My Work: Urban Research for New York City Visual Artists
In June of 2008, I and a partner spent two weeks in New York City researching artists. We spent most of our time in Manhattan, Brooklyn, and Queens interviewing local artists, curators, and art associated organizations. This research was part of the Urban Research and Ministries class in the Intercultural Studies Department of BIOLA University. Our goals for the class were to utilize the basic theoretical perspectives and research tools for a cross-cultural study of the city, develop proficiency using basic ethnographic research tools, understand urban realities, illuminate what God is doing in the city already and how the church can be a part of the plan, and identify points of engagement for further ministry and social action. The product of our research will contribute the toward the International Missions Board’s All People’s Initiative project. It seeks to research the New York City Metro area to create a database and profiles of all peoples in the area, to use those profiles and the research to begin widespread prayer for different peoples in the city, to enlist People Group Advocates who will further advocate, research, pray, and start ministry among specific peoples in the city, and to train People Group Advocates for both churches and individuals.
The purpose of our study, although different in many ways to the ethnic group studies, was similar in conclusion. Our first objective was to understand the defining characteristics and components of New York City artists and how we can classify them as a people group. In doing so, we hoped to get a clear picture of what life is like for a New York City artist. Our second objective was to get an idea of the physical, spiritual, and emotional needs of artists in an urban context. What are the common struggles for artists and how do they handle them? The third objective was to understand the immigration patterns of artists into the city from both foreign countries and other U.S. states. How have artists adapted to New York’s urban environment?
Once we obtained somewhat clear answers to these questions, we filtered them through a Christian ministry and church-planting lens. We began to focus our research on the church’s response to artists in the New York Metro area. How has the church viewed New York artists as both a mission field and members of the body of Christ? How can the church further engage artists in the Metro area for evangelism and development? What can artists do to maintain faithfulness as a Christian in an urban setting? Our research was aimed to answer these questions and provide the church with “insider” information to help guide its ministry efforts.
In June of 2008, I and a partner spent two weeks in New York City researching artists. We spent most of our time in Manhattan, Brooklyn, and Queens interviewing local artists, curators, and art associated organizations. This research was part of the Urban Research and Ministries class in the Intercultural Studies Department of BIOLA University. Our goals for the class were to utilize the basic theoretical perspectives and research tools for a cross-cultural study of the city, develop proficiency using basic ethnographic research tools, understand urban realities, illuminate what God is doing in the city already and how the church can be a part of the plan, and identify points of engagement for further ministry and social action. The product of our research will contribute the toward the International Missions Board’s All People’s Initiative project. It seeks to research the New York City Metro area to create a database and profiles of all peoples in the area, to use those profiles and the research to begin widespread prayer for different peoples in the city, to enlist People Group Advocates who will further advocate, research, pray, and start ministry among specific peoples in the city, and to train People Group Advocates for both churches and individuals.
The purpose of our study, although different in many ways to the ethnic group studies, was similar in conclusion. Our first objective was to understand the defining characteristics and components of New York City artists and how we can classify them as a people group. In doing so, we hoped to get a clear picture of what life is like for a New York City artist. Our second objective was to get an idea of the physical, spiritual, and emotional needs of artists in an urban context. What are the common struggles for artists and how do they handle them? The third objective was to understand the immigration patterns of artists into the city from both foreign countries and other U.S. states. How have artists adapted to New York’s urban environment?
Once we obtained somewhat clear answers to these questions, we filtered them through a Christian ministry and church-planting lens. We began to focus our research on the church’s response to artists in the New York Metro area. How has the church viewed New York artists as both a mission field and members of the body of Christ? How can the church further engage artists in the Metro area for evangelism and development? What can artists do to maintain faithfulness as a Christian in an urban setting? Our research was aimed to answer these questions and provide the church with “insider” information to help guide its ministry efforts.