Let the class-based anxieties begin! The New York Times has published a useful tool to figure out where you fit into the great pyramid of wealth in this country. And just in case the people on the coasts of the US are going to pull out the, “well, it’s more expensive to live in New York than Montana” line, the newspaper of record has published another geography-based tool that does the contextual analysis for you.
Some interesting data points from these categories that don’t really lend themselves to effectively categorize the art community. Here are the 1% in the art world and remember this means that an artist is part of a household that has an income in that category. This does not indicate their personal category:
- 11,616 or 1.2% of the 1,000,000 in the “Other Industries” category
- 9,802 or 3.5% of the 285,110 in the “Business Services” category
- 5,765 or 2% of the 276,468 in the “Misc. Professional and Related Services” category
- 10,134 or 2.2% of the 465,545 in the “Other Industries” category
- 4,575 or 4.9% of the 92,861 in the “Misc. Professional and Related Services” category
- 2,809 or 3.5% of the 79,951 in the “Printing, Publishing & Allied Industries (except newspapers)” category
- 3,011 or 1.2% of 260,530 in this category
- 3,525 or 2.2% of 165,545 in this category
- Actors, Directors & Producers
- 6,751 or 3.1% of the 215,518 in this category
The total is 57,988 or 2% of the 2,841,528 in all the categories I’ve listed above. Which is slightly more than the 2.1 million that was touted in the NEA study last year (granted the NEA didn’t include curators or librarians from what I can tell) but this data does substantiate the claim that artists tend to be slightly wealthier than the general population.
And these categories don’t even account for the whole art world. I’m not sure where gallerists, auction house employees, studio assistants, gallery workers and others would fall in this categorization. Of course, just because someone is in the 1% doesn’t mean they don’t want to pay their fair share of taxes or government programs.
Regardless of the meaning of this data, in the wise words of Aunt Mame (as played by Rosalind Russell in the 1958 movie version), “Knowledge is power!“
Join Hyperallergic for an online conversation with cultural organizer and curator La Tanya S. Autry on February 1 at 7pm (EST).
This week, the Tonga eruption as captured from space, Boston gets a big gift of Dutch and Flemish painting, 30 years of New Queer Cinema, an important Marcel Breuer house is demolished, and much more.
At this free online summit, hear from architects Tadao Ando and Lesley Lokko; artist Himali Singh Soin; author Amitav Ghosh; design studio Formafantasma; and more.
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Surrealist images of a Rice Krispies box or Yukon Gold potato explore how data is transformed into the visual language called art.
This immersive video installation utilizes waterscape scenes to speak about concepts such as existence, intimacy, healing, and aquatic ecology.
What is wonderful about the online photography exhibition What Have We Stopped Hiding? is that one is given entrée to the internal monologue of the artists featured in the show.
Self-taught artists were invited to exhibit, and sell, their fuzzy stacks of pancakes and tasseled tapestries.
Curator, educator, and transdisciplinary artist Jova Lynne is coming from MOCAD to lead Temple Contemporary exhibitions and public programs.
Our culture seems obsessed with the artist/model relationship, portrayed in countless movies and narratives as a relationship that is lustful and scandalous.
Creator Art Spiegelman said he was “baffled” by the decision and called the school board’s behavior “Orwellian.”
The winners of this year’s Ocean Art Underwater Photo Contest prove that life is indeed better under the sea.