the team got fancy to attend a special
evening with a lecture on
The Warhol Economy: How Fashion, Art, and Music Drive New York City [Hardcover]
by Elizabeth Currid (Author)
From Publishers Weekly
In detailing the inner workings of New York's creative industries-ostensibly to demonstrate what policymakers ignore when their appreciation for art begins and ends at the museum-urban planning Ph.D. Currid gives readers an eagle-eyed look at the networking mechanics of the art-as-business crowd. Colorful description abounds, as do colorful characters, such as "petite, personable" Claw, who "has clothing lines with Calvin Klein and Ecko, and is the fashion editor for the indie magazine, Swindle," as well as "one of the most celebrated female graffiti artists of all time." Using Claw's success to illustrate "three important characteristics of the cultural economy"-"unique and symbiotic" inter-industry relationships, rapid commodification of cultural goods and multiple streams of self-generating buzz-Currid is at her lucid best. Unfortunately, the policymaking conclusions she draws are weak; Currid doesn't get very far beyond admonitions to stop "shutting down nightclubs" where the art community connects and instead to support, publicly, "ways in which this artistic and cultural environment is reinforced." Funding for cultural organizations such as GenArt are discussed, as are tax initiatives and artist living subsidies, but Currid doesn't take into account the examples of other cities, like Providence, RI, that have already taken such steps; thus, Currid's blanket statements about the state of urban affairs, and her vague recommendations to improve it, aren't nearly as convincing as her vivid cultural reportage. 25 halftones, 22 line illus.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Review
[Currid] describes the organic, informal, social networking side of the creative arts in a mixed tone of Rolling Stone new journalism and objective reporting that serves to advance her central thesis: that as an independent drive of an urban economy, the arts and its related industries should stop being viewed as the beautiful step-child of city environments.
(Susan Gardner Daily Kos ) 
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