On October 16–17, 2020, visual artists, arts professionals, and freelance creatives are encouraged to attend Defining Value(s) in the Art World, Art World Conference’s first online event focused on financial health, sustainability, and best business practices through a lens of diversity, equity, and social justice.
The two-day event is a platform for the sharing of practical, actionable information. Topics comprise financial and legal issues ranging from sales, credit, investing, and licensing to the broader context of defining and asserting value, solidarity, and the importance of community.
Defining Value(s) in the Art World will feature more than 35 speakers and 26 sessions, including keynotes by multihyphenate artist Dario Calmese, who made history this year as the first Black photographer to shoot the cover of Vanity Fair, and Andre Perry, author of the newly released book Know Your Price: Valuing Black Lives and Property in America’s Black Cities. Additional presentations include a conversation between Kemi Ilesanmi, Executive Director of the Laundromat Project, and Gonzalo Casals, Cultural Affairs Commissioner for NYC; and a live performance and video premiere by artist Zachary Fabri.
A panel moderated by Pamela Capalad and Dyalekt of Brunch & Budget and See Change, “Creating a More Inclusive Economy: Bridging the Racial Wealth Divide” will feature panelists Edgar Villanueva, author of Decolonizing Wealth, and A-lan Holt, Director of the Institute for Diversity in the Arts at Stanford University. Workshops will be led by lawyer Luke Blackadar, crowdfunding strategist Daniel Sharp, Guggenheim curator Lauren Hinkson, Uprise Art founder Tze Chun, and financial educators Yanely Espinal, Kevin Matthews, and Wilson Muscadin, among many others. Discussion groups will be led by El Salón, Art Mamas, The Pandemic Salon, and The Circuit [Black Arts Coalition].
For registration and additional information, visit art-world-conference.attendease.com.
The works in Fault Lines prove that abstraction need not be confined to the inner life of the artist.
Celeste’s sculptures all rely on natural forces to achieve balance, and thus are perpetually on the precipice of collapse.
Romanticism to Ruin: Two Lost Works of Sullivan and Wright memorializes Chicago’s Garrick Theatre and Buffalo’s Larkin Building, which were razed to build a parking lot and a truck stop.
By reinventing the traditional bokashi technique, Hamanaka reminds us that nothing is dead, even when many proclaim otherwise.
The company’s mastery of the art market’s smoke and mirrors is its most impressive illusion.
Sadly, though by no means surprisingly, there is precedence for this female erasure. Women have been and continue to be the executors of the invisible, unpaid, unaccredited labor that makes much of the world run smoothly.