New York’s Visual Art World After 9/11 Abstract Julia Rothenberg, CUNY Graduate Center, The Russell Sage Foundation This paper examines the economic and cultural effects of the terrorist attacks of September 11 on New York City’s art world. Data was collected through interviews and ethnographic research at gallery openings, studios and museums immediately following the attacks through the fall of 2002. Funding for this project was provided by a grant from the Russell Sage Foundations. Participants included artists, gallery owners, directors of cultural institutions and non-profit gallery spaces, art critics and collectors. Throughout the interviews, several important themes emerged. First, while the "blue-chip" art-market had not suffered tremendously, not-for-profit institutions that rely on corporate donations, city and state subsidies and private philanthropy were already suffering and anticipated further cuts. In addition, the loss of service jobs and funding opportunities had a deep impact on the majority of New York’s artists who do no rely on the art market for economic sustenance. The fact that rental costs have not decreased (some have even increased), despite loss of jobs, had an additional impact on artists. This study investigates the ways that art world actors have experienced the ‘double whammy’ of 9/11 and the current recession. Aside from its considerable impact on New York’s art market and tourist industry, the events of 9/11 generated a tremendous demand for visual representation. Our city’s numerous artists responded to this demand by producing vast quantities of artwork that dealt specifically or indirectly with 9/11. This study examines a cross section of this work including filmic reportage, ‘patriotic’ responses, responses that address the complexity and multi-dimensionality of the causes and effects of the attack and art work that expresses an ambiguous, poetic and evocative representation, eschewing the temptation to sermonize or offer pat and predictable responses. Finally, this study considers the role of art and culture in the rebuilding of lower Manhattan. The discussion generated by the rebuilding plans and about art’s role in this rebuilding process throws into relief the position of art in today’s global cities. Contemporary urban planning reflects the current unfettered domination of capital and market concerns. The interests of culture intervene in an environment in which they have to justify their position in the city in terms of market benefits. Affordable housing and workspace and plentiful, decently paid part time work are bottom-line requirements for the creation of innovative but potentially unpopular work and a thriving creative climate. How the events of September 11 and the subsequent rebuilding of lower Manhattan influence the future of creative production in our city is still up for grabs. New York’s Visual Art World After 9/11 Abstract Julia Rothenberg, CUNY Graduate Center, The Russell Sage Foundation This paper examines the economic and cultural effects of the terrorist attacks of September 11 on New York City’s art world. Data was collected through interviews and ethnographic research at gallery openings, studios and museums immediately following the attacks through the fall of 2002. Funding for this project was provided by a grant from the Russell Sage Foundations. Participants included artists, gallery owners, directors of cultural institutions and non-profit gallery spaces, art critics and collectors. Throughout the interviews, several important themes emerged. First, while the "blue-chip" art-market had not suffered tremendously, not-for-profit institutions that rely on corporate donations, city and state subsidies and private philanthropy were already suffering and anticipated further cuts. In addition, the loss of service jobs and funding opportunities had a deep impact on the majority of New York’s artists who do no rely on the art market for economic sustenance. The fact that rental costs have not decreased (some have even increased), despite loss of jobs, had an additional impact on artists. This study investigates the ways that art world actors have experienced the ‘double whammy’ of 9/11 and the current recession. Aside from its considerable impact on New York’s art market and tourist industry, the events of 9/11 generated a tremendous demand for visual representation. Our city’s numerous artists responded to this demand by producing vast quantities of artwork that dealt specifically or indirectly with 9/11. This study examines a cross section of this work including filmic reportage, ‘patriotic’ responses, responses that address the complexity and multi-dimensionality of the causes and effects of the attack and art work that expresses an ambiguous, poetic and evocative representation, eschewing the temptation to sermonize or offer pat and predictable responses. Finally, this study considers the role of art and culture in the rebuilding of lower Manhattan. The discussion generated by the rebuilding plans and about art’s role in this rebuilding process throws into relief the position of art in today’s global cities. Contemporary urban planning reflects the current unfettered domination of capital and market concerns. The interests of culture intervene in an environment in which they have to justify their position in the city in terms of market benefits. Affordable housing and workspace and plentiful, decently paid part time work are bottom-line requirements for the creation of innovative but potentially unpopular work and a thriving creative climate. How the events of September 11 and the subsequent rebuilding of lower Manhattan influence the future of creative production in our city is still up for grabs. [ABSTRACT FROM AUTHOR]