{"id":2066,"date":"2019-09-01T17:31:12","date_gmt":"2019-09-01T21:31:12","guid":{"rendered":"https:\/\/managementandthearts.com\/5e\/?p=2066"},"modified":"2019-09-01T17:31:21","modified_gmt":"2019-09-01T21:31:21","slug":"management-and-the-arts-5e-september-2019","status":"publish","type":"post","link":"https:\/\/managementandthearts.com\/5e\/blog\/management-and-the-arts-5e-september-2019\/","title":{"rendered":"Management and the Arts 5e – September 2019"},"content":{"rendered":"\n

Art\nProtests. Creative Class. Usher-Cams?<\/em><\/p>\n\n\n\n

This month I thought these three articles spoke to issues\narts managers and leaders are facing. <\/p>\n\n\n\n

Historic\nChange? <\/em><\/p>\n\n\n\n

Ben Davis\u2019 opinion piece focuses on the repercussions of the protests related to the Whitney Museum board member and Vice-Chair Warren B. Kanders. Kanders, \u201cis chairman and chief executive of the Safariland Group, which sells multiple lines of military and law enforcement equipment including tear gas.\u201d (Moynihan, 2019) Davis offers the observation that theses protests \u201copen up a new epoch for museums, with effects likely to stalk every institution and every large-scale art event going forward.\u201d (Davis 2019) A class discussion about museum programming, artists and politics, and the kinds of businesses board members are connected to could be an excellent way to open the semester. Whether we are entering \u201ca new epoch\u201d or not might be a good starting point for a conversation. <\/p>\n\n\n\n

Where is\nthe creative class? <\/em><\/p>\n\n\n\n

Richard Florida continues to research and report on his\nsignature topic – the creative class. His recent article in City Lab<\/a> focuses on changes in the creative\nclass before, during, and after the most recent recession. He points to a shift\nin the metro areas where members of the creative class are employed. Florida estimates\nthere was an increase from 44 million to 56 million in the creative class between\n2005 and 2017. He posits that the new metro areas seeing the fastest growth in\nthe creative class are partly a result of the lack of affordability in cities\nlike San Jose, San Francisco, and New York, among others. <\/p>\n\n\n\n

After reading Florida\u2019s report, I suggest exploring two other articles about his work to gain some perspective. First, read Pete Saunders 2017 Forbes<\/a><\/em> article The Evolution of The Creative Class<\/a> and then take a look at Oliver Wainwright\u2019s interview in The Guardian<\/em><\/a> with Florida entitled \u2018Everything is gentrification now\u2019: but Richard Florida isn’t sorry<\/a> (October 2017). These additional sources should make for an exciting discussion about the more important topic of cultural and urban policymaking and its implementation. <\/p>\n\n\n\n

Do we\nneed usher-cams? <\/em><\/p>\n\n\n\n

The last article takes us to the topic of what appears to be\nthe devolving behavior of audiences. While there are certainly historical\nrecords which describe riotous behavior by audiences at arts events (McPherson, 2002), the recent reports\nby a sampling of ushers in theatres in Great Britain give one reason to ponder\nif there is a need for things such as \u2018usher-cams.\u2019 Discussing how best to\nmanage unruly patrons and exploring topics related to the changing risk\nmanagement environment facing cultural organizations might be fun. <\/p>\n\n\n\n

=========================================================<\/p>\n\n\n\n

What\nWarren Kanders\u2019s Defeat at the Whitney Teaches Us About How Protest Works Now<\/strong><\/a><\/h2>\n\n\n\n

Artnet News – Ben Davis, July 26, 2019 – OPINION<\/p>\n\n\n\n

In the pantheon of texts about art, there are very, very\nfew that have had the impact of <\/em>\u201cThe\nTear Gas Biennial.<\/em><\/a>\u201d Published online by Artforum last Thursday, it\namounted to a powerfully argued renewed call to artists in the Whitney Biennial\nto boycott the show over the museum\u2019s inaction on removing Warren Kanders, its\nweapons-manufacturer trustee, from its board. It almost immediately triggered\nactual and dramatic material consequences.<\/em><\/p>\n\n\n\n

With months having gone by since the notion of an artist\nboycott had been <\/em>first\narticulated<\/em><\/a>, the push for one was moribund. But by the day after the\npublication of the essay, a first wave of artists had declared they wanted out\nof the show; over the weekend, a second wave followed. This Thursday morning,\nexactly one week after the text was published, Warren Kanders resigned.<\/em><\/p>\n\n\n\n

The effects are historic. They open up a new epoch for\nmuseums, with effects likely to stalk every institution and every large-scale\nart event going forward. It is hard to say where its ramifications will end,\nbut it\u2019s certain that the expulsion of Kanders will be what this particular\nbiennial is remembered for.<\/em> [The full opinion piece may be read at the link\nbelow or by clicking the headline above.]<\/p>\n\n\n\n

Artnet News – https:\/\/news.artnet.com\/opinion\/kanders-resignation-whitney-1580551<\/a>\n<\/p>\n\n\n\n

———————————<\/p>\n\n\n\n

Maps\nReveal Where the Creative Class Is Growing<\/strong><\/a><\/h2>\n\n\n\n

CityLab.com \u2013 Richard Florida, July 9, 2019<\/p>\n\n\n\n

\u201cThe rise of the rest\u201d may soon become a reality as\nonce-lagging cities see growth of creative class employment.<\/p>\n\n\n\n

One of the most troubling trends of the past decade is\nthe deepening geographic inequality across the U.S., especially through the\nclustering of particular types of talent in coastal cities like San Francisco\nand New York. But a growing chorus of economists and urbanists suggest that we\nmay be seeing the \u201crise of the rest,\u201d a result of both increasingly\nunaffordable housing in established hubs and the improvement of the economies\nin less-established hubs. While startups and tech employment remain highly\nclustered, recent reports suggest that some Rustbelt and Sunbelt metros are\nincreasing their ability to attract college graduates.<\/em> [The full article\nwith graphics and tables may be read at the link below or by clicking on the\nheadline above.] <\/p>\n\n\n\n

City Lab – https:\/\/www.citylab.com\/life\/2019\/07\/cities-job-growth-creative-class-employment-talent-tech-map\/593416\/<\/a>\n<\/p>\n\n\n\n

Also read: The Evolution of The Creative Class<\/a> and \u2018Everything is gentrification now\u2019: but Richard Florida isn’t sorry<\/a> <\/p>\n\n\n\n

—————————<\/p>\n\n\n\n

From\nverbal and physical abuse to \u2018poogate\u2019 \u2013 ushers reveal their worst experiences\nworking front of house<\/strong><\/a><\/h2>\n\n\n\n

The Stage<\/em> – Matthew Hemley – July 19, 2019<\/p>\n\n\n\n

Ushers have revealed their experiences of dealing with\nincreasingly aggressive audience members, with incidents ranging from verbal\nabuse and threatening behaviour to actual physical violence.<\/em><\/p>\n\n\n\n

The front-of-house employees, who have worked across a\nnumber of major West End theatres, shared some of the incidents they have faced\nin the course of their jobs. They spoke out after it came to light this week\nthat ushers are being given body cameras in a bid to prevent confrontations\nwith audience members from escalating.<\/em><\/p>\n\n\n\n

The Stage spoke to a number of ushers, past and present,\nabout their working environments, with many claiming the behaviour of\n\u201centitled\u201d theatregoers is leading to a situation where they are abused. Ushers\nreported being spat and shouted at, being physically assaulted and having to\nbreak up fights between audience members themselves.<\/em> [The full article may\nbe read at the link below or by clicking on the headline above.]<\/p>\n\n\n\n

The Stage – https:\/\/www.thestage.co.uk\/news\/2019\/from-verbal-and-physical-abuse-to-poogate-ushers-reveal-their-worst-experiences-working-front-of-house\/?utm_source=newsletter1&utm_medium=email&utm_campaign=newsletter1<\/a>\n<\/p>\n\n\n\n

———————<\/p>\n\n\n\n

References<\/strong><\/p>\n\n\n\n

McPherson, H., 2002. Theatrical Riots and Cultural\n Politics in Eighteenth<\/em>-Century London. The Eighteenth Century, <\/em>Vol.\n 43(#3), pp. 236-252.<\/p>\n\n\n\n

Moynihan, C., 2019. Whitney Biennial Artists Call for Board Member Linked to Tear Gas to Step Down, <\/em>New York: New York Times.<\/p>\n","protected":false},"excerpt":{"rendered":"

Art Protests. Creative Class. Usher-Cams? This month I thought these three articles spoke to issues arts managers and leaders are facing. Historic Change? Ben Davis\u2019 opinion piece focuses on the repercussions of the protests related to the Whitney Museum board member and Vice-Chair Warren B. Kanders. Kanders, \u201cis chairman and chief executive of the Safariland […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"off","_et_pb_old_content":"","_et_gb_content_width":"","advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[3],"tags":[],"class_list":["post-2066","post","type-post","status-publish","format-standard","hentry","category-blog"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p9mams-xk","post_mailing_queue_ids":[],"_links":{"self":[{"href":"https:\/\/managementandthearts.com\/5e\/wp-json\/wp\/v2\/posts\/2066","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/managementandthearts.com\/5e\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/managementandthearts.com\/5e\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/managementandthearts.com\/5e\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/managementandthearts.com\/5e\/wp-json\/wp\/v2\/comments?post=2066"}],"version-history":[{"count":4,"href":"https:\/\/managementandthearts.com\/5e\/wp-json\/wp\/v2\/posts\/2066\/revisions"}],"predecessor-version":[{"id":2070,"href":"https:\/\/managementandthearts.com\/5e\/wp-json\/wp\/v2\/posts\/2066\/revisions\/2070"}],"wp:attachment":[{"href":"https:\/\/managementandthearts.com\/5e\/wp-json\/wp\/v2\/media?parent=2066"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/managementandthearts.com\/5e\/wp-json\/wp\/v2\/categories?post=2066"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/managementandthearts.com\/5e\/wp-json\/wp\/v2\/tags?post=2066"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}