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Martin Borton Just select your click then download button, and complete an offer to start downloading the ebook. Robert Lynch, President and CEO of Americans for the Arts, one of the nation's leading nonprofits for arts advancement, thinks some people might be misinterpreting his organization's recent report, which outlined some of the financial difficulties faced by artists. So what I think this study says is not that there's a lessened demand for the arts, but that we're undergoing a massive reassessment of the ways people want to engage with them.

Lynch certainly doesn't think we need "less art" or "fewer artists," and he doesn't think we can eliminate any of the myriad organizations that have sprung up over the past few years. In fact, he says, if you look at the trajectory that the arts have taken over the last half century, he said, you will see "massive growth" in interest from consumers on the whole. We also know there are 2. We really have to feel good about people's interest in this industry.


Chapman , a theater director, teacher, and writer based in New York, feels like he's learning some valuable "survivalist" skills in these trying times. The struggle has made him think more critically about why he wants to do the kind of work he's doing, and what he actually wants to spend his time on. He notes that even theater productions with the largest budgets -- like the recent, troubled production of "Spiderman: Turn Off The Dark" on Broadway, which went millions of dollars over budget and delayed its opening night several times -- constantly need more money than they have.

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When funding is limited and resources scarce, he wonders if perhaps it encourages artists and organizations to work within their means, and try new things. Chapman, for his part, branched out from directing to try solo performance again, and it made an indelible impression. Amnesty International, for example, they look forward to the day they can turn off their lights and close the doors because they've received 'amnesty internationally.

Noah Fischer, one of the visual artists leading the recent Occupy Museums movement -- an offshoot of Occupy Wall Street -- said that the most egregious problem isn't funding for artists, but rather the proliferation of people providing unpaid labor for arts organizations. The Occupy Museums group has protested at the Museum of Modern Art in New York and recently marched with a Sotheby's art-handler union , whose members have been locked out of their jobs for the past three months.

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  • Generally, Fischer wants lawmakers to fiscally "understand" everything that artists provide to the society at large. Creative labor needs to be addressed as labor. Chapman, however, wonders if his art would suffer if he were subsidized every month no matter what he put out -- if he received a monthly stream of income without any questions asked.

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    Digital artist Scott Snibbe never used to make a profit from his art shows. He remembers the early s when he had to turn down opportunities to show his work because he would always end up losing so much. But in the past few years, his passions have found new homes at the iTunes store, where his unique, shape-shifting projects have flourished as Apps.

    His recent high-profile digital art collaboration with the musician, Bjork -- a sort of interactive map for her most recent album, Biophilia -- came after years of hard work and failed projects. Snibbe had always hoped he might one day be able to create a "culture" around his work. He says he has an Andy Warhol-style interest in combining business and art, and he believes that artists are able to do that now more than ever.

    With Amazon, writers can upload their own books, on iTunes, developers can upload their own apps, and through YouTube and Vimeo, filmmakers can upload their own video projects. This is indeed, Snibbe says, the "Post-Gatekeeper Era" for artists.