BIOLA UNIVERSITY
INTERCULTURAL STUDIES
URBAN RESEARCH AND MINISTRY - INCS457
COLLEEN VAN HOUWE
18 JUNE 2008
INTERCULTURAL STUDIES
URBAN RESEARCH AND MINISTRY - INCS457
COLLEEN VAN HOUWE
18 JUNE 2008
Introduction
In an urban setting, the increased population causes people to merge in a way that is impossible in any other. What might be a small or insignificant group in a non-urban environment can become a dynamic population in the urban context. Artists in New York are a great example of this possibility, as they become a creative resource in the ever-changing city. Their influence is significant, as it is the artist’s ingenuity that often shapes culture, leading the way for movements in society. Because of the ability artists have to create change in culture by promoting ideas, products, and trends, they are an important group to understand. They are, however, at times difficult to track, moving ahead of the already quick paced rush of the city. While location, career, and specific image may be often changing, there are certain characteristics that make this group identifiable, so that the people who are part of it associate themselves more with being an artist, than potentially anything else. In this way, individuals in the community often become “feminist artists,” “Jewish artists,” or some other kind of multi-faceted artist. Christians might be especially concerned for artists, as they are a group not only with many needs, but also of great influence.
Purpose of Study
There are several purposes to this research. This research is 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 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 in both churches and individuals.[1]
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.
[1]C. Clayman, Church Multiplication Movement Information System, All People’s Initiative: http://www.bcnychurchplanting.org/ResourceListAPI.asp?CategoryID=13 [accessed 11.07.08]
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.
[1]C. Clayman, Church Multiplication Movement Information System, All People’s Initiative: http://www.bcnychurchplanting.org/ResourceListAPI.asp?CategoryID=13 [accessed 11.07.08]
Limitations
Before beginning our research, we expected to encounter several limitations when we arrived in the city. Our group was the only one of our class going beyond an ethnic group, so that everything we did was breaking new territory. Each of us had different expectations as to the research experience. We expected to find the artists of New York busy and unable to meet for interviews. We were also concerned that artists would be hard to locate in the city because they have no cultural and physical identifiers. Unlike the ethnic groups the other teams were researching, artists are from many different backgrounds, so there was no way of spotting them on the streets by physical appearance such as head-coverings for Muslims. Our only form of communication and location was by networking and connections, which presented another issue if our contacts could not meet for any reason. Understanding the nature of artists to be independent and almost anti-social at times made us think it would be very hard to set up interviews and we most likely would not find them in communities or art-centered environments.
When we arrived in the city, each contact built off the other and gave us a wealth of information and opportunities to conduct research. Our only on-site limitation was locating the artists’ studios and lofts to see them in their working and living environments. We found many galleries, but only the artist’s work and the gallery managers and curators were there. This limitation left us waiting on gallery openings and open studios where the artist would be present and representing his or her work. Although, after visiting one gallery in Brooklyn, we had access to every gallery showing and artist event for that weekend and the next. New York proved our expectations were wrong.
When we arrived in the city, each contact built off the other and gave us a wealth of information and opportunities to conduct research. Our only on-site limitation was locating the artists’ studios and lofts to see them in their working and living environments. We found many galleries, but only the artist’s work and the gallery managers and curators were there. This limitation left us waiting on gallery openings and open studios where the artist would be present and representing his or her work. Although, after visiting one gallery in Brooklyn, we had access to every gallery showing and artist event for that weekend and the next. New York proved our expectations were wrong.
Context
Before leaving for the city, we did some research on the New York Metro Area and its artists in order to get a starting point in our research methods. Jonathan Anderson and Dan Callis, two of BIOLA University’s art professors, referred us to artists associated with NYCAMS, the New York Center for Art and Media Studies, and IAM, the International Arts Movement for New York City.[1] We were able to schedule a meeting with IAM in the middle of the first week of our trip. Besides that meeting, we had no other contacts. Our only place of interest was Chelsea, the most well known location for artists’ galleries.
We began our on-site research by mapping Chelsea and getting a feel for the atmosphere. We found many garages, interior design businesses, cafes, and coffee shops, several of which claimed to be “the place to meet and be an artist.” While we saw the evidence of an art scene with over 150 galleries, we never met an artist.
Our next step was checking out galleries in SoHo (South Houston) of lower Manhattan. Our strategy was to visit the gallery managers and curators to probe them for info about New York City artists. Assistant to the Director of New York Artists Equity Association, Inc., Jane Martin, gave us a wealth of information about the history of art in the city and where artists were currently located. Once we had an “in,” we were connected to the city’s artist network. From that point on we had a wealth of information readily available. The hardest part was recognizing the most important leads and sifting through the less important ones. We had to figure out how to extract the most beneficial info for our specific research study in a limited amount of time, about eight days. The rest of the trip consisted of us following the direction of each artist we met. Most of our time was spent in Williamsburg, Greenpoint, Bushwick, and DUMBO (Down Under the Manhattan Bridge), Brooklyn. Later, we realized we had followed the migration pattern of artists through New York City.
[1]Jonathan Anderson and Dan Callis, interview by author, 23 May 2008, La Mirada, CA, filenotes.
We began our on-site research by mapping Chelsea and getting a feel for the atmosphere. We found many garages, interior design businesses, cafes, and coffee shops, several of which claimed to be “the place to meet and be an artist.” While we saw the evidence of an art scene with over 150 galleries, we never met an artist.
Our next step was checking out galleries in SoHo (South Houston) of lower Manhattan. Our strategy was to visit the gallery managers and curators to probe them for info about New York City artists. Assistant to the Director of New York Artists Equity Association, Inc., Jane Martin, gave us a wealth of information about the history of art in the city and where artists were currently located. Once we had an “in,” we were connected to the city’s artist network. From that point on we had a wealth of information readily available. The hardest part was recognizing the most important leads and sifting through the less important ones. We had to figure out how to extract the most beneficial info for our specific research study in a limited amount of time, about eight days. The rest of the trip consisted of us following the direction of each artist we met. Most of our time was spent in Williamsburg, Greenpoint, Bushwick, and DUMBO (Down Under the Manhattan Bridge), Brooklyn. Later, we realized we had followed the migration pattern of artists through New York City.
[1]Jonathan Anderson and Dan Callis, interview by author, 23 May 2008, La Mirada, CA, filenotes.
Research Methodologies
Most of our research came from participant and direct observation in the form of gallery showings, open studios, and the IAM breakfast meeting we had set up before arriving in the city. Being artists ourselves made it possible for us to easily engage the artists interest and cooperation during each event. Megan was more familiar with the Los Angeles artist community, so she would begin conversations by highlighting the differences between both coasts. Contrary to our expectations, the artists that we met were very open and interested in our research and interest in their lives. Most informal interviews came through our participation in those events. We would strike up a conversation and ask questions regarding our research based on the event’s context. For example, we met Josh, a photographer living in DUMBO, who was curating a show in a DUMBO gallery on Front Street in Brooklyn. We asked him what living in New York City was like as a working artist and what were some common struggles he faced. We also had several formal interviews, specifically with artists from IAM, which were more direct and specific in our research needs. We also learned a lot about artists’ lifestyles, needs, and immigration patterns by mapping the areas in New York City where artists have settled and established such as Chelsea, Bushwick, DUMBO, and Williamsburg. We were able to get a larger view of New York’s artist population. These maps can be found in the appendices.
The People Group
It is easy to classify ethnic groups as people groups, but gets much harder when it comes to artists. It took a lot of research and knowledge of the artist community to pinpoint why artists can be considered a people group. One of the biggest characteristics of artists is their attachment to art as their identity. They believe themselves to be an artist above all else, even their ethnicity in most cases. Art is their life. Being an artist has allowed them to express and to process every aspect of their lives. Artists have the same interests, needs, and even some of the same habits or tendencies. Like ethnic groups in New York City, one can find artists in nodes like specific cafes, coffee shops, and galleries.
History
Each art movement is a reaction to the current world events and the previous movement. In order to understand New York City’s artists clearly, one must trace their history back to Europe’s cultural history including its art movements. All through history, Italy and France have been the centers of the art world. It was only in late 19th and early 20th centuries that New York City received its artists and grew in its reputation. New York City is the home of several art movements and influential artists. In the mid-20th century, people all over the world began to recognize New York City as the new “capital city of Western art.”[1]
The city’s artist community began to develop from 1939-1945 during World War II. Germany was led by Adolf Hitler and the National Socialist (Nazi) party into war with allied forces from the United States, Great Britain, the U.S.S.R., and France. At the same time, Japan invaded China, which ended with the United States’ bombing Nagasaki and Hiroshima. During those 6 years, Europe and Japan were in chaos and disrepair. Nearly 15 million Europeans were dead and housing, factories, roads, and communication systems were destroyed.[2]
Because the war was not fought on their soil, the U.S. and the U.S.S.R. became the two greatest world powers. The war had actually benefited them, expanding the U.S.S.R.’s territory in Europe and pulling American industries out of the Great Depression. By 1947, the U.S. was considered the wealthiest nation in the world, producing nearly 60 percent of the world’s steel and manufacturing more than 80 percent of the world’s automobiles. It was named “The American Century.” This status launched the U.S. and the U.S.S.R. into the “Cold War”, a battle of strength and world domination. Anne Fitzpatrick, author of Late Modernism, wrote, “In the U.S., there was pressure to conform to a set idea of what it meant to be an American, and people who seemed to sympathize with the Communists were persecuted.”[3]
In response to such chaos and political rage in Europe and the rise of the U.S. as the leading world power, immigration to the states increased dramatically. Some of the most influential artists moved to New York City during this time and settled in Greenwich Village. This community of foreign artists formed discussion groups, established art schools, and published magazines to spread their views on art. Mark Rothko, Jackson Pollock, and Willem de Kooning were key founders in this community. Jasper Johns and Robert Rauschenberg were also working New York City artists, but stayed away from Greenwich Village. They shared a studio-gallery in hopes of becoming great artists. Many more artists fled from Europe because of the war and formed other communities of exiles.[4]
Art schools were a huge draw for European artists to settle in New York. Renowned foreign artists like Hoffman, Henri, and Rothko established profoundly influential art schools in New York City. Robert Henri (1865-1929) taught at the New York School of Art, the Modern School of the Ferrer Center, the Art Student’s League, and at his own school, the Ashcan School, so called because of the gritty urban subjects they painted. He founded the “Eight,” which started the Ashcan School, composed of Luks, Sloan, Glackens, Shinn, Prendergast, Lawson, Davies, and himself.[5] The “Eight” and the Ashcan School highlighted the ever-changing and fast pace of New York City, the poverty, the impact of immigration, and the differentiations between social classes.[6]
At the same time, organizations and foundations were being established, recognizing the responsibility and importance of the New York City art scene. The foundation of the Museum of Modern Art in New York in 1929 was developed not only as a gallery museum, but also as a patron and leading light of the art community. The Federal Art Project of 1935 was one of the many organizations and responses to the growth of the New York art scene. Peggy Guggenheim is one of many collectors that made a huge impact on the stability and progress of New York artists and their work.[7]
Artists like Robert Rauschenberg found themselves disillusioned by the European art scene and began an artistic revolution in the city.[8] They concluded that the only purpose of making art should be making art, “art for art’s sake.” They rejected the idea that art needed to have any outside value, whether from politics, morality, or beauty. Instead, art was an expression of the artist’s individuality and creativity—an obvious rebellion from 1950s American conformity and consumerism. They produced art that had little or no reference to a reality outside itself. Artists like Jackson Pollock (1912-1956) and Mark Rothko (1903-1970) took off in this new era. By 1950, this community of artists became known as Abstract Expressionists and dominated the art world. American artists had always followed the lead of European artists, but now, created their own artistic style.[9]
“The new culture of consumerism” grew out of an increasing middle class in the U.S. Artists like Andy Warhol (1928-1987) and Roy Lichtenstein (1923-1997) were at the forefront of new trendy movements like Pop Art, which sprung from television and media advertising. Fitzpatrick wrote, “They manipulated the instantly recognizable symbolism of such images to create ironic commentaries on contemporary life, culture, and politics.”[10] Artists in the 1970s and 1980s were intent on breaking down any structure or restrictive ideas that would obstruct and constrict art.[11] This is a response of artists to the pop culture America was sucked into. Artists were now moving toward a counter-culture of art making, which inspired the Post-Modern movement known as Minimalism.
America soon struggled with the civil rights and feminist movements, which left people feeling disoriented. Minimalism is a product of this “shades of grey” mentality, nothing is black and white and therefore, art is based on interpretation. Other movements were more overtly political and included Feminist and Black Art. Conceptual Art of the early 1970s focused on the idea behind a work of art rather than the process of creating it or the finished piece itself.[12]
Unlike traditional art history like Renaissance and Romanticism, Modernity lent itself to fast-paced, counter-cultural change. Like New York City, it made giant leaps of progress in short periods of time. Unlike art movements in Europe and the developing worlds, New York City brought independence and individualism. Artwork began to shift from slow aesthetic changes to quick robust ironic statements changing the context of past original pieces.
Movements like Dadaism really took off in New York City along with artists like Marcel Duchamp and Stuart Davis. They cultivated the Bohemian society specifically in SoHo and Greenwich Village. They promoted counter-cultural ideas that broke barriers in art history and the day’s culture. Duchamp considered his artwork to be a “checkmate” for future artists, thinking he had exhausted all avenues of art making. By the 1970s and ‘80s, art was being tied onto a hard edge of abstract thinking, making it more influential and avant-garde than the expressionists of the earlier 1900s. Fitzpatrick claimed, “Artists have pushed the envelope farther and farther in their quest to do something new and different,” which is where New York artists find themselves today[13]
[1]Anne Fitzpatrick, LateModernism: (Mankato: Creative Education, 2006), 12.
[2]Ibid., 8-11.
[3]Anne Fitzpatrick, LateModernism: (Mankato: Creative Education, 2006), 11.
[4]Ibid., 22-24.
[5]Suzanne Bailey, Essential History of American Art: (London: Parragon Publishing, 2001), 74.
[6]Ibid., 82.
[7]David Piper, The Illustrated History of Art: (London: Chancellor Press, 2000), 458.
[8]Anne Fitzpatrick, Late Modernism: (Mankato: Creative Education, 2006), 15.
[9]Anne Fitzpatrick, Late Modernism: (Mankato: Creative Education, 2006), 12.
[10]Ibid., 16.
[11]Ibid., 38.
[12]Ibid., 41.
[13]Anne Fitzpatrick, Late Modernism: (Mankato: Creative Education, 2006), 42.
The city’s artist community began to develop from 1939-1945 during World War II. Germany was led by Adolf Hitler and the National Socialist (Nazi) party into war with allied forces from the United States, Great Britain, the U.S.S.R., and France. At the same time, Japan invaded China, which ended with the United States’ bombing Nagasaki and Hiroshima. During those 6 years, Europe and Japan were in chaos and disrepair. Nearly 15 million Europeans were dead and housing, factories, roads, and communication systems were destroyed.[2]
Because the war was not fought on their soil, the U.S. and the U.S.S.R. became the two greatest world powers. The war had actually benefited them, expanding the U.S.S.R.’s territory in Europe and pulling American industries out of the Great Depression. By 1947, the U.S. was considered the wealthiest nation in the world, producing nearly 60 percent of the world’s steel and manufacturing more than 80 percent of the world’s automobiles. It was named “The American Century.” This status launched the U.S. and the U.S.S.R. into the “Cold War”, a battle of strength and world domination. Anne Fitzpatrick, author of Late Modernism, wrote, “In the U.S., there was pressure to conform to a set idea of what it meant to be an American, and people who seemed to sympathize with the Communists were persecuted.”[3]
In response to such chaos and political rage in Europe and the rise of the U.S. as the leading world power, immigration to the states increased dramatically. Some of the most influential artists moved to New York City during this time and settled in Greenwich Village. This community of foreign artists formed discussion groups, established art schools, and published magazines to spread their views on art. Mark Rothko, Jackson Pollock, and Willem de Kooning were key founders in this community. Jasper Johns and Robert Rauschenberg were also working New York City artists, but stayed away from Greenwich Village. They shared a studio-gallery in hopes of becoming great artists. Many more artists fled from Europe because of the war and formed other communities of exiles.[4]
Art schools were a huge draw for European artists to settle in New York. Renowned foreign artists like Hoffman, Henri, and Rothko established profoundly influential art schools in New York City. Robert Henri (1865-1929) taught at the New York School of Art, the Modern School of the Ferrer Center, the Art Student’s League, and at his own school, the Ashcan School, so called because of the gritty urban subjects they painted. He founded the “Eight,” which started the Ashcan School, composed of Luks, Sloan, Glackens, Shinn, Prendergast, Lawson, Davies, and himself.[5] The “Eight” and the Ashcan School highlighted the ever-changing and fast pace of New York City, the poverty, the impact of immigration, and the differentiations between social classes.[6]
At the same time, organizations and foundations were being established, recognizing the responsibility and importance of the New York City art scene. The foundation of the Museum of Modern Art in New York in 1929 was developed not only as a gallery museum, but also as a patron and leading light of the art community. The Federal Art Project of 1935 was one of the many organizations and responses to the growth of the New York art scene. Peggy Guggenheim is one of many collectors that made a huge impact on the stability and progress of New York artists and their work.[7]
Artists like Robert Rauschenberg found themselves disillusioned by the European art scene and began an artistic revolution in the city.[8] They concluded that the only purpose of making art should be making art, “art for art’s sake.” They rejected the idea that art needed to have any outside value, whether from politics, morality, or beauty. Instead, art was an expression of the artist’s individuality and creativity—an obvious rebellion from 1950s American conformity and consumerism. They produced art that had little or no reference to a reality outside itself. Artists like Jackson Pollock (1912-1956) and Mark Rothko (1903-1970) took off in this new era. By 1950, this community of artists became known as Abstract Expressionists and dominated the art world. American artists had always followed the lead of European artists, but now, created their own artistic style.[9]
“The new culture of consumerism” grew out of an increasing middle class in the U.S. Artists like Andy Warhol (1928-1987) and Roy Lichtenstein (1923-1997) were at the forefront of new trendy movements like Pop Art, which sprung from television and media advertising. Fitzpatrick wrote, “They manipulated the instantly recognizable symbolism of such images to create ironic commentaries on contemporary life, culture, and politics.”[10] Artists in the 1970s and 1980s were intent on breaking down any structure or restrictive ideas that would obstruct and constrict art.[11] This is a response of artists to the pop culture America was sucked into. Artists were now moving toward a counter-culture of art making, which inspired the Post-Modern movement known as Minimalism.
America soon struggled with the civil rights and feminist movements, which left people feeling disoriented. Minimalism is a product of this “shades of grey” mentality, nothing is black and white and therefore, art is based on interpretation. Other movements were more overtly political and included Feminist and Black Art. Conceptual Art of the early 1970s focused on the idea behind a work of art rather than the process of creating it or the finished piece itself.[12]
Unlike traditional art history like Renaissance and Romanticism, Modernity lent itself to fast-paced, counter-cultural change. Like New York City, it made giant leaps of progress in short periods of time. Unlike art movements in Europe and the developing worlds, New York City brought independence and individualism. Artwork began to shift from slow aesthetic changes to quick robust ironic statements changing the context of past original pieces.
Movements like Dadaism really took off in New York City along with artists like Marcel Duchamp and Stuart Davis. They cultivated the Bohemian society specifically in SoHo and Greenwich Village. They promoted counter-cultural ideas that broke barriers in art history and the day’s culture. Duchamp considered his artwork to be a “checkmate” for future artists, thinking he had exhausted all avenues of art making. By the 1970s and ‘80s, art was being tied onto a hard edge of abstract thinking, making it more influential and avant-garde than the expressionists of the earlier 1900s. Fitzpatrick claimed, “Artists have pushed the envelope farther and farther in their quest to do something new and different,” which is where New York artists find themselves today[13]
[1]Anne Fitzpatrick, LateModernism: (Mankato: Creative Education, 2006), 12.
[2]Ibid., 8-11.
[3]Anne Fitzpatrick, LateModernism: (Mankato: Creative Education, 2006), 11.
[4]Ibid., 22-24.
[5]Suzanne Bailey, Essential History of American Art: (London: Parragon Publishing, 2001), 74.
[6]Ibid., 82.
[7]David Piper, The Illustrated History of Art: (London: Chancellor Press, 2000), 458.
[8]Anne Fitzpatrick, Late Modernism: (Mankato: Creative Education, 2006), 15.
[9]Anne Fitzpatrick, Late Modernism: (Mankato: Creative Education, 2006), 12.
[10]Ibid., 16.
[11]Ibid., 38.
[12]Ibid., 41.
[13]Anne Fitzpatrick, Late Modernism: (Mankato: Creative Education, 2006), 42.
Location in New York
Artists communities were first formed in Greenwich Village in the early 20thcentury. Around the ‘50s, SoHo and TriBeCa (Triangle Below Canal St.) became the new hotspot for artists and eventually expanded to include traditional 57th St. and Madison to 5th Ave. Chelsea became the center for New York City’s art scene during the ‘80s eventually moving out to DUMBO, Williamsburg, Greenpoint, and Bushwick, Brookyn. These areas used to be garages and warehouses, providing tall ceilings and electrical and ventilation systems for great studio spaces. Most galleries still operate out of Chelsea around 26th St. to 29th between 10th and 11th Ave. Currently, Astoria and Long Island City, Queens are the working and living centers for serious visual artists. Jersey City is now becoming a center for artists’ lofts, studios, and galleries.[1]
Gentrification has become one of the biggest issues with New York City artists. They constantly have to move their communities because of its effects. Artists are the first to come and the first to go. They tend to be the outcasts. They move into the “untouchables” of New York City, usually the slums and abandoned warehouses and garages because these spaces have optimum space and facilities for working artists. Once the art community is built in these areas, small independent businesses filter in like coffee shops, delis, and cafes. Small businesses and stores like these become “nodes” or hangout areas for artists. These creative atmospheres draw the wealthy and eclectic, mostly European collectors. Commercial businesses soon move in to cater to the newly established community, rent increases, and artists are forced to move out. This has happened to all of lower Manhattan and some parts of Brooklyn. Some galleries may stay in the area, but almost all artists’ lofts have moved to the outskirts of the city into the other boroughs. As gentrification occurs, artists move to the next available and affordable space within the metro area.
Joyce Lee, Programming and Art Director of the International Arts Movement, commented, “Wherever artists move, it becomes cool and trendy.”[2] When this happens, non-artists looking for the avant-garde of culture gentrify the area. When commercial businesses and chain stores like Home Depot come in and the cost of living goes up, artists are forced to move out and look for cheaper living.
At the same time, each artist community has its own personality. Greenwich, SoHo, and TriBeCa are seen as out-dated and void of any real artist activity. It has become the home of the older artists of New York City. Chelsea is considered the high-end gallery scene. Artists have to have good connections and more money in order to show their work in Chelsea galleries. Communities in Brooklyn have more lofts and studios, but are broken up into categories. DUMBO is mostly the Photo District, home to studio and nature photographers, but is now changing to accommodate more artists that work for commercial and industrial businesses. It is also the location of the newest galleries in the city, though small and usually hosting several artists’ shows at one time. Williamsburg, Greenpoint, and Bushwick house mostly younger generations of artists. Joyce Lee called Williamsburg, “poserville, super young and aspirational artists.”[3] It is the main hub for “hipsters,” a sub-group of artists. It has an amateur reputation of less-than-serious artists. In contrast, Astoria and Long Island City are known for their seriousness in art and pursuit of reputation and career. It is the place to be as an up-and-coming artist in New York City. Jersey City has a similar tone, although, it is focused on younger, emerging artists. While most of these impressions are accurate, there are always exceptions. In each area, there were some artists who did not fit their stereotype, but the majority did.
[1]Joyce Lee, interview by author, 4 June 2008, New York, NY, filenotes.
[2]Ibid.
[3]Joyce Lee, interview by author, 4 June 2008, New York, NY, filenotes.
Gentrification has become one of the biggest issues with New York City artists. They constantly have to move their communities because of its effects. Artists are the first to come and the first to go. They tend to be the outcasts. They move into the “untouchables” of New York City, usually the slums and abandoned warehouses and garages because these spaces have optimum space and facilities for working artists. Once the art community is built in these areas, small independent businesses filter in like coffee shops, delis, and cafes. Small businesses and stores like these become “nodes” or hangout areas for artists. These creative atmospheres draw the wealthy and eclectic, mostly European collectors. Commercial businesses soon move in to cater to the newly established community, rent increases, and artists are forced to move out. This has happened to all of lower Manhattan and some parts of Brooklyn. Some galleries may stay in the area, but almost all artists’ lofts have moved to the outskirts of the city into the other boroughs. As gentrification occurs, artists move to the next available and affordable space within the metro area.
Joyce Lee, Programming and Art Director of the International Arts Movement, commented, “Wherever artists move, it becomes cool and trendy.”[2] When this happens, non-artists looking for the avant-garde of culture gentrify the area. When commercial businesses and chain stores like Home Depot come in and the cost of living goes up, artists are forced to move out and look for cheaper living.
At the same time, each artist community has its own personality. Greenwich, SoHo, and TriBeCa are seen as out-dated and void of any real artist activity. It has become the home of the older artists of New York City. Chelsea is considered the high-end gallery scene. Artists have to have good connections and more money in order to show their work in Chelsea galleries. Communities in Brooklyn have more lofts and studios, but are broken up into categories. DUMBO is mostly the Photo District, home to studio and nature photographers, but is now changing to accommodate more artists that work for commercial and industrial businesses. It is also the location of the newest galleries in the city, though small and usually hosting several artists’ shows at one time. Williamsburg, Greenpoint, and Bushwick house mostly younger generations of artists. Joyce Lee called Williamsburg, “poserville, super young and aspirational artists.”[3] It is the main hub for “hipsters,” a sub-group of artists. It has an amateur reputation of less-than-serious artists. In contrast, Astoria and Long Island City are known for their seriousness in art and pursuit of reputation and career. It is the place to be as an up-and-coming artist in New York City. Jersey City has a similar tone, although, it is focused on younger, emerging artists. While most of these impressions are accurate, there are always exceptions. In each area, there were some artists who did not fit their stereotype, but the majority did.
[1]Joyce Lee, interview by author, 4 June 2008, New York, NY, filenotes.
[2]Ibid.
[3]Joyce Lee, interview by author, 4 June 2008, New York, NY, filenotes.
Population, Size Distribution, and Growth Rates
The artist population is always fluctuating because of gentrification, urbanization, and socio-economics. New artists are coming in, ready to make their start while others are leaving and establishing themselves elsewhere. According to Megan Shuffle, member of the International Arts Movement in New York City, the average time an immigrant artist will stay in New York City is 2-5 years. After this time, they will move back to their hometown or just a smaller town and sell their artwork based off a “New York working artist” reputation. This transient nature of artists makes it very difficult to obtain an accurate reading of the population size of the city’s artists.[1]
The boundaries of what defines an artist are blurred and hard to pinpoint. Many artists in the Metro Area have never shown their work. It is very difficult to get even a group show. Much of what defines them as an artist is their passion for continually making artwork. With such vague boundaries, how can these people be recognized in such a condensed city? According to Joyce Lee with the International Arts Movement, there are an estimated few hundred thousand artists living and working in the Metro area. Unfortunately, this is not a precise number because artists are hard to classify and locate. One suggestion was to look at the census bureau for the IRS for those registered as artists, but this would only give a limited number. Over 90% of New York City artists have 2+ jobs in order to pay rent. Their artwork is not the moneymaking occupation and will most likely not be recorded by the IRS. The next best way of tracking artists is by galleries. There are over 400 active galleries and museums in the Metro Area as of June 2008. Each may have a list of participating artists, but as mentioned above, many artists have not shown their work. More research needs to be conducted in this area.
Young, aspiring artists, mostly those coming straight from college, are the majority who move to the Metro area from other states and mostly Western European countries. Takayo, a Japanese florist and nutritionist, along with a Parisian gallery manager both confirmed the draw of young foreign artists to New York City. They referred to the city as a “place of opportunity” and good reputation. They explained the difference between Paris, the Modernist’s center for the arts, and New York City, the Post-Modernist and Contemporary center for art as a change in art appreciation. The Parisian gallery owner stated that Paris willingly gives out grants and has no expectations for its artists, whereas New York is a high-pressure, cutthroat community of artists. They are expected to work their way up in the art world and get involved in the gallery openings and special events that the city offers. The more artists move to New York, the more the population and size fluctuates.
[1]Megan Shuffle, interview by author, 9 June 2008, New York, NY, filenotes.
The boundaries of what defines an artist are blurred and hard to pinpoint. Many artists in the Metro Area have never shown their work. It is very difficult to get even a group show. Much of what defines them as an artist is their passion for continually making artwork. With such vague boundaries, how can these people be recognized in such a condensed city? According to Joyce Lee with the International Arts Movement, there are an estimated few hundred thousand artists living and working in the Metro area. Unfortunately, this is not a precise number because artists are hard to classify and locate. One suggestion was to look at the census bureau for the IRS for those registered as artists, but this would only give a limited number. Over 90% of New York City artists have 2+ jobs in order to pay rent. Their artwork is not the moneymaking occupation and will most likely not be recorded by the IRS. The next best way of tracking artists is by galleries. There are over 400 active galleries and museums in the Metro Area as of June 2008. Each may have a list of participating artists, but as mentioned above, many artists have not shown their work. More research needs to be conducted in this area.
Young, aspiring artists, mostly those coming straight from college, are the majority who move to the Metro area from other states and mostly Western European countries. Takayo, a Japanese florist and nutritionist, along with a Parisian gallery manager both confirmed the draw of young foreign artists to New York City. They referred to the city as a “place of opportunity” and good reputation. They explained the difference between Paris, the Modernist’s center for the arts, and New York City, the Post-Modernist and Contemporary center for art as a change in art appreciation. The Parisian gallery owner stated that Paris willingly gives out grants and has no expectations for its artists, whereas New York is a high-pressure, cutthroat community of artists. They are expected to work their way up in the art world and get involved in the gallery openings and special events that the city offers. The more artists move to New York, the more the population and size fluctuates.
[1]Megan Shuffle, interview by author, 9 June 2008, New York, NY, filenotes.
Sub-Groups as Defined by Insiders
Taxonomy of New York City and the Greater Metro Area Artists
Because the definition of art is becoming so unclear and vague, it is difficult to also define what an artist is. For the sake of this project, we focused on visual artists who are pursuing art as an occupation or hobby. Visual arts would include work accepted by the art community and found in a gallery setting. Such pieces range from oil paintings to performance and installations. Visual artists must be classified by two standards, their status in the art community and their purpose for making art. An artist’s status within the community can be classified by three subgroups: aspiring, emerging, and established.[1] To be an aspiring artist, one must have a committed interest in the arts and active participation in the art community. They must work toward community recognition. This sub-group includes those who collaborate with and assist emerging and established artists and those who make their own artwork but have not necessarily displayed it publicly. For example, an aspiring artist would be a student building a portfolio and searching for an opportunity to show their work. Emerging artists are those who have shown their work and are driven toward being established. They have their “foot in the door” of the art community by making connections and networking and therefore, have open opportunities for group showings in a gallery setting. Established artists have had at least one solo show, report within the community, and are in the process of building a fan-base and group of collectors.[2]
The second standard for visual artists includes three sub-groups: traditional, commercial, and hipster. Traditional artists are those who are focused on the work itself and their growth as an artist. They are concerned about form and content more than public statements, although their work may be very influential and/or controversial. Commercial artists, also called “creative professionals,” are employed for their creativity within a business setting or industry. Many commercial artists are looking to establish themselves in their particular industry. For example, a photojournalist would pursue a contract with the New York Times. Hipsters are oriented toward design and newer technologies. They thrive on breaking boundaries and making statements. Their concern for statements mostly outweighs their concern for form. They are also identified by their clothing and desire to be the forefront of both style and art.[3]
TraditionalCommercialHipsterAspiringEmergingEstablishedThe hardest group to understand and the one that needs most defining, is hispters, the group Jay Van Buren called, “trust-fund babies.”[4] These artists are hard to define because of their distinct social identity and lack of group allegiance. They tend to be in their twenties or early thirties and set the trend with their thrift store clothing. According to our research, most of these artists can be found in Williamsburg, Brooklyn. Paul Muranyi, an artist from Westbeth, described the generation of artists in Williamsburg as “plastic” and “yuppie”. He explained, “They are the younger generation that would bum off their parents fame and/or their parents’ financial connections and get into shows that way.”[5] He considered them a lame excuse for creativity and defined the qualifications of a “genuine artist” as experience, unique and original work, and diligence. It seems that style and resources are two major reasons for hipsters’ division from commercial and traditional artists.
While background and style seem to be the defining difference between hipsters and other artists, there also is a big difference between money-making art like advertising or design and fine art. Paul said, “I would never tell my kid to become an artist unless he was going into advertising or such so he could make a living.”[6] While this may be true, it seemed like he looked down on this type of artist as not “up-to-standard” because of his qualifications of a genuine artist. While commercial artists have a “less than genuine” vibe about them, most other artists respect their efforts to make money in an aggressive urban environment. Muranyi worked as the resident artist and designer for J. Leno for a while. He said, “It was completely ridiculous working for him and you couldn’t possibly handle it for a long time. I only took the job because it paid a lot and I could pay off my school debt and rent.”[7] Artists are sometimes confronted with hard, frustrating, and sometimes compromising jobs just to get by in the city. We asked Joyce Lee, director of the International Arts Movement, what she thought of commercial artists. She responded, “So many creative industries, they work well together. Commercial art is understandable because it’s the way to make money and pay rent.”[8]
[1]Joyce Lee, interview by author, 4 June 2008, New York, NY, filenotes.
[2]Joyce Lee, interview by author, 4 June 2008, New York, NY, filenotes.
[3]Ibid.
[4]Jay Van Buren, interview by author, 6 June 2008, New York, NY, filenotes.
[5]Paul Muranyi, interview by author, 3 June 2008, New York, NY, filenotes.
[6]Ibid.
[7]Ibid.
[8]Joyce Lee, interview by author, 4 June 2008, New York, NY, filenotes.
Because the definition of art is becoming so unclear and vague, it is difficult to also define what an artist is. For the sake of this project, we focused on visual artists who are pursuing art as an occupation or hobby. Visual arts would include work accepted by the art community and found in a gallery setting. Such pieces range from oil paintings to performance and installations. Visual artists must be classified by two standards, their status in the art community and their purpose for making art. An artist’s status within the community can be classified by three subgroups: aspiring, emerging, and established.[1] To be an aspiring artist, one must have a committed interest in the arts and active participation in the art community. They must work toward community recognition. This sub-group includes those who collaborate with and assist emerging and established artists and those who make their own artwork but have not necessarily displayed it publicly. For example, an aspiring artist would be a student building a portfolio and searching for an opportunity to show their work. Emerging artists are those who have shown their work and are driven toward being established. They have their “foot in the door” of the art community by making connections and networking and therefore, have open opportunities for group showings in a gallery setting. Established artists have had at least one solo show, report within the community, and are in the process of building a fan-base and group of collectors.[2]
The second standard for visual artists includes three sub-groups: traditional, commercial, and hipster. Traditional artists are those who are focused on the work itself and their growth as an artist. They are concerned about form and content more than public statements, although their work may be very influential and/or controversial. Commercial artists, also called “creative professionals,” are employed for their creativity within a business setting or industry. Many commercial artists are looking to establish themselves in their particular industry. For example, a photojournalist would pursue a contract with the New York Times. Hipsters are oriented toward design and newer technologies. They thrive on breaking boundaries and making statements. Their concern for statements mostly outweighs their concern for form. They are also identified by their clothing and desire to be the forefront of both style and art.[3]
TraditionalCommercialHipsterAspiringEmergingEstablishedThe hardest group to understand and the one that needs most defining, is hispters, the group Jay Van Buren called, “trust-fund babies.”[4] These artists are hard to define because of their distinct social identity and lack of group allegiance. They tend to be in their twenties or early thirties and set the trend with their thrift store clothing. According to our research, most of these artists can be found in Williamsburg, Brooklyn. Paul Muranyi, an artist from Westbeth, described the generation of artists in Williamsburg as “plastic” and “yuppie”. He explained, “They are the younger generation that would bum off their parents fame and/or their parents’ financial connections and get into shows that way.”[5] He considered them a lame excuse for creativity and defined the qualifications of a “genuine artist” as experience, unique and original work, and diligence. It seems that style and resources are two major reasons for hipsters’ division from commercial and traditional artists.
While background and style seem to be the defining difference between hipsters and other artists, there also is a big difference between money-making art like advertising or design and fine art. Paul said, “I would never tell my kid to become an artist unless he was going into advertising or such so he could make a living.”[6] While this may be true, it seemed like he looked down on this type of artist as not “up-to-standard” because of his qualifications of a genuine artist. While commercial artists have a “less than genuine” vibe about them, most other artists respect their efforts to make money in an aggressive urban environment. Muranyi worked as the resident artist and designer for J. Leno for a while. He said, “It was completely ridiculous working for him and you couldn’t possibly handle it for a long time. I only took the job because it paid a lot and I could pay off my school debt and rent.”[7] Artists are sometimes confronted with hard, frustrating, and sometimes compromising jobs just to get by in the city. We asked Joyce Lee, director of the International Arts Movement, what she thought of commercial artists. She responded, “So many creative industries, they work well together. Commercial art is understandable because it’s the way to make money and pay rent.”[8]
[1]Joyce Lee, interview by author, 4 June 2008, New York, NY, filenotes.
[2]Joyce Lee, interview by author, 4 June 2008, New York, NY, filenotes.
[3]Ibid.
[4]Jay Van Buren, interview by author, 6 June 2008, New York, NY, filenotes.
[5]Paul Muranyi, interview by author, 3 June 2008, New York, NY, filenotes.
[6]Ibid.
[7]Ibid.
[8]Joyce Lee, interview by author, 4 June 2008, New York, NY, filenotes.
Immigration History and Patterns
Unlike ethnic groups, it is hard to track artists’ immigration history. There are virtually no records of their arrival or departure. Because artists come most often for the art scene reputation and gallery opportunities, their stay is not documented. As mentioned earlier, not even the IRS census bureau has accurate records because artists have multiple jobs that bring in more income than their artwork. The most accurate way of tracking down artists’ immigration is by following influential art movements, the relative world history, and any major shifts in the art world.
The most obvious and well-known time in which artists were migrating to New York City is between 1939 and 1945 during World War II as mentioned above. This is a time when artists were looking for America’s independent and individualistic style and freedom and fleeing from Europe and Asia’s pressurized propagandistic commissioned work. Art schools were becoming increasingly popular at that time and many foreign artists came to the city for that reason. Consequently, tracking enrollment records may be another close representation of the influx of artists throughout history.
Understanding the reasons and patterns for artists’ immigration is more accessible than retrieving numbers through history. Artists today are coming to New York City for the same reasons artists from the late 19th century came. They are looking for new opportunities for their lives. Robert Henri, founder of the Ashcan School and “The Eight” said, “I am interested in art as a means of living a life, not as a means of making a living”[1]. By moving to the center for the arts, creativity can be cultivated in a way that no other place can. New York City is, of course, a location that develops creativity through diversity. Journalist, John Reed (1887-1920), commented, “Within a block of my house was all the adventure of the world, within a mile was every foreign country”[2]. Communities like the Ashcan School we intrigued by and drawn to the culture that an urban context sustains. New York is an inspiration to artists that transcends time.
Jay Van Buren, Founder and CEO of Early-Adopter 3rd Millennium Marketing, confirmed that migrating artists first move to old-town artist communities like Greenwich and East Village, but soon realize it to be a dead market. If they are serious about continuing their work in New York City, they will find a studio in the other boroughs, specifically Brooklyn. Most artists moving into the city are straight from college looking to build a name for themselves as New York City artists. They usually gravitate toward the suspicious and more dangerous neighborhoods of the boroughs where most available space is an abandoned warehouse or office building. This area is cheap and accommodates complex art projects.[3]
[1]Virginia M. Mecklenburg, “New York City and the Ashcan School—American Art Movement,” Magazine Antiques (1995), in CNET Networks, INC. [database on-line}; accessed June 17, 2008.
[2]Virginia M. Mecklenburg, “New York City and the Ashcan School—American Art Movement,” Magazine Antiques (1995), in CNET Networks, INC. [database on-line}; accessed June 17, 2008.
[3]Jay Van Buren, interview by author, 6 June 2008, New York, NY, filenotes.
The most obvious and well-known time in which artists were migrating to New York City is between 1939 and 1945 during World War II as mentioned above. This is a time when artists were looking for America’s independent and individualistic style and freedom and fleeing from Europe and Asia’s pressurized propagandistic commissioned work. Art schools were becoming increasingly popular at that time and many foreign artists came to the city for that reason. Consequently, tracking enrollment records may be another close representation of the influx of artists throughout history.
Understanding the reasons and patterns for artists’ immigration is more accessible than retrieving numbers through history. Artists today are coming to New York City for the same reasons artists from the late 19th century came. They are looking for new opportunities for their lives. Robert Henri, founder of the Ashcan School and “The Eight” said, “I am interested in art as a means of living a life, not as a means of making a living”[1]. By moving to the center for the arts, creativity can be cultivated in a way that no other place can. New York City is, of course, a location that develops creativity through diversity. Journalist, John Reed (1887-1920), commented, “Within a block of my house was all the adventure of the world, within a mile was every foreign country”[2]. Communities like the Ashcan School we intrigued by and drawn to the culture that an urban context sustains. New York is an inspiration to artists that transcends time.
Jay Van Buren, Founder and CEO of Early-Adopter 3rd Millennium Marketing, confirmed that migrating artists first move to old-town artist communities like Greenwich and East Village, but soon realize it to be a dead market. If they are serious about continuing their work in New York City, they will find a studio in the other boroughs, specifically Brooklyn. Most artists moving into the city are straight from college looking to build a name for themselves as New York City artists. They usually gravitate toward the suspicious and more dangerous neighborhoods of the boroughs where most available space is an abandoned warehouse or office building. This area is cheap and accommodates complex art projects.[3]
[1]Virginia M. Mecklenburg, “New York City and the Ashcan School—American Art Movement,” Magazine Antiques (1995), in CNET Networks, INC. [database on-line}; accessed June 17, 2008.
[2]Virginia M. Mecklenburg, “New York City and the Ashcan School—American Art Movement,” Magazine Antiques (1995), in CNET Networks, INC. [database on-line}; accessed June 17, 2008.
[3]Jay Van Buren, interview by author, 6 June 2008, New York, NY, filenotes.
General Characteristics
Artists in New York City, due to their dense population, have been able to form such a community that their values, characteristics, and experiences have formed their own culture. Artists have, in this way, very similar values, and spiritual inclinations or beliefs. They often come from a similar age bracket with similar backgrounds in education. Being diverse in individual heritage and personality defines the artist community and gives the culture its unity.
When an aspiring artist moves into the city, one of their first priorities is to form the connections that will allow them to progress in their artistic career.[1]This establishes the value of connections right away, as the people artists meet are those who will inspire them, contract them, and introduce them to others who will form their community, clientele and market. Without these connections an artist has a much more difficult time finding the right place to sell. In such a large city, with so many centers for art, it is important that an artist has other artists that will lead them in the right direction for their own market. Connections also become a resource for finding artists’ essentials like supplies, cheap studio spaces, and gallery opportunities. Along with professional connections, non-professional connections are also important to artists, as they desire to be accepted and understood by those around them. Because non-artists sometimes have a difficult time understanding artists’ culture, artists often find community amongst themselves for this support.
Finding community in the city is not necessarily difficult, as there are many opportunities to meet people and become connected. Simply being present in the art community allows for these connections to be made. If an artist is also a Christian, this leads to even more opportunities, as churches around the city provide a huge resource for meeting people, as well. Megan Shuffle described it as an “instant community.”[2]
Honesty and openness are very important to the arts community. People are encouraged to think freely and express themselves. This is true both for relationship and peer critique. A performing artist at the 411 Church in Times Square explained that a major difference between New York and Los Angeles is that artists in New York feel much more free to critique a fellow artist honestly than in Los Angeles. In New York it is considered valuable for a person to be able to speak honestly about another persons work. On the other hand, personal space is also valued, as Lolly Koon, a Chelsea and Bushwick based artist explained. Although input is greatly appreciated from a person who is willing to help, critique of an artist’s process without respect is looked down on. This is especially true if the artist did not request the “input.”[3]
Because the professional art world is so competitive in New York, motivation is greatly respected. This is a significant reason why “hipsters” are often looked down on in the art community. Hipsters are generally seen as those who are given money by their parents to act like artists and do whatever they want. In a place where most people are trying to support themselves with multiple jobs, a person who does not have to, or does not want to work, is easily disregarded. At Westbeth, an apartment complex run by a non-profit organization to give artists a very cheap live/work space, this feeling was expressed both by the General Manager, Matthew, and a resident artist named Paul. Both explained that because the rent was cheap many artists there became less passionate about their art, and quickly lost motivation to make art.[4]
Although visual artists cannot be categorized by their religious beliefs, it is evident that the art community, with its value of openness, has a very inclusive perspective of religion and spirituality. Many artists are influenced by Eastern religion, which is evident in the various stores around artist communities offering yoga classes, meditation, and herbal remedies. Most artists are open to experimentation in many forms, and this includes religion. While this poses some challenges to ministry—especially when implying that the truth being shared is the only truth, it is also a great opportunity to have conversations with artists about their beliefs. Because art is often shown with the intent of invoking thoughts or emotions, sharing these reactions is valuable to the artist. When the subject matter is of religious influence, this gives open spaces for conversation about religion and spirituality.[5]
Young adults make up the majority of the population of visual artists in New York. Most move to the city right after high school or college to pursue their art career, gaining experience and recognition. Often, part of this experience is attending an art school for training, like Pratt or New York University (NYU). Although many begin in art school, they may not finish because there is some question over the necessity of art school and its actual value in training artists. A photographer named Josh, based in Dumbo, expressed this opinion commenting that many schools put famed artists on their brochures to lure in students, although many of them actually dropped out of the school to pursue their art independently. In his perspective, truly talented artists will pursue their art whether in school or not. [6] Max Steiner, an artist in Bushwick, expressed similar sentiments, saying that art school can only do as much as the student takes advantage of. While art schools may not be able to make an artist, they do seem to be considered a positive direction to take in order to gain experience—especially studying under a good teacher, make connections, and give more opportunity to find work.[7]
Because so many artists are young adults when moving to the city, they tend to be single and their friends become family. With the difficulties associated with living in the city and being an artist, few artists stay in the city if they choose to marry and start a family. One artist, Megan Shuffle, who is working with IAM, explained that moving to the city alone is difficult enough, and few people would want to try to move a whole family into the city.[8] Other artists, like Steiner, also expressed that they were simply absorbed in what they were doing, busy with pursuing their art, and did not have time to look for a spouse or family.[9] These things only increase the importance of artists to find community, as it becomes their entire support system, especially after leaving their homes from other states or countries.
Although the search for community is initially short, maintaining community in the city can be difficult. Many artists come to the city to learn and establish themselves, with no real plans to stay. Shuffle explained that many artists come to the city with a plan of staying from two to five years, so that they can have the experience of working in the city. Along with the short stay in New York, artists are always moving while living in the city. This makes relationships at times as transient as the people. Artists desire deep relationships, and have resources to find them, but in their busy and temporary lifestyle, this is a great need.[10]
With the continually changing lives and locations of artists in such a high-pressure environment, there are many needs within the community. One major, and really basic need of working artists in New York is having space to work in. As gentrification takes its course in the communities where artists live, workspace becomes more and more valuable, and much more difficult to attain. Many artists are confined to small and unsafe space to make their work. Spaces that are available and affordable are in very unsafe neighborhoods, where few people would choose to live. Not only this, but many spaces to work are also not suitable for living, and artists therefore have to work and live in separate spaces, making transportation and doubled rent prices a problem.[11]
Because the city is so expensive to live in, and the art industry is so difficult to become established in, having another main source of income is a necessity. Artists need jobs that will support them, as well as give them flexibility and time in order to continue working on and pursuing their own artwork. Pursuing a career as a teacher seems to be the most common and practical way of achieving this. This gives enough income—although small, to live on, and the time when school is off to focus on art. Some artists also pursue commercial art careers, while continuing work in their own style. Since this is often the case, commercial artists may or may not be artists pursuing gallery work as well. If they are, their job is then able to continue their creative outlet, unlike some artists who get so caught up in their non-art oriented career that they are forced to give up personal art-making all together. This also gives commercial artists more respect in places where a career as an artist is difficult to achieve. In a place like Los Angeles, where there is plenty of marketing and commercial opportunity for artists, these jobs are considered at times, especially at entry level, to be less important in the art world.[12]
When artists move into New York, they often come from places that are far different than the city, which poses problems in terms of assimilation. While transitioning into the fast paced, cutthroat environment, artists are in need of community and people who can encourage them and introduce them to life in the city. Valuing community comes from the need for people who care about and value the artist. They often think the mainstream community does not accept their eccentricity. Gentrification only perpetuates the notion of artists being “outsiders.” While being individuals, artists need to be seen as valuable and able to be included.[13]
[1]Megan Shuffle, interview by the author, 9 June 2008, New York, NY, filenotes.
[2]Megan Shuffle, interview by author, 9 June 2008, New York, NY, filenotes.
[3]Lolly Koon, interview by author, 7 June 2008, New York, NY, filenotes.
[4]Matthew Russas and Paul Muranyi, interview by author, 3 June 2008, New York, NY, filenotes.
[5]Joyce Lee, interview by author, 4 June 2008, New York, NY, filenotes.
[6]Josh, interview by author, 5 June 2008, New York, NY, filenotes.
[7]Max Steiner, interview by author, 7 June 2008, New York, NY, filenotes.
[8]Megan Shuffle, interview by author, 9 June 2008, New York, NY, filenotes.
[9]Max Steiner, interview by author, 7 June 2008, New York, NY, filenotes.
[10]Megan Shuffle, interview by author, 9 June 2008, New York, NY, filenotes.
[11]Joyce Lee, interview by author, 4 June 2008, New York, NY, filenotes.
[12]Joyce Lee, interview by author, 4 June 2008, New York, NY, filenotes.
[13]Megan Shuffle, interview by author, 9 June 2008, New York, NY, filenotes.
When an aspiring artist moves into the city, one of their first priorities is to form the connections that will allow them to progress in their artistic career.[1]This establishes the value of connections right away, as the people artists meet are those who will inspire them, contract them, and introduce them to others who will form their community, clientele and market. Without these connections an artist has a much more difficult time finding the right place to sell. In such a large city, with so many centers for art, it is important that an artist has other artists that will lead them in the right direction for their own market. Connections also become a resource for finding artists’ essentials like supplies, cheap studio spaces, and gallery opportunities. Along with professional connections, non-professional connections are also important to artists, as they desire to be accepted and understood by those around them. Because non-artists sometimes have a difficult time understanding artists’ culture, artists often find community amongst themselves for this support.
Finding community in the city is not necessarily difficult, as there are many opportunities to meet people and become connected. Simply being present in the art community allows for these connections to be made. If an artist is also a Christian, this leads to even more opportunities, as churches around the city provide a huge resource for meeting people, as well. Megan Shuffle described it as an “instant community.”[2]
Honesty and openness are very important to the arts community. People are encouraged to think freely and express themselves. This is true both for relationship and peer critique. A performing artist at the 411 Church in Times Square explained that a major difference between New York and Los Angeles is that artists in New York feel much more free to critique a fellow artist honestly than in Los Angeles. In New York it is considered valuable for a person to be able to speak honestly about another persons work. On the other hand, personal space is also valued, as Lolly Koon, a Chelsea and Bushwick based artist explained. Although input is greatly appreciated from a person who is willing to help, critique of an artist’s process without respect is looked down on. This is especially true if the artist did not request the “input.”[3]
Because the professional art world is so competitive in New York, motivation is greatly respected. This is a significant reason why “hipsters” are often looked down on in the art community. Hipsters are generally seen as those who are given money by their parents to act like artists and do whatever they want. In a place where most people are trying to support themselves with multiple jobs, a person who does not have to, or does not want to work, is easily disregarded. At Westbeth, an apartment complex run by a non-profit organization to give artists a very cheap live/work space, this feeling was expressed both by the General Manager, Matthew, and a resident artist named Paul. Both explained that because the rent was cheap many artists there became less passionate about their art, and quickly lost motivation to make art.[4]
Although visual artists cannot be categorized by their religious beliefs, it is evident that the art community, with its value of openness, has a very inclusive perspective of religion and spirituality. Many artists are influenced by Eastern religion, which is evident in the various stores around artist communities offering yoga classes, meditation, and herbal remedies. Most artists are open to experimentation in many forms, and this includes religion. While this poses some challenges to ministry—especially when implying that the truth being shared is the only truth, it is also a great opportunity to have conversations with artists about their beliefs. Because art is often shown with the intent of invoking thoughts or emotions, sharing these reactions is valuable to the artist. When the subject matter is of religious influence, this gives open spaces for conversation about religion and spirituality.[5]
Young adults make up the majority of the population of visual artists in New York. Most move to the city right after high school or college to pursue their art career, gaining experience and recognition. Often, part of this experience is attending an art school for training, like Pratt or New York University (NYU). Although many begin in art school, they may not finish because there is some question over the necessity of art school and its actual value in training artists. A photographer named Josh, based in Dumbo, expressed this opinion commenting that many schools put famed artists on their brochures to lure in students, although many of them actually dropped out of the school to pursue their art independently. In his perspective, truly talented artists will pursue their art whether in school or not. [6] Max Steiner, an artist in Bushwick, expressed similar sentiments, saying that art school can only do as much as the student takes advantage of. While art schools may not be able to make an artist, they do seem to be considered a positive direction to take in order to gain experience—especially studying under a good teacher, make connections, and give more opportunity to find work.[7]
Because so many artists are young adults when moving to the city, they tend to be single and their friends become family. With the difficulties associated with living in the city and being an artist, few artists stay in the city if they choose to marry and start a family. One artist, Megan Shuffle, who is working with IAM, explained that moving to the city alone is difficult enough, and few people would want to try to move a whole family into the city.[8] Other artists, like Steiner, also expressed that they were simply absorbed in what they were doing, busy with pursuing their art, and did not have time to look for a spouse or family.[9] These things only increase the importance of artists to find community, as it becomes their entire support system, especially after leaving their homes from other states or countries.
Although the search for community is initially short, maintaining community in the city can be difficult. Many artists come to the city to learn and establish themselves, with no real plans to stay. Shuffle explained that many artists come to the city with a plan of staying from two to five years, so that they can have the experience of working in the city. Along with the short stay in New York, artists are always moving while living in the city. This makes relationships at times as transient as the people. Artists desire deep relationships, and have resources to find them, but in their busy and temporary lifestyle, this is a great need.[10]
With the continually changing lives and locations of artists in such a high-pressure environment, there are many needs within the community. One major, and really basic need of working artists in New York is having space to work in. As gentrification takes its course in the communities where artists live, workspace becomes more and more valuable, and much more difficult to attain. Many artists are confined to small and unsafe space to make their work. Spaces that are available and affordable are in very unsafe neighborhoods, where few people would choose to live. Not only this, but many spaces to work are also not suitable for living, and artists therefore have to work and live in separate spaces, making transportation and doubled rent prices a problem.[11]
Because the city is so expensive to live in, and the art industry is so difficult to become established in, having another main source of income is a necessity. Artists need jobs that will support them, as well as give them flexibility and time in order to continue working on and pursuing their own artwork. Pursuing a career as a teacher seems to be the most common and practical way of achieving this. This gives enough income—although small, to live on, and the time when school is off to focus on art. Some artists also pursue commercial art careers, while continuing work in their own style. Since this is often the case, commercial artists may or may not be artists pursuing gallery work as well. If they are, their job is then able to continue their creative outlet, unlike some artists who get so caught up in their non-art oriented career that they are forced to give up personal art-making all together. This also gives commercial artists more respect in places where a career as an artist is difficult to achieve. In a place like Los Angeles, where there is plenty of marketing and commercial opportunity for artists, these jobs are considered at times, especially at entry level, to be less important in the art world.[12]
When artists move into New York, they often come from places that are far different than the city, which poses problems in terms of assimilation. While transitioning into the fast paced, cutthroat environment, artists are in need of community and people who can encourage them and introduce them to life in the city. Valuing community comes from the need for people who care about and value the artist. They often think the mainstream community does not accept their eccentricity. Gentrification only perpetuates the notion of artists being “outsiders.” While being individuals, artists need to be seen as valuable and able to be included.[13]
[1]Megan Shuffle, interview by the author, 9 June 2008, New York, NY, filenotes.
[2]Megan Shuffle, interview by author, 9 June 2008, New York, NY, filenotes.
[3]Lolly Koon, interview by author, 7 June 2008, New York, NY, filenotes.
[4]Matthew Russas and Paul Muranyi, interview by author, 3 June 2008, New York, NY, filenotes.
[5]Joyce Lee, interview by author, 4 June 2008, New York, NY, filenotes.
[6]Josh, interview by author, 5 June 2008, New York, NY, filenotes.
[7]Max Steiner, interview by author, 7 June 2008, New York, NY, filenotes.
[8]Megan Shuffle, interview by author, 9 June 2008, New York, NY, filenotes.
[9]Max Steiner, interview by author, 7 June 2008, New York, NY, filenotes.
[10]Megan Shuffle, interview by author, 9 June 2008, New York, NY, filenotes.
[11]Joyce Lee, interview by author, 4 June 2008, New York, NY, filenotes.
[12]Joyce Lee, interview by author, 4 June 2008, New York, NY, filenotes.
[13]Megan Shuffle, interview by author, 9 June 2008, New York, NY, filenotes.
Community Organizations, Networks, and Nodes
Unlike our expectations, networking and social connections are some of the most important and influential resources of artists in New York City. It is these things that draw artists to the city and keep them thriving. The effects of gentrification and adaptation to the city life have increased the value of artist-centered organizations and community fellowship. The rapid inflation in the city has also caused rarity in such resources.
One such rarity is the Westbeth Center for the Arts. It is located in lower Manhattan on West St. and Bank St. The National Council for Art bought Westbeth in 1968 for 2.5 million dollars. Richard Meyer designed the building when he was young, who would go on to design the Getty Center in Los Angeles. It is a non-profit residential organization specifically created for working artists in New York City. It began in 1968 and housed all types of artists including Vin Deisel, Robert De Niro’s father, and hosted events for names as big as Kiss. It was intended to be a safe-haven for struggling young artists in the city, a place to build community, cultivate their talent, and have a work-live loft. It provides cheap lofts and studios for around $500 – $900 a month, invaluable in lower Manhattan. Residents consider Westbeth’s facilities as “prime real-estate.” While Westbeth provides for artists’ physical spatial need, it is also concerned with their personal impact on the surrounding Manhattan community.[1]
Matthew Russas, General Manager of Westbeth, considers artists to be the “leading edge of gentrification.” Their creativity is essential to the health of New York City’s diversity and avant-garde status. One of Westbeth’s goals for sustaining its services to artists is to provide an encouraging and conducive atmosphere for ingenuity. He wants to see artists thriving in the city without having to worry about issues such as rent.[2]
Because of gentrification, artists are forced to move further into the outskirts of the city, leaving areas that used to be bustling art scenes as homogenized centers for big business. Russas commented on gentrification, “Artists are the yeast that makes the bread rise, but what happens when you put the bread in the oven? The yeast disintegrates”[3]. Westbeth seeks to preserve artists’ influence in lower Manhattan by renting out its 350 work-live, studio-loft spaces.
While Westbeth has many aspirations and optimistic goals for its resident life, it has run into some limitations due to the nature of non-profit organizations. The first problem they encountered was not being able to evict its residents. This means that most living in the community are from the first wave of residents when it opened in 1968. When they pass on, the space is rented to the artist’s family. Only 75% of its residents are actually artists. Steve, one of the current leaders of Westbeth, is making efforts to renovate and freshen Westbeth’s community. He hopes to filter its residents through several tests and evict those who are not artists by occupation to make room for aspiring and emerging artists. Westbeth becomes a time bubble as everything around it changes. They recognize the need to adapt accordingly.[4]
Steve and Matthew understand these problems and are making efforts to fix them. They set up art committees within the building to promote artists that live there. One asset is the gallery run by Jack Dowling. He tries to showcase mostly artists who live there while slowly showing more of the world’s artists. They also encourage their own artists to help cultivate their artwork. One artist and resident, Paul Muranyi, designed a sculpture room for resident artists. This helped bring Westbeth back to its original purpose as a community for working artists.[5]
Besides Westbeth, the Artists’ Alliance Inc. is an extensive program made in response to the art community’s need for work and show space. Focusing on helping visual artists, the non-profit offers an array of opportunities, from free online servers, to long-term studio space, to education. AAI works together with other programs and schools to bring artists together, publish and show their work, and provide space for artists to work. AAI recognizes the need for space for artists, and sees the way that this affects artists’ work, and hopes to reduce this problem at least temporarily for visual artists.[6]
The Elizabeth Foundation for the Arts has been working since 1991 to give artists subsidized studio, residential, and showing space in New York. In Midtown Manhattan, EFA has a space where artists can use printmaking machines and services. Events bring in visiting artists, allow time for open studios, and provide demos. In order to apply for the subsidized studio, potential renters must be professional visual artists. EFA creates a healthy balance between the individual and the community. It claims to be a catalyst for cultural growth, stimulating new interactions between artists, creative communities, and the public. EFA seems to be the organization to get involved with as an immigrant artist.[7]
The Queens Council on the Arts has been active in the artist community since 1966. It provides Queens residents with workshops, forums, networking events, management resources, and career mentorship.[8] The Brooklyn Arts Council provides the same opportunities for visual, performing, media, and literary arts.[9] Both are responsible for the wellbeing of artists in their specific communities.
The Art Student’s League is an organization founded in 1875 by artists for artists. Through the years, it has provided quality education for all types of students including renowned artists such as Georgia O’Keefe, Jackson Pollock, Roy Lichtenstein, and Norman Rockwell. It has upheld three main principles: “emphasizing the importance of artistic creativity, maintaining the greatest respect for artists who devote their lives to art, and educating students in the process of making art in an environment where anyone who wishes to pursue an art education can realize his or her full potential”[10] After interviewing several artists within the New York Metropolitan Area, the League seems to be the first and possibly most important organization to connect with as an aspiring or emerging artist.
The Dumbo Arts Center (DAC) is a non-profit contemporary arts organization that serves the art community of Brooklyn. It produces the annual Art Under the Bridge Festival, the largest urban forum for experimentation in public art by emerging artists in the United States. According to DAC’s website, its mission is “to engage a broad spectrum of society in the sensory and intellectual stimuli of emerging visual culture by providing visual artists and curators with the singular opportunity for both on and off-site experimentation, innovation, presentation and advancement”[11] Besides the Brooklyn Arts Council, the DAC is a major resource for the Brooklyn community’s up and coming artists.
[1]Matthew Russas, interview by author, 3 June 2008, New York, NY, filenotes.
[2]Matthew Russas and Steve, interview by author, 3 June 2008, New York, NY, filenotes.
[3]Matthew Russas, interview by author, 3 June 2008, New York, NY, filenotes.
[4]Ibid.
[5]Paul Muranyi, interview by author, 3 June 2008, New York, NY, filenotes.
[6]Artists’ Alliance Inc.: http://www.aai-nyc.org/ [accessed 12/07/08]
[7]Elizabeth Foundation for the Arts: http://efa1.org/about/ [accessed 14/07/08]
[8]Queens Council on the Arts: http://www.queenscouncilarts.org/qcastatic/index.html [accessed 11/07/08]
[9]Brooklyn Arts Council: http://www.brooklynartscouncil.org/ [accessed 11/07/08]
[10]Art Student’s League of New York, “Our History”: http://www.theartstudentsleague.org/history.html [accessed 14/07/08]
[11]Dumbo Arts Center: http://www.dumboartscenter.org/about.html [accessed 14/07/08]
One such rarity is the Westbeth Center for the Arts. It is located in lower Manhattan on West St. and Bank St. The National Council for Art bought Westbeth in 1968 for 2.5 million dollars. Richard Meyer designed the building when he was young, who would go on to design the Getty Center in Los Angeles. It is a non-profit residential organization specifically created for working artists in New York City. It began in 1968 and housed all types of artists including Vin Deisel, Robert De Niro’s father, and hosted events for names as big as Kiss. It was intended to be a safe-haven for struggling young artists in the city, a place to build community, cultivate their talent, and have a work-live loft. It provides cheap lofts and studios for around $500 – $900 a month, invaluable in lower Manhattan. Residents consider Westbeth’s facilities as “prime real-estate.” While Westbeth provides for artists’ physical spatial need, it is also concerned with their personal impact on the surrounding Manhattan community.[1]
Matthew Russas, General Manager of Westbeth, considers artists to be the “leading edge of gentrification.” Their creativity is essential to the health of New York City’s diversity and avant-garde status. One of Westbeth’s goals for sustaining its services to artists is to provide an encouraging and conducive atmosphere for ingenuity. He wants to see artists thriving in the city without having to worry about issues such as rent.[2]
Because of gentrification, artists are forced to move further into the outskirts of the city, leaving areas that used to be bustling art scenes as homogenized centers for big business. Russas commented on gentrification, “Artists are the yeast that makes the bread rise, but what happens when you put the bread in the oven? The yeast disintegrates”[3]. Westbeth seeks to preserve artists’ influence in lower Manhattan by renting out its 350 work-live, studio-loft spaces.
While Westbeth has many aspirations and optimistic goals for its resident life, it has run into some limitations due to the nature of non-profit organizations. The first problem they encountered was not being able to evict its residents. This means that most living in the community are from the first wave of residents when it opened in 1968. When they pass on, the space is rented to the artist’s family. Only 75% of its residents are actually artists. Steve, one of the current leaders of Westbeth, is making efforts to renovate and freshen Westbeth’s community. He hopes to filter its residents through several tests and evict those who are not artists by occupation to make room for aspiring and emerging artists. Westbeth becomes a time bubble as everything around it changes. They recognize the need to adapt accordingly.[4]
Steve and Matthew understand these problems and are making efforts to fix them. They set up art committees within the building to promote artists that live there. One asset is the gallery run by Jack Dowling. He tries to showcase mostly artists who live there while slowly showing more of the world’s artists. They also encourage their own artists to help cultivate their artwork. One artist and resident, Paul Muranyi, designed a sculpture room for resident artists. This helped bring Westbeth back to its original purpose as a community for working artists.[5]
Besides Westbeth, the Artists’ Alliance Inc. is an extensive program made in response to the art community’s need for work and show space. Focusing on helping visual artists, the non-profit offers an array of opportunities, from free online servers, to long-term studio space, to education. AAI works together with other programs and schools to bring artists together, publish and show their work, and provide space for artists to work. AAI recognizes the need for space for artists, and sees the way that this affects artists’ work, and hopes to reduce this problem at least temporarily for visual artists.[6]
The Elizabeth Foundation for the Arts has been working since 1991 to give artists subsidized studio, residential, and showing space in New York. In Midtown Manhattan, EFA has a space where artists can use printmaking machines and services. Events bring in visiting artists, allow time for open studios, and provide demos. In order to apply for the subsidized studio, potential renters must be professional visual artists. EFA creates a healthy balance between the individual and the community. It claims to be a catalyst for cultural growth, stimulating new interactions between artists, creative communities, and the public. EFA seems to be the organization to get involved with as an immigrant artist.[7]
The Queens Council on the Arts has been active in the artist community since 1966. It provides Queens residents with workshops, forums, networking events, management resources, and career mentorship.[8] The Brooklyn Arts Council provides the same opportunities for visual, performing, media, and literary arts.[9] Both are responsible for the wellbeing of artists in their specific communities.
The Art Student’s League is an organization founded in 1875 by artists for artists. Through the years, it has provided quality education for all types of students including renowned artists such as Georgia O’Keefe, Jackson Pollock, Roy Lichtenstein, and Norman Rockwell. It has upheld three main principles: “emphasizing the importance of artistic creativity, maintaining the greatest respect for artists who devote their lives to art, and educating students in the process of making art in an environment where anyone who wishes to pursue an art education can realize his or her full potential”[10] After interviewing several artists within the New York Metropolitan Area, the League seems to be the first and possibly most important organization to connect with as an aspiring or emerging artist.
The Dumbo Arts Center (DAC) is a non-profit contemporary arts organization that serves the art community of Brooklyn. It produces the annual Art Under the Bridge Festival, the largest urban forum for experimentation in public art by emerging artists in the United States. According to DAC’s website, its mission is “to engage a broad spectrum of society in the sensory and intellectual stimuli of emerging visual culture by providing visual artists and curators with the singular opportunity for both on and off-site experimentation, innovation, presentation and advancement”[11] Besides the Brooklyn Arts Council, the DAC is a major resource for the Brooklyn community’s up and coming artists.
[1]Matthew Russas, interview by author, 3 June 2008, New York, NY, filenotes.
[2]Matthew Russas and Steve, interview by author, 3 June 2008, New York, NY, filenotes.
[3]Matthew Russas, interview by author, 3 June 2008, New York, NY, filenotes.
[4]Ibid.
[5]Paul Muranyi, interview by author, 3 June 2008, New York, NY, filenotes.
[6]Artists’ Alliance Inc.: http://www.aai-nyc.org/ [accessed 12/07/08]
[7]Elizabeth Foundation for the Arts: http://efa1.org/about/ [accessed 14/07/08]
[8]Queens Council on the Arts: http://www.queenscouncilarts.org/qcastatic/index.html [accessed 11/07/08]
[9]Brooklyn Arts Council: http://www.brooklynartscouncil.org/ [accessed 11/07/08]
[10]Art Student’s League of New York, “Our History”: http://www.theartstudentsleague.org/history.html [accessed 14/07/08]
[11]Dumbo Arts Center: http://www.dumboartscenter.org/about.html [accessed 14/07/08]
Urban Realities and Adaptations
As has been stated, moving to New York as an artist can create a series of struggles in assimilation and adaptation. This presents itself in many forms, equally in private and professional life. Shuffle, who was interviewed about the issue of assimilation and adaptation, explained that most people need six months to a year to begin to feel comfortable with the city, becoming settled and enjoying life. In her own experience, Shuffle explained that being in the city brought out many characteristics in her that were difficult and undesirable to face. While facing these things she also was trying to keep in contact with those back home in Texas. This became increasingly difficult, as the city was overwhelming and alone time was so valued that making calls during that time was a lesser priority. It seems that many artists face this dilemma, as even people who move with friends in the city, often make new communities after moving. In her experience, if a person was able to stay in the city for a year, it was likely that they would be able to live there permanently.[1]
Learning to process inputs and taking time to be still and quiet are necessities of life in the city. Shuffle explained that, in the city, she was forced to learn quickly what her needs were in having time alone, and needed to be intentional about finding those times. In these times people often need to process all that they have been exposed to. Because there is little opportunity for this, many artists pursue professional counseling. Another adaptation that artists face is the city’s atmosphere of chaos and overexposure, which causes structure to be more desired and sought after. This concept translates into church needs, as well. Mike Petrow, pastor of NYC Church, formally known as the 411 Church, found that in many contexts outside of the city, people want church to be quick and entertaining. In the city, he has found that people much more often desire church to be an extended respite from the busy over stimulated life outside. Structured services become most desirable, and order is very important.[2]
Shuffle explained that her growth process was quickened while learning to adjust to the city. Having people in the city to go through this with is very important. Many artists explained that there were already people in the city who they knew, before moving. This seemed to be a significant reason that they felt able to face the challenges of moving into such an overwhelming atmosphere. What is interesting, however, is that although these pre-established relationships give security for moving to the city, many of these relationships are not actually maintained once settled into life in the city. They seem to merely be an encouraging option for newcomers.[3]
[1]Megan Shuffle, interview by author, 9 June 2008, New York, NY, filenotes.
[2]Mike Petrow, interview by author, 8 June 2008, New York, NY, filenotes.
[3]Megan Shuffle, interview by author, 9 June 2008, New York, NY, filenotes.
Learning to process inputs and taking time to be still and quiet are necessities of life in the city. Shuffle explained that, in the city, she was forced to learn quickly what her needs were in having time alone, and needed to be intentional about finding those times. In these times people often need to process all that they have been exposed to. Because there is little opportunity for this, many artists pursue professional counseling. Another adaptation that artists face is the city’s atmosphere of chaos and overexposure, which causes structure to be more desired and sought after. This concept translates into church needs, as well. Mike Petrow, pastor of NYC Church, formally known as the 411 Church, found that in many contexts outside of the city, people want church to be quick and entertaining. In the city, he has found that people much more often desire church to be an extended respite from the busy over stimulated life outside. Structured services become most desirable, and order is very important.[2]
Shuffle explained that her growth process was quickened while learning to adjust to the city. Having people in the city to go through this with is very important. Many artists explained that there were already people in the city who they knew, before moving. This seemed to be a significant reason that they felt able to face the challenges of moving into such an overwhelming atmosphere. What is interesting, however, is that although these pre-established relationships give security for moving to the city, many of these relationships are not actually maintained once settled into life in the city. They seem to merely be an encouraging option for newcomers.[3]
[1]Megan Shuffle, interview by author, 9 June 2008, New York, NY, filenotes.
[2]Mike Petrow, interview by author, 8 June 2008, New York, NY, filenotes.
[3]Megan Shuffle, interview by author, 9 June 2008, New York, NY, filenotes.
Christian Response
Scott Rourke, the founding pastor of the 411 Church, located in Times Square, had great visions for ways to engage artists. As a pastor in Georgia, he felt that God was calling him to reach out to influencers of culture, which led him to New York five years ago. He spent a year in the city simply praying for direction, and becoming familiar with the needs. Although his church was greatly geared toward artists, he was also concerned with others in the media and public forum. Rourke chose Times Square as the location for the church, knowing that is was a key location to reach out to these shapers of society. Once the church began, there were many opportunities to engage with artists in the area. One event that the church held each year was called “the Artery.” Artists were chosen to show work based on a specific theme. While the theme was chosen, such as last year’s “redemption” theme, the art itself was not under any restrictions. This way the artistic dialogue was opened in a specific direction, to create freedom but not confusion. Rourke saw that artists are naturally inclined to react to things more strongly than others might. In this way, he saw it as important to first show the artists in the community that they were of value. In doing this, a trust was built with the artists and opened doors to share the gospel.[1]
Also offered at the 411 Church was a space for artists around the area to come in, check their e-mail, read scripts, and even rehearse for shows in studios. A gallery was set up, as well, where visual artists could show their work. Up to thirty people a day would use the space, and many would also come to church on the weekend. Rourke said that this was “absolutely” effective, and one of the best outreaches they had.[2]
While a well planned, and mostly effective church, 411 is currently in the remaking. Because artists often have financial need, there seemed to have been few able to give financially to the church, and it went bankrupt in February 2008. Rourke also left the church, feeling that it was going in a different direction then had originally been intended. The small group of people left leading the church has renamed it the NYC Church. Rourke still has hopes of planting more 411 churches around the country, and is preparing to do so while back in Georgia.[3]
Another group making efforts to reach the artist community is the International Arts Movement (IAM, pronounced “I am”). This group was originally started as a Christian organization to connect Christian artists internationally, and engage in dialogues of major spiritual issues artists face. As IAM has grown, and a strong desire for this sort of communication has been seen, the group has been changed from a Christian organization to a “faith-based” organization, allowing non-Christians to participate and engage in the dialogue. Although still primarily made up of Christians, this has given the freedom to talk to non-Christian artists openly about spiritual issues in the arts. IAM has several groups that meet independently, as well as annual conferences and a newly initiated high school age program.[4]
[1]Scott Rourke, interview by author, 7 June 2008, New York, NY, phone interview and filenotes.
[2]Scott Rourke, interview by author, 7 June 2008, New York, NY, phone interview and filenotes.
Mike Petrow, interview by author, 8 June 2008, New York, NY, filenotes.
[3]Scott Rourke, interview by author, 7 June 2008, New York, NY, phone interview and filenotes.
[4]Joyce Lee, interview by author, 4 June 2008, New York, NY, filenotes.
Also offered at the 411 Church was a space for artists around the area to come in, check their e-mail, read scripts, and even rehearse for shows in studios. A gallery was set up, as well, where visual artists could show their work. Up to thirty people a day would use the space, and many would also come to church on the weekend. Rourke said that this was “absolutely” effective, and one of the best outreaches they had.[2]
While a well planned, and mostly effective church, 411 is currently in the remaking. Because artists often have financial need, there seemed to have been few able to give financially to the church, and it went bankrupt in February 2008. Rourke also left the church, feeling that it was going in a different direction then had originally been intended. The small group of people left leading the church has renamed it the NYC Church. Rourke still has hopes of planting more 411 churches around the country, and is preparing to do so while back in Georgia.[3]
Another group making efforts to reach the artist community is the International Arts Movement (IAM, pronounced “I am”). This group was originally started as a Christian organization to connect Christian artists internationally, and engage in dialogues of major spiritual issues artists face. As IAM has grown, and a strong desire for this sort of communication has been seen, the group has been changed from a Christian organization to a “faith-based” organization, allowing non-Christians to participate and engage in the dialogue. Although still primarily made up of Christians, this has given the freedom to talk to non-Christian artists openly about spiritual issues in the arts. IAM has several groups that meet independently, as well as annual conferences and a newly initiated high school age program.[4]
[1]Scott Rourke, interview by author, 7 June 2008, New York, NY, phone interview and filenotes.
[2]Scott Rourke, interview by author, 7 June 2008, New York, NY, phone interview and filenotes.
Mike Petrow, interview by author, 8 June 2008, New York, NY, filenotes.
[3]Scott Rourke, interview by author, 7 June 2008, New York, NY, phone interview and filenotes.
[4]Joyce Lee, interview by author, 4 June 2008, New York, NY, filenotes.
Recommendations for Engagement
Christians must be willing to love and support each other as people called to participate in each other’s lives, accepting all parts of the community Christ has established. With this in mind, there is a strong need for the Church to be willing to participate in the lives of artists. There are unfortunately few churches who actively pursue ministry oriented toward artists, and even fewer who seek the artists in their community to participate in the church, using their creative gifts. Megan Shuffle expressed that a significant need in the Church is for the education of the Church in the arts and dialogue of the arts. Some churches shun the engagement of the arts, seeing it as shallow and even evil or unholy. Many simply do not know how to engage with artists, misunderstanding their eccentricity and creativity as a desire to separate themselves from others. They also may not be able to have meaningful conversations with artists because they do not understand the culture.[1] Paul Muranyi commented that the biggest need or way to reach out to artists is through “support and advocacy.”[2]
Although it is very important for the Church to become more aware of artists and how to dialogue with them, it is also important for Christian artists to understand how to engage the art world. Because some people have segregated themselves as “Christian artists,” a reputation has been built as untalented and inexperienced artists. It is important that Christian artists participate in the art world by making relevant pieces which can both express a Christian worldview and open conversation with non-Christians about faith. Because artists value openness, artists who are Christians can easily develop significant relationships with artists who are not Christians by being willing to care about the art world as a whole.[3]
An artist’s identity is a significant factor in the art that they make, as well as who they are as a person. Shuffle saw this as important to keep in mind while doing ministry with artists, explaining that some artists might fear that choosing to change their religion would change them, and ruin their art. Because art is so often expressive and even therapeutic, there is a good amount of art that comes from pain, and from a dark place. Shuffle expressed that this might cause artists to fear that becoming a Christian would mean that art has to be what is stereotyped as “Christian art,” which is very bland and unrealistically sugar coated.[4]
It is important to properly engage artists as a people group because they identify themselves as a group with a specific heart language, which is their artwork. The body of Christ needs to find a way to provide worship in their heart language. According to Megan Shuffle from IAM, a community is a group of “people who have something in common that is outside of themselves. They are living for something else.”[5] That “something else” for artists is their artwork. They also have a talent that is hardly recognized by the church. They fear that when they become Christians, they need to stop being an artist. Shuffle commented, “I believe that God has given them a special talent that needs to be cultivated for His purpose and glory”.[6]
[1]Megan Shuffle, interview by author, 9 June 2008, New York, NY, filenotes.
[2]Paul Muranyi, interview by author, 3 June 2008, New York, NY, filenotes.
[3]Joyce Lee and Megan Shuffle, interview by author, 4 June 2008, New York, NY, filenotes.
[4]Megan Shuffle, interview by author, 9 June 2008, New York, NY, filenotes.
[5]Ibid.
[6]Ibid.
Although it is very important for the Church to become more aware of artists and how to dialogue with them, it is also important for Christian artists to understand how to engage the art world. Because some people have segregated themselves as “Christian artists,” a reputation has been built as untalented and inexperienced artists. It is important that Christian artists participate in the art world by making relevant pieces which can both express a Christian worldview and open conversation with non-Christians about faith. Because artists value openness, artists who are Christians can easily develop significant relationships with artists who are not Christians by being willing to care about the art world as a whole.[3]
An artist’s identity is a significant factor in the art that they make, as well as who they are as a person. Shuffle saw this as important to keep in mind while doing ministry with artists, explaining that some artists might fear that choosing to change their religion would change them, and ruin their art. Because art is so often expressive and even therapeutic, there is a good amount of art that comes from pain, and from a dark place. Shuffle expressed that this might cause artists to fear that becoming a Christian would mean that art has to be what is stereotyped as “Christian art,” which is very bland and unrealistically sugar coated.[4]
It is important to properly engage artists as a people group because they identify themselves as a group with a specific heart language, which is their artwork. The body of Christ needs to find a way to provide worship in their heart language. According to Megan Shuffle from IAM, a community is a group of “people who have something in common that is outside of themselves. They are living for something else.”[5] That “something else” for artists is their artwork. They also have a talent that is hardly recognized by the church. They fear that when they become Christians, they need to stop being an artist. Shuffle commented, “I believe that God has given them a special talent that needs to be cultivated for His purpose and glory”.[6]
[1]Megan Shuffle, interview by author, 9 June 2008, New York, NY, filenotes.
[2]Paul Muranyi, interview by author, 3 June 2008, New York, NY, filenotes.
[3]Joyce Lee and Megan Shuffle, interview by author, 4 June 2008, New York, NY, filenotes.
[4]Megan Shuffle, interview by author, 9 June 2008, New York, NY, filenotes.
[5]Ibid.
[6]Ibid.
For Evangelism
The Church should provide a space and opportunity for open spiritual dialogue that works toward developing relationships with artists and eliminating the “Christian bubble.” It should not hold artist events because it will only draw Christian artists. People do not want to be judged or converted. Megan said, “They [evangelicals] will say they understand me [artist], and then, preach change to me.”[1] Their identity as an artist is most important to them. Their artwork is how they process and understand themselves. Only when you have known the artist a long time and have a good relationship with him or her should you ask to create something of his or her essence for you. If you do this too soon or not in the right context, the artist may feel used. Always be prepared to pay for the work. The most important thing is to educate the church. Hold meetings or classes to inform them about the arts and the history of New York City artists and art movements. The one thing artists cannot stand is ignorance toward their culture and lifestyle. Just like any other ethnic culture, if you are going to reach out to them, you must understand their ways and belief system.[2]
[1]Ibid.
[2]Megan Shuffle, interview by author, 9 June 2008, New York, NY, filenotes.
[1]Ibid.
[2]Megan Shuffle, interview by author, 9 June 2008, New York, NY, filenotes.
For Meeting Social Needs
A major theme of this research has been community. What does community look like for New York City’s artists? For Christians, the church is an instant community, but non-Christians struggle with finding close dependable relationships. The church needs to provide an open community for artists where they can fill their need for intimacy and accountability. Many artists settle for “collaborative” relationships that are short-term, but really yearn for long deeper relationships. Artists want to feel valued and understood in what they do and who they are.
New York City is considered a “commuter city.” Many artists live in the city for 2-5 years. They live with the mentality that a New York reputation will help them in their hometown. With this transient dynamic of the artist community, the church must find a way to get them established and rooted in something beyond themselves, possibly connected with their artwork. There is a huge need for a firm foundation amongst the change and chaos of the bug city.
Because most artists move from another place, they have to adjust to the size, concentration of people, and the circulation of money in New York. Megan said, “The city has a way of exposing everything nasty about you and affects everything. Relationships left behind got hard fast. Communication is hard because when you get time to be by yourself, you need the solitude.”[1] She suggested that artists take time and take care of themselves and every 4-6 weeks get out of the city. Could the church possibly provide a place of refuge and solitude for artists in the tri-state area? Many people also go to counseling. They need someone to listen to them without bias, which shows a need for genuine relationships.
In the chaos of the city, people crave structure. They see beauty in the order of things; it makes sense to them. People are drawn to church just for that reason, the desire to bring order and structure to their busy complicated city lives. The church should provide that structure and foundation.
[1]Megan Shuffle, interview by author, 9 June 2008, New York, NY, filenotes.
New York City is considered a “commuter city.” Many artists live in the city for 2-5 years. They live with the mentality that a New York reputation will help them in their hometown. With this transient dynamic of the artist community, the church must find a way to get them established and rooted in something beyond themselves, possibly connected with their artwork. There is a huge need for a firm foundation amongst the change and chaos of the bug city.
Because most artists move from another place, they have to adjust to the size, concentration of people, and the circulation of money in New York. Megan said, “The city has a way of exposing everything nasty about you and affects everything. Relationships left behind got hard fast. Communication is hard because when you get time to be by yourself, you need the solitude.”[1] She suggested that artists take time and take care of themselves and every 4-6 weeks get out of the city. Could the church possibly provide a place of refuge and solitude for artists in the tri-state area? Many people also go to counseling. They need someone to listen to them without bias, which shows a need for genuine relationships.
In the chaos of the city, people crave structure. They see beauty in the order of things; it makes sense to them. People are drawn to church just for that reason, the desire to bring order and structure to their busy complicated city lives. The church should provide that structure and foundation.
[1]Megan Shuffle, interview by author, 9 June 2008, New York, NY, filenotes.
Questions and Directions for Further Study
Because this trip was only two weeks long, much of our research was rushed and barely scratched the surface of what makes up New York City artists. There were many other questions we wanted to ask to properly assess this people group. There are so many different types of artists in New York City including performance artists and filmmakers. It would have been interesting to compare those artists with visual artists. Further study would come best through more interviews with artists in different sub-groups. We would like to delve further into what it means to be an artist and how each sub-group relates to each other.
Bibliography
Anderson, John. Interview by author, 23 May 2008, La Mirada, CA. Filenotes.
Artists’ Alliance Inc.: http://www.aai-nyc.org/ [accessed 12/07/08]
Art Student’s League of New York, “Our History”: http://www.theartstudentsleague.org/history.html [accessed 14/07/08]
Bailey, Suzanne. (2001) Essential History of American Art. Parragon Publishing, London.
Brooklyn Arts Council: http://www.brooklynartscouncil.org/ [accessed 11/07/08]
Clayman, Chris. Church Multipplication Movement Information System, All People’s Initiative: http://www.bcnychurchplanting.org/ResourceListAPI.asp?CategoryID=13 [accessed 11.07.08]
Callis, Dan. Interview by author, 23 May 2008, La Mirada, CA. Filenotes.
Dumbo Arts Center: http://www.dumboartscenter.org/about.html [accessed 14/07/08]
Elizabeth Foundation for the Arts: http://efa1.org/about/ [accessed 14/07/08]
Fitzpatrick, Anne. (2006). Movements in Art: Late Modernism. Creative Education, Mankato, Minnesota.
Josh. Interview by author, 5 June 2008, New York, NY. Filenotes.
Koon, Lolly. Interview by author, 7 June 2008, New York, NY. Filenotes.
Lee, Joyce. Interview by author, 4 June 2008, New York, NY. Filenotes.
Mecklenburg, Virginia M. (Nov. 1995). New York City and the Ashcan School—American Art Movement. Magazine Antiques, CNET Networks, INC.
Muranyi, Paul. Interview by author, 3 June 2008, New York, NY. Filenotes.
Petrow, Mike. Interview by author, 8 June 2008, New York, NY. Filenotes.
Piper, David. (1981). The Illustrated History of Art. Chancellor Press (Bounty Books), Great Britain
Queens Council on the Arts: http://www.queenscouncilarts.org/qcastatic/index.html [accessed 11/07/08]
Rourke, Scott. Interview by author, 7 June 2008, New York, NY. Phone Interview and filenotes.
Russas, Matthew. Interview by author, 3 June 2008, New York, NY. Filenotes.
Shuffle, Megan. Interview by author, 9 June 2008, New York, NY. Filenotes.
Steiner, Max. Interview by author, 7 June 2008, New York, NY. Filenotes.
Steve. Interview by author, 3 June 2008, New York, NY. Filenotes.
Van Buren, Jay. Interview by author, 6 June 2008, New York, NY. Filenotes.
Artists’ Alliance Inc.: http://www.aai-nyc.org/ [accessed 12/07/08]
Art Student’s League of New York, “Our History”: http://www.theartstudentsleague.org/history.html [accessed 14/07/08]
Bailey, Suzanne. (2001) Essential History of American Art. Parragon Publishing, London.
Brooklyn Arts Council: http://www.brooklynartscouncil.org/ [accessed 11/07/08]
Clayman, Chris. Church Multipplication Movement Information System, All People’s Initiative: http://www.bcnychurchplanting.org/ResourceListAPI.asp?CategoryID=13 [accessed 11.07.08]
Callis, Dan. Interview by author, 23 May 2008, La Mirada, CA. Filenotes.
Dumbo Arts Center: http://www.dumboartscenter.org/about.html [accessed 14/07/08]
Elizabeth Foundation for the Arts: http://efa1.org/about/ [accessed 14/07/08]
Fitzpatrick, Anne. (2006). Movements in Art: Late Modernism. Creative Education, Mankato, Minnesota.
Josh. Interview by author, 5 June 2008, New York, NY. Filenotes.
Koon, Lolly. Interview by author, 7 June 2008, New York, NY. Filenotes.
Lee, Joyce. Interview by author, 4 June 2008, New York, NY. Filenotes.
Mecklenburg, Virginia M. (Nov. 1995). New York City and the Ashcan School—American Art Movement. Magazine Antiques, CNET Networks, INC.
Muranyi, Paul. Interview by author, 3 June 2008, New York, NY. Filenotes.
Petrow, Mike. Interview by author, 8 June 2008, New York, NY. Filenotes.
Piper, David. (1981). The Illustrated History of Art. Chancellor Press (Bounty Books), Great Britain
Queens Council on the Arts: http://www.queenscouncilarts.org/qcastatic/index.html [accessed 11/07/08]
Rourke, Scott. Interview by author, 7 June 2008, New York, NY. Phone Interview and filenotes.
Russas, Matthew. Interview by author, 3 June 2008, New York, NY. Filenotes.
Shuffle, Megan. Interview by author, 9 June 2008, New York, NY. Filenotes.
Steiner, Max. Interview by author, 7 June 2008, New York, NY. Filenotes.
Steve. Interview by author, 3 June 2008, New York, NY. Filenotes.
Van Buren, Jay. Interview by author, 6 June 2008, New York, NY. Filenotes.
Maps
People Profile
ARTISTS IN THE NEW YORK METRO AREA
Quick Facts:
Place of Origin:
Artists from many backgrounds sprung up in New York around the early 1900s.
Location in New York City Metro Area:
Midtown and Downtown Manhattan (Chelsea, SoHo, Greenwich, Tribecca, East and WestVillage) These tend to be more gallery settings than studios and lofts.
Brooklyn (DUMBO, Williamsburg, Greenpoint, Bushwick) These are a mix of studios and galleries)
Queens (Astoria and Long Island City) Tend to be more studio and loft areas then galleries.
Bronx (Southside)
Jersey City Becoming a balanced mix of studio/loft and gallery space.
Population in New York City Metro Area:
A few hundred thousand
Religious Orientation:
Most artists are spiritual or inspired by spirituality. They are in a constant search for truth.
Status of Christian Witness:
Less than 2% Evangelism-focused ministries and outreaches. There are several churches and organizations established with the goal of catering to the artist community.
Primary Language:
English
Significant Notes:
95% of all New York Metro artists have a second or third job to financially support themselves while pursuing their artwork.
Artists initiate the change and progress of New York’s development as a leading city.
WHERE DO THEY LIVE?
Artists are constantly on the move as rents go up and commercial businesses move in. They are always looking for the next available and affordable community. Currently, the majority of younger generation and emerging artists live in Brooklyn, specifically Williamsburg, Greenpoint, and Bushwick and Jersey City, New Jersey. More serious artists gravitate toward Long Island City and Astoria, Queens.
WHAT DO THEY BELIEVE?
Artists hold to a variety of beliefs although the majority has a strong spiritual orientation. The current trend is to incorporate Eastern and Western thought into their belief system. They are open to dialoguing about spirituality and faith, especially that which influences their artwork. Many explore new age practices like meditation, yoga, herbal healing, energy, balance, and an awareness or influence of spiritual forces.
WHAT ARE THEIR LIVES LIKE?
Artists are always busy, either working a day job or working on an art piece. They are fast-paced, motivated, and well-connected to the immediate community. Many of their activities are based on networking, establishing and maintaining connections and relationships with other artists, writers, gallery owners, and curators. When they are not working, you’ll often find them at a local cafe or coffee shop discussing ideas or relaxing.
Quick Facts:
Place of Origin:
Artists from many backgrounds sprung up in New York around the early 1900s.
Location in New York City Metro Area:
Midtown and Downtown Manhattan (Chelsea, SoHo, Greenwich, Tribecca, East and WestVillage) These tend to be more gallery settings than studios and lofts.
Brooklyn (DUMBO, Williamsburg, Greenpoint, Bushwick) These are a mix of studios and galleries)
Queens (Astoria and Long Island City) Tend to be more studio and loft areas then galleries.
Bronx (Southside)
Jersey City Becoming a balanced mix of studio/loft and gallery space.
Population in New York City Metro Area:
A few hundred thousand
Religious Orientation:
Most artists are spiritual or inspired by spirituality. They are in a constant search for truth.
Status of Christian Witness:
Less than 2% Evangelism-focused ministries and outreaches. There are several churches and organizations established with the goal of catering to the artist community.
Primary Language:
English
Significant Notes:
95% of all New York Metro artists have a second or third job to financially support themselves while pursuing their artwork.
Artists initiate the change and progress of New York’s development as a leading city.
WHERE DO THEY LIVE?
Artists are constantly on the move as rents go up and commercial businesses move in. They are always looking for the next available and affordable community. Currently, the majority of younger generation and emerging artists live in Brooklyn, specifically Williamsburg, Greenpoint, and Bushwick and Jersey City, New Jersey. More serious artists gravitate toward Long Island City and Astoria, Queens.
WHAT DO THEY BELIEVE?
Artists hold to a variety of beliefs although the majority has a strong spiritual orientation. The current trend is to incorporate Eastern and Western thought into their belief system. They are open to dialoguing about spirituality and faith, especially that which influences their artwork. Many explore new age practices like meditation, yoga, herbal healing, energy, balance, and an awareness or influence of spiritual forces.
WHAT ARE THEIR LIVES LIKE?
Artists are always busy, either working a day job or working on an art piece. They are fast-paced, motivated, and well-connected to the immediate community. Many of their activities are based on networking, establishing and maintaining connections and relationships with other artists, writers, gallery owners, and curators. When they are not working, you’ll often find them at a local cafe or coffee shop discussing ideas or relaxing.