians, fashion designers, and their media supporters and critics run in the same social circles and gather at those 'third places' (attending the same gallery openings or indie band concerts, and frequenting the same night clubs).

  • Eric Miller
    2019-01-25 06:26

    At the time he turned forty the painter Martin Johnson Heade had yet to produce a distinguished painting. In 1859 he rented a studio in New York 's Tenth Street Studio building and changed his fate. His contact with other members of the Hudson River School radically improved his work. Unfortunately Heade later moved to Florida and was all but forgotten. New York wasn't the center of the art world in the 1850s it is today, but Heade's story shows that New York was well on its way to being a place where people make things happen. In turn, the city makes people happen. MORE: http://www.newcolonist.com/br-currid....

  • Jbryon
    2019-02-02 06:25

    It was so-so. Currid is obviously having fun. The quotes are really great, but there are a lot of them and they don't always express the point Currid is trying to make. They are also often too similar in sentiment from interviewee to interviewee. The numbers are no doubt compelling but there was little meat joined to those bones. More research was needed in this department. She will undoubtedly be published again -- The Warhol Economy generated bountiful buzz -- and her next work is sure to reflect a more mature writer and economist.

  • Alejandro
    2019-01-26 07:15

    El punto del libro es que la vida social y los lugares en dónde ocurre (bares, restaurantes, antros, etc.) son espacios importantes para el funcionamiento de las industrias creativas. La información que aporta es limitada y ejemplifica con unos pocos artistas y creativos. La prosa es entretenida y bien estructurada.

  • John
    2019-02-04 11:22

    I liked this more for its cultural/economic history of NYC, from the 60s to the late 90s, which is fascinating. There isn't a big lesson or deep thought in this book, though... it's the details of the story that make this interesting.

  • Evan Corey
    2019-01-29 07:27

    Interesting, but obvious. The most useful chapter was the last (Chapter 7). The rest is extremely redundant and often states the obvious.