More and more, I am realizing that we need art to survive. The phrase worked in two ways: We need art to survive for our personal enrichment and enjoyment. We need art to survive for its own longevity, so it can be around for us and those who come after us.
According to a new report from the LA Times, 10 former employees of Baca's nonprofit, the Social and Public Art Resource Center (SPARC), allege that she misused funds from a $5 million Mellon Foundation grant in 2021. The funding was specifically to be administered over three years for the expansion of "The Great Wall" mural, a portion of which went on view at Jeffrey Deitch gallery in Los Angeles last Saturday, February 20.
The Irish government will give 2,000 artists unrestricted weekly stipends in a program officials described as a "recognition, at government level, of the important role of the arts in Irish society." After a successful three-year pilot, the Irish government made its basic income program for artists permanent. Similar pilots have been launched here in the United States, but they're supported primarily by the nonprofit sector.
Andre de Ridder is either brave or stupid. He has accepted the role as the music director of English National Opera its chief conductor and keeper of its musical flame. He will take up the role formally in 2027. The post has been empty for several anguished years, sparked by Arts Council England's 2022 announcement that the company would lose all its funding unless it moved out of London.
Because they've long stopped being about just one depraved pedophile and have come to symbolize the endemic depravity of the world's richest elites. It's no surprise that the art world is implicated. There isn't much difference between a corporation's board of directors and a museum's board of trustees. It's more or less the same money, same power dynamics, and the same creeps crawling through the corridors.
For 50 years, the non-profit MCCLA at 25th and Mission has run arts programming from the four-story building it leased from the city for a dollar a year. The Arts Commission has also given them funding, with the expectation that they will raise more funds from donors, classes and events. This month, however, the Mission Cultural Center ran out of money and on Jan. 26 it closed indefinitely.
Then, suddenly, my inbox was full of writers pitching me about it and my group chats were on fire about "the gay hockey show," so I figured I should check it out. I will say, as someone who is deeply allergic to tv shows that people describe as "heartwarming" or "necessary" or "a balm for our troubled times," I am very glad that the first few episodes were sold to me as simply "super fucking hot."
I didn't listen to my family as a child when they told me to avoid becoming the bearer of bad news. As part of Hyperallergic's News Team, I've spent much of the last year writing about the impact of President Trump's policies on the most cherished arts and cultural organizations in the United States, including the Smithsonian Institution, the National Endowment for the Arts (NEA), the National Endowment for the Humanities (NEH), and the Institute for Museum and Library Services (IMLS).
Like many artists, Voynovskaya, is trying to navigate a rocky economy and policy shifts that could make health care harder to attain. Voynovskaya is insured through the Affordable Care Act marketplace, also known as Covered California. The ACA subsidizes insurance premiums through tax credits, making coverage affordable to many. But some of those tax credits are set to expire at the end of the year, raising premiums for more than 74,600 people in Alameda County.
In 1973, gallerist Howard Wise concluded his manifesto with an urgent appeal to build bold and "imaginative funding" structures for video artists. Wise's manifesto would become a foundational document for the video distributor Electronic Arts Intermix (EAI), which he founded in 1971 shortly after closing his eponymous gallery. Like many arts manifestos, the text is saturated with a spirit of utopian dreaming; its language is rhetorically structured around "potential" and "possibility," and generates a future-oriented imaginary
With the Trump administration cutting funds to arts and culture - a survey by the American Alliance of Museums found that one-third of U.S. museums have lost government grants or contracts since President Donald Trump took office - the Brooklyn Museum on Eastern Parkway in Prospect Heights received a significant financial boost. At a Nov. 20 press conference in the museum's pavilion and lobby, Assembly Member Robert Carroll and state Sen. Zellnor Myrie presented the 200-year-old institution with a $10 million check
Seriously though, everything is so fragile right now: Arts and culture funding continues draining, healthcare is a shambles, social services are being razed, along with everything else that's bonkers. The one thing that's not fragile? Community. The communities we build around ourselves are what will help us survive. Start a union at work, in your building, at school. Talk to people at shows and protests. Start a soup night, it's November! There're a lot of ways to get through Portland's (and America's) Big Dark, you just gotta chose your own adventure....
"Being a Black LGBT person, there often weren't many spaces that I felt seen or accepted," King says. "I'm from Texas. Coming from a much more restricted state and then being at Columbia, obviously I wasn't necessarily represented there either. So coming into the Kiki scene has just given me a way to be around people that are actually like me."
Deborah Rutter believes living an "artful life" is essential to well-being. The former president of the John F. Kennedy Center for the Performing Arts said that means recognizing that everything that makes daily life beautiful - from the music playing in the grocery store to the architecture of the buildings along your commute - exists because of artists. "I have a personal belief that artists hold up a mirror to who we are as human beings and who our society is," Rutter said. "Our artists are telling the story of what's happening today. They are the truth-tellers."
I n a certain sense, I have been an employee of the Canadian government for the roughly eighteen months during which I wrote my book, How Artists Make Money and How Money Makes Artists. Not in the sense of having job security or benefits or a pension contribution or a direct supervisor or a specific place to be or a title,
The New York City Department of Cultural Affairs (DCLA) has announced five new members of its (Cig)-an exclusive programme for private arts organisations that operate on public land to receive long-term support from the city, including an annual operations subsidy. One arts organisation from each of the city's five boroughs was inducted into the group-Brooklyn's , Manhattan's , the , the on Staten Island and the in Queens.
Naomi Rincón-Gallardo's video installation, Resilience Tiacuache\Opposum Resilience (2019), perfectly encapsulates the hopes of the 18th Istanbul Biennial, a space where "self-preservation and futurity are interdependent", according to curator Christine Tohmé. Using survival-seeking opossums as a metaphor for mankind, this extremely funny and imaginative installation sees the creatures stand up to violent enemies that threaten their happiness and lives, bringing about a child-like joy in the viewer.
The Thrive, Elevate and Nexus programs each target a different segment of Austin's creative community: Thrive is designed for larger nonprofit arts organizations with a track record and dedicated space; Elevate supports mid-sized nonprofits and arts groups; and Nexus provides smaller, one-time grants to individual artists and collectives.
"With this funding, we can ensure that our event is inclusive, accessible, and professionally produced," Annie Le said. "For our communities, it means recognition, representation, and pride."
"After forty years as Artistic Director of his eponymous company, the Stephen Petronio Dance Company, Petronio has decided to close shop—a financial decision brought on by shifting interests in both private and public sources of funding."
"The city of Portland’s arts sector is in a crisis, facing budget cuts from both local and federal levels, jeopardizing the survival of vital cultural organizations."
The arts are under siege, as highlighted by the alarming termination of numerous National Endowment for the Arts grants, indicating a troubling shift in national financial priorities.
