Here
is a shot of Park Avenue South at East 14th Street facing north
to the Pan Am Building, again just before noon on a business
day.
Since the advent of the Market Based Economy
in the early 1980s, the arts in NYC have
been increasingly dependent upon tourism. But tourism has
been turned off. For
NYC, a major concern has been how the arts can survive until
that massive tourism can be revived.
But how soon can massive tourism be regained? There's
the serious question of "social
distancing" at large cultural institutions, which up to
now have tried to pack in as many ticket buyers as
physically possible. To reopen, most of those facilities
will require the expense of redesigning
their interiors, while greatly decreasing their customer and
audience capacities.
How will smaller and far less powerful art
entities secure for the funding to survive? In the fiber
art community, our organizations are already competing energetically
with each other for the same limited amount of donation money
available.
How
can the contemporary fiber art movement begin to compete
for survival support against the dominating large art institutions? How
can the contemporary fiber art movement expect to survive on
donations, when it has geared its organizational policies
and resources to cultivating fiber art almost exclusively as
an hobby requiring significant free time and disposable income?
The field
of contemporary fiber art has very little advocacy to help confront
the field's challenges. It certainly does not encourage
rational problem solving discussions. Although the fiber
arts are arguably the largest constituency of the
craft media arts, it is the subject area characterized by the
least transparent professional research practices and the poorest
reputation in the little published research dedicated to it. For
decades, the field has been developed solely for the enjoyment
it provides its makers. As a result, it has the poorest
economic and professional opportunity in the craft media based
arts.
The fiber arts have been been
an art form for peoples and cultures throughout human history. Yet
the contemporary field suffers from multiple stunning deficiences
of diversity regarding race, age, gender, and region. Individuals
in the fiber arts are largely expected to be self-capitalized
by savings, pensions, and/or by support from spouses. Curiously
the fiber art organizations endlessly express puzzlement about
the incredible exclusivity that results from this blatant economic
and financial
pre-screening.
Thus, over the past
generation, the incredibly non-diverse field has suffered breathtaking
losses. For
example, the Handweavers Guild of America has lost two thirds
of its membership
over the past three decades.1/ The American Tapestry
Alliance has been alarmed about greying of its membership without
appropriate replenishment by younger generations.2/
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