Creative Time Summit: Electronic Journal Articles

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Concise Oxford Dictionary of Art Terms
The Encyclopedia of Aesthetics
Grove Art Online
Oxford Companion to Western Art

Afterall - Autumn-Winter 2009
What is at stake when artists, architects, curators, organisers and other cultural producers facilitate bricks-and-mortar change, on the ground in cities, with citizens, communities and institutions? How do we test the interrelationships between the practices of artists and urban policy makers? What is the metric that we might utilise to determine effectiveness? And what do we mean by effectiveness? Critical effect? (Or, for that matter, critical affect?) The putatively emancipatory outcome generated by some kind of new situational knowledge? Or, is it a question of generating ambiguity, per se, as a means of problematising hegemonic political, economic and cultural formations?

e-flux journal, no. 21
A discussion of the struggles, exoduses, and reappropria­tions of cognitive labor, especially in the field of visual art, and especially when taken as the leading edge of the “creative class,” while critically important, is trumped by the widespread, even worldwide, public demon­strations and occupations of the past year, this year, and maybe the next. I would like to revisit the creative-class thesis I have explored here in a recent series of essays in order to frame my remarks in light of these occupations, and to make a few observations about the relationship between artists, the positioning of the creative class, and the Occupy movement.

(Anne Gadwa Nicodemus is one of the smartest people I know and a nationally-recognized expert on creative placemaking and artist spaces. Currently principal of Metris Arts Consulting, she is a choreographer/arts administrator turned urban planner, researcher, writer, speaker, and advocate on the intersection of arts and community development. Please enjoy her guest post tackling one of the most controversial topics in our field – artists’ role in gentrification. -IDM)

Published in: GIA Reader, Vol 23, No 2 (Summer 2012)

Anne Gadwa Nicodemus

Funders, arts administrators, and other people trying their hand at creative placemaking (artists and more unlikely suspects) find their way to me. Because I coauthored Creative Placemaking, the 2010 white paper for the NEA’s Mayors’ Institute on City Design, I’m an authority, yet folks get through to me with a cold call or email, instead of waiting for an announced webinar from the National Endowment for the Arts or ArtPlace or trying to read between the lines of application guidelines.

By Ian David Moss | Published: May 9th, 2012

“I feel like whenever I talk to artists these days, I should be apologizing,” says Kevin Stolarick, Research Director for the Martin Prosperity Institute at the University of Toronto’s Rotman School of Management. To most in the arts community, Stolarick is better known as Richard Florida’s longtime right-hand man and research collaborator on his bestselling book, The Rise of the Creative Class."

My hometown is vibrant. Its status as such is certified, official, stamped on both sides.

There was a time, though, when it wasn’t, when my friends and I would laugh at Kansas City’s blandness: its harmless theater productions, its pretentious suburbs, its private country clubs, its eternal taste for classic rock. We called it “Cupcake Land,” after a favorite Richard Rhodes essay from the eighties. The city knew nothing of the bold ideas of our robust generation, we thought: it had virtually no music subculture; it was deaf to irony; hell, it actually tried to drive out of business the last surviving club from its jazz-age glory days.

In September 2012, NEA Design Director Jason Schupbach talked with Ann Markusen and Anne Gadwa Nicodemus, authors ofCreative Placemaking, a white paper commissioned by the Mayors' Institute on City Design. Markusen is emerita professor and director of the Arts Economy Initiative at the Humphrey School of Public Affairs at the University of Minnesota where she also directs the Project on Regional and Industrial Economics. Her research specializes in artists, arts organizations, and cultural activity as regional economic and quality-of-life stimulants. Gadwa Nicodemus is the principal of Metris Arts Consulting, which focuses on research, analysis, and planning support on how arts and culture strengthen communities and vice versa, and writes and speaks widely on creative placemaking and artist spaces.

e-flux journal web page - articles open

In the late 1990s, my wife and I got in a U-Haul, hit I-90 and headed west for a few days until we came to Port­land, Ore­gon. We had no jobs, no apart­ment, and no notion other than get­ting out of Minnesota.

Flushing-Main Street, the last stop on the 7 subway in outer Queens, occupies a curious place in the minds of New Yorkers. Foodies and bloggers have embraced the Flushing neighborhood, discussing their favorite dim sum restaurants in familiar tones. Sophisticated young urbanists maintain a vague but respectful awareness of it. News outlets periodically marvel at the pace and scope of its growth. Elected officials praise the inspiring pluck of the small business community. Flushing is still too unhip and too far away to get sustained attention, but everyone is quick to agree that it’s important, in some way or other.

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A recent article in the inaugural issue of Thirty Two magazine purports to undercut my theory of the creative class and economic development. With an attention-getting headline, "The Fall of the Creative Class," writer Frank Bures relates how he and his wife moved to Madison, Wisconsin, for a "variety of not-very-well-thought-out reasons," among them the fact that Madison had "been deemed a 'Cre­ative Class' strong­hold by Richard Florida, the prophet of pros­per­ous cool."

The new millennium dawned with half of the world's population living in cities, and experts forecast that by 2050 the world"s urbanization rate will reach 65%. Cities are potentially territories with vast economic, environmental, political and cultural wealth and diversity. The urban way of life influences the way in which we link with our fellow human beings and with the territory.

Youtube video of Bogota change by Andreas Dalsgaard.