The United States has approved an increase in the budgets of the National Endowment for the Arts (NEA) and the National Endowment for the Humanities. In 2009, NEA’s funding was $155 million, in 2010 it will total $167.5 million. (via ArtsBeat & Culture Monster)
According to the American for the Arts, Earlier this year, the U.S. House recommended $170 million for NEA, while the Senate proposes $161.3 million. The final funding scheme was announced this past week. As a result of the increase, the NEA will be funded at its highest level in 16 years.
The bill also includes increases for the National Gallery of Art, the Smithsonian, and the John F. Kennedy Center for the Performing Arts. “Overall, federal cultural funding continues to see incremental, but significant, increases,” according to a statement from the Americans for the Arts.
Gulf-based media outlet Al Jazeera is reporting that the Gulf States are experiencing a cultural explosion, which includes the recent launch of the Doha Tribeca Film Festival and the 2012 opening of branches of the Guggenheim & the Louvre in Abu Dhabi. The liberals among us can only hope that an increase awareness of human rights will soon follow in these autocratic states. (via HuffPost)
New York City approved the new MoMA tower, which was originally planning to be as high as the Empire State Building but will now be 200 feet shorter and comparable in height to the Chrysler Building. (via NY Times)
The Gotham Gazette asks how Mayor Michael Bloomberg is doing in his support of the city’s arts community. Some notable points: Bloomberg’s administration has streamlined the funding process, made it more transparent, and more arts non-profits and cultural groups receive funding from the city than before. That’s not to say there haven’t been major failures, most notably arts education in New York public schools.
For those in Brooklyn, city counselor Diana Reyna spoke to a small group of “arts-identified” 34th City Council District residents (i.e. Bushwick, Brooklyn). BushwickBK reports on the meeting, which may be one of the first attempts by a politician to familiarize themselves with the issues that impact the local arts community.
Across the country, the recession is pushing some San Francisco galleries from some traditional gallery zones to newer districts, which can only be a good thing in our book. (via SF Chronicle)
Back to New York, November’s big auctions will undoubtedly inspire a flurry of articles and posts about the future health of the art industry. The season kicks off on Tuesday with Christie’s Impressionist and modern art evening sale, featuring 40 works that are expected to gross a total of more than $68 million. On Wednesday, Sotheby’s 60-lot evening sale is estimated at up to $160m. Both sales are the smallest we’ve seen in years. (via Crain’s NY, Financial Times & Reuters)
As much as I appreciate the collective’s culture jamming initiatives, I don’t know that their putative premise ever bears meaningful fruit.
The banana’s dominance and ubiquity has had serious and far-reaching implications for the region, engendering exploitative labor systems, climate change, and migration.
The first lecture is on the relationship between early portrait photography and diverse notions of US identity during the Gilded Age. Register to attend on January 25.
Charles Dellheim’s study tells the tale of a small group of Jewish art dealers and collectors who played a key role in the changing art world of the 19th and 20th centuries.
The 18-month fellowship aims to provide artists with “as much access as possible” to the club’s facilities and networks “at a time and place convenient to artists.”
Part of the university’s Artists on the Future series pairing renowned artists with cultural thought leaders, this online event is free and open to the public.
A coalition of investors raised funds to purchase the film’s storyboard and announced they would “make the book public.”
A new project, “Emoji to Scale,” orders every mini-object by their real-world dimensions.
Although Khedoori does not depict living beings, their presence is evoked in the traces they leave behind.
The Bronx Museum’s fifth biennial continues to focus its programming on individual identity, eliding the ever-divergent interests of the art market and local communities.
While it may be strange to think of food insecurity as a basis for art, the works in Food Justice reveal barriers and injustices in food access.