Tenth Anniversary!!

Each year, I write a New Year’s Eve post, recapping the previous year. But, this isn’t just any New Year’s Eve post, this is the TENTH ANNIVERSARY of Creative Infrastructure! I have posted far less frequently the last couple of years, coincident with accepting my current position as Dean of the College of Arts & Letters at Cal State LA, and also, I think, because blogging just isn’t so much of a thing anymore.

The blog has afforded me the opportunity to work through a lot of ideas related to the arts and entrepreneurship. Now those ideas are synthesized into a collection of essays, Creative Infrastructures: Artists, Money, and Entrepreneurial Action, which will be available as an e-book from my publisher, Intellect Books, before the end of 2021.

As I have for nine of the last ten years, I recap some Creative Infrastructure stats:

  • Readership in 2020 was about even with 2019, at just under 10,000 reads
  • There were 6700 unique users
  • Most of those were from the US, but Canada and the UK were second and third
  • I only posted eight times this year (including this post) as opposed to 24 posts in 2019 when I made my online course, Foundations of Arts Entrepreneurship, available here for free
  • The most popular topic continues to be, for the third year in a row, a definition of arts incubators and related posts; it is gratifying that the research that consumed five years of my life from 2010-2015 is still of use – or at least of interest. The “Donut Post” on unpaid internships, still remains the single most read post overall.

I hope 2021 will bring an end to the pandemic and with it a recognition that community action is actually more effective at increasing individual well-being than the pursuit of individual interests.  

With gratitude to my readership, I wish you all a VERY HAPPY NEW YEAR!

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Last Words?

I’m working on how to close out Creative Infrastructures: Artists, Money, and Entrepreneurial Action. My thinking has evolved, somewhat circuitously, since I began studying entrepreneurship and then public administration fifteen years ago. The writing has really been about me untying the Gordian knot I became trapped within as I grew increasingly aware of the conflicts between my values and my actions (or rather the actions I was teaching others to pursue). Here is what I am working on for a closing…let me know what you think:

            Capitalism is not just an economic system, it is a culture, grounded in the belief that the pursuit of individual self interest is in the interest of the good of all humanity. As wealth inequity grows and the planet warms at an unsustainable pace, many are accepting that a culture shift is needed. It will take at least another generation for that culture shift to take hold more permanently. Such a shift may lead, at the macro level, to the return of social democracy as a way to the shift the balance between the individual and collective well-being. Yet, we need to also look past (or perhaps below) the macro level to the community level, each community networked in ways that enable them to spiral up to a more sustainable future for artists and everybody else. Such a “responsive communitarian” approach does not yet have much traction politically, but may provide the framework needed for a future economy that empowers artists (and other people) to not merely survive, but to thrive.

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Creative Infrastructures: Artists, Money, and Entrepreneurial Action

Creative Infrastructures: Artists, Money, and Entrepreneurial Action is a labor of love, the culmination of fifteen years of ever-evolving thinking, and, now, a manuscript submitted to Intellect Books. A prologue, nine essays, and an epilogue (this last is still in progress); almost 80,000 words; over 400 citations; hours of interviews with artists; a new title. I had to print it out for a final read.

And now…thinking about what’s next.

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Real Estate

All too often, artists who are attentive to the “business” of their creative practice are accused of “selling out.” But for many working artists, that attention to business–to revenue generation, asset accrual, the arts economy—is what enables an artist to not just survive, but to thrive. When artists follow their mission, or organizations theirs, they don’t sell out, they spiral up. As I talked with artists and arts infrastructure leaders about what makes their work sustainable, an unexpected theme emerged: property ownership.

So starts Essay Nine, the last before I complete the speculative fiction of the epilogue. The essay is inspired by two complementary quotes:

Art is a way of survival (Yoko Ono)

I had a dream. My father had just died, and in my dream … I called my Dad and I said, “Should I give up my art?” He said, “No. Don’t give up your art, but keep the house.” (Beth Ames Swartz)

Another update: after consulting with my editor from Intellect Books, the title of the book now aligns with this blog, where I tried out so many of my ideas:

Creative Infrastructures: Artists, Money, and Entrepreneurial Action

Inspiration for Essay Nine
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First Principles, Inadequate Soil, and Artist Entrepreneurs

On June 8, I participated in a virtual symposium sponsored by the Arts, Entrepreneurship and Innovation Lab at Indiana University entitled “New. Not Normal.” Some panelists were invited to pre-record ~15 minute talks, while others, like me, were invited to respond to those prerecorded talks. What follows is the prompts I was given in advance, and my responses to them.

Prompt from Doug Noonan: “In her presentation, Lucy [Bernholz] talked about the importance of first principles in thinking about our systems. She pressed us to push beyond the ‘mushrooms’ that are on thesurface and to examine the ‘soil’ underneath. I’d like to go around the panel, and ask: in light of recent crises, what are the first principles that you think are most important?”

Before I answer the question about first principles, I want to Thank Doug [Noonan] and Joanna [Woronkowicz] for the opportunity to share my thoughts with my esteemed panelists and the many others watching. I also want to thank Indiana University for allowing me to defer its modest honorarium to an artist in need rather than accepting it myself. I’m not sharing this to highlight my own righteousness, but rather because her story is emblematic of what working artists who serve communities of color are facing right now in the world of Covid-19. Martha Carrillo is a member of the Self-Help Graphics and Art Census Atelier, working toward a full count of all of the residents of East LA as well as, under different circumstances, a resident artist with their Barrio Mobile Art studio. She lost that contract work as a result of the pandemic. I’ll come back to that…but on to the matter at hand.

If it’s possible to have TWO first principles, I want to share my observations of them

  1. One. The free market economy has been our default first principle. The neoliberal version of it we’ve lived in since 1980 is the “soil,” to use Lucy’s metaphor, but it is soil that does not provide the nourishment we need as a nation; a soil that has proven to be completely inadequate to the task of nourishing us during this time of crisis; As a system, it is inadequate to the task of producing and distributing necessary goods equitably in a time of crisis. The free market, as a first principle, has not provided masks, or testing kits or even toilet paper efficiently or effectively. The current regime’s responses to Black Lives Matter protests is one the “mushrooms,” growing out of this sick soil (and I note for my colleague Tyler Cowen who in his pre-recorded comments called these “riots” – they are not, they are protests). This response favoring property rights over human rights exposes the sickness. As Marc Bamuthi points out, there is a tension between public good and private wealth. Our free market soil helps the latter grow, but often at the expense of the former.
  2. Second: the second “first principle” is the healthy soil of communities. Community-level actions really matter for community and individual well-being. Whether it’s neighbors feeding neighbors or people in a café deciding to wear or not wear a mask, individual actions in community or neighborhood settings have life-or-death consequences. We need to look to community action during this time of crisis. (And I learned from Nwamaka Agbo that we can call this “resorative economics,” a term I love.)

Later in the panel, Doug asked me about the challenges and opportunities for artist entrepreneurs. Here is my response:

First, they should keep making art because that’s what artists do. But for a dozen of the last fifteen years, I’ve been teaching artists to navigate an economic system that really doesn’t work for them. Arts incubators, crowd funding sites like Kickstater, arts business workshops are all “mushrooms” that have sprung up out of necessity in this neoliberal freemarket soil. But rather than changing what artists need to do, maybe it’s time to change the soil, the system. The Pandemic shows this clearly enough, and the recent protests point out that it is just unethical to value property rights over human rights. One of the things I’m working on now in my writing is this idea of artists forgoing the organizations that have grown up inside the capitalist system and instead connecting their work more directly with their audience. I don’t really have any answers to that…but it is what I think about, when I’m not focused on my day job as Dean of the College of Arts & Letters at Cal State LA.

[image: Mushrooms found growing in potting soil. Photo by WDavis1911; CC 3.0]

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An Open Letter to Students: “Don’t Wait”

A colleague dean clearly articulates both the challenges and the hope…”We need the next generation to define and improve the next normal”

Sarah Bay-Cheng

Dear arts student:

You are essential.

I hope that wherever you are in the world and whatever discipline you practice or field you study, that you’ll continue your creative work this year. We need you.

Amid all the current uncertainty and planning, it is so tempting to wait for things “to go back to normal.” As the parent of someone who just finished his first year of university, I see the challenges of the zoom classroom and understand the appeal of taking a break until this current situation is all over. But it’s not clear yet what the next “normal” will look like or when it may come. Some things may resemble what we remember; others will be forever different. While this uncertainty can be a cause of anxiety, it also offers a rare opportunity, especially for the next generation of global artists.

Emerging artists, designers and scholars entering universities…

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A Covid-19 Prompt from Artivate

[The co-editors of Artivate: A Journal of Entrepreneurship in the Arts invited me to submit some “thoughts on arts entrepreneurship in light of the recent economic and social shifts brought on by the impact of the COVID-19 pandemic.” Here is that submission.]

As I work on a series of essays about artists and entrepreneurial action, I had already been considering what a post-capitalist arts economy might look like, one in which artists can connect their work directly with its audience outside of the traditional capitalist economy. Then Covid-19 hit. The current situation has made at least one thing clear to me: the market cannot solve the immediate or long-term effects of the crisis. What we see happening in the short term is a series of emergency actions including: direct payments; expanded unemployment insurance; and paid sick leave. All of these would, at any other time in US history, be branded as “socialism.” Now, however, a broad cross-section of the American public sees these steps not as “socialism” but as “necessary.” Once we get to the other side of this, I am hopeful that enough people (not just in the US, but especially here) will recognize that collective social action is a more effective and efficient way to achieve human well-being than market-based exchanges.

The other thing we see happening in the short term is a reliance on artists and their irreplaceable unique creative products to help humanity through this crisis through music, media streaming, literary arts, and online galleries. We are living without sports, but not without the content available on Netflix or Hulu. If my first hope is fulfilled, my second hope is that people will connect the value they are finding in the arts with the value they are finding in collective social action to build economic and social structures that support the arts and artists. We need to heed Arlene Goldbard’s (and others’) calls for a “Works Progress Administration for the Arts,” but in a way that does not take us back to the 1930s but instead moves us forward to the other side of neoliberal capitalism. I don’t presume to know what that will look like, but I am hopeful that it will look better for artists tomorrow than it did yesterday.


An artist prepares his graffiti with the inscription “The Corona Virus Is A Wake Up Call And Our Chance To Build A New And Loving Society” on a wall in the slaughterhouse district in Munich, Germany. Photo: AFP



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Love is in the Air (and the office)

el mac

February is a time to celebrate love and friendship. I try to bring love into the office every day: love for student success; love for colleagues and collaborators; and love for the beautiful Tongva land on which Cal State LA sits. I recently purchased a print from Self Help Graphics and Art by Los Angeles artist El Mac (Miles MacGregor), pictured above, that seems particularly fitting for the season; it hangs in my office on the Cal State LA campus.

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New Year Post 2019-20

Happy New Year! Happy New Decade!

Screen Shot 2019-12-30 at 1.51.28 PM.png

Since I launched this blog on New Year’s Eve 2010 it has been my tradition to offer a recap of the blog’s year, summarizing its stats and revisiting its most popular posts. As the decade comes to a close, I am going to do the opposite. Rather than look to the past, I look to the future, specifically, the future I imagine in the final essay of my forthcoming book, Art, Money, and Entrepreneurial Action: An Ouroboros. I decided recently to write this last essay as a work of speculative fiction in which I imagine the successful lives of three artists in the year 2050. Over the preceding three decades (starting in 2020), the United States has evolved into a social democracy akin to that of late-twentieth century Scandinavian countries, but one that sees its significant cultural and ethnic diversity as an asset and so have built on it successfully since the [hopefully] 2020 election brought the country together. I rest comfortably in retirement, knowing that there are artists who understand how to connect their work to their audiences in ways that enable them to sustain their lives. I profile three “fictional” artists:

Rey Lopez is an East LA artist and printmaker, based on an amalgamation of East LA artists and printmakers who I met in 2018 and 2019. Now in his early 60s, he maintains an active practice around community classes, political engagement, and local action. Monica Simon, age 50 sustains her artistic practice as a painter and performance artist through her membership in an artist collective, one of hundreds found throughout the country in the year 2050. Finally, Swift Z at age 30 is a media mega-star who supports both their own practice and that of others both through personal philanthropy and the restoration of the 70% marginal tax rate on wealthy Americans made possible by the election of the country’s first social democratic president.

I look forward over the next year to imagining the world inhabited by these three artists, a world in which entrepreneurial action is not driven by a desire for wealth creation but instead by a drive for social profit and cultural equity.

Have a creative, equitable, and peaceful 2020 — and beyond!

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Post Chanukah Thoughts

Hours after I posted my “Chanukah Thoughts,” tragedy struck. As I was considering the lessons of Chanukah, the persistent resistance to oppression and the collective action of Tikkun Olam, tragedy struck in two ways, intellectually and violently, and in two different milieus, the newspaper of record and a rabbi’s home in Monsey, NY. The rabbi’s house just 3 miles from the house where I spent my earliest childhood years in neighboring Spring Valley.


Anthropometry, while used legitimately by physical anthropologists, was exploited by eugenicists to support their fake “science” of racism

The intellectual tragedy was that the NY Times Opinion editor chose to publish a racist eugenicist screed written by conservative commentator Bret Stephens. In it (and no, I won’t link to such drivel) Stephens asserts that Ashkenazi Jewish are better thinkers than other races and ethnicities because they “think different;” that their tradition of debate and discussion of Torah and Talmud – as well as a genetic proclivity cited in a 2005 pseudo-scientific study of IQ testing, later removed by the editor – causes the group, a group to which I proudly belong, to count more “geniuses” among their numbers than other groups. I was so appalled that, while still in my pajamas, I dashed off the following letter to the editors of the NY Times, unlikely to ever see the light of day in the newspaper of record, but available now on social media platforms like this:

Nothing breeds antisemitism quite like false claims of Jewish superiority. Bret Stephens’s recent column will do much more harm than good and you should not have published it.

Where I work, in a minority serving institution where Jews are few and far between, I regularly see students who are the first in their families to go to college soar to intellectual and artistic heights (often while juggling two jobs and supporting a family). While I appreciate the Jewish tradition of questioning and discussion, the abilities of the boys and men in the yeshiva to do so were privileged by and because of the hard work of the women at home, women like my own grandmothers and great grandmothers. Study was a privilege, one that is now shared by millions of students of all races, religions, and ethnicities thanks to public higher education. When we all (men, women, Jews, gentiles, Whites, and People of Color) have access to quality public education, then we’ll all have, to use Bret Stephens’s metaphor, a soccer ball of our own.

The second tragedy is the sadly logical outcome of antisemitism: the murder or attempted murder of Jews because we are, somehow, different. Genetically, we are not any more different than you, dear reader, are from your neighbor, whether of the same race or ethnicity or not. A 37 year old man searched “German Jewish temples near me” and “why did Hitler hate the Jews,” before breaking into the home of an orthodox Hasidic rabbi and stabbing the family there, gathered to celebrate the lighting of the Chanukah candles. While there is no obvious causal relationship between the Stephens column and the hideous act of violence in Monsey, there is at minimum a correlative link between the rhetoric of hate in our current time and the increase in hate crimes against Jews, Blacks, and other people of color or minority religions.

It is the tradition of debate, discussion, and questioning that keeps me marginally interested in Judaism (as well as all the greasy, fattening holiday foods (e.g. latkes) that I grew up with). Questioning can itself be a form of resistance to oppression, and we must never stop questioning why someone would stab a family of Jews lighting candles, why the NY Times editors would publish and reference the work of eugenicists, or why the current regime is insistent on reducing access to healthcare (e.g., the decimation of the ACA) or food stamps (e.g. changes to TANF rules). To repair the world, our shared “temple,” we must work together with love and not hate, in the spirit of togetherness rather than difference.




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