"An exploration of how fashion, art, and music drive New York City, The Warhol Economy argues that the city's cultural resources contribute more to the economy than most policy makers realize or admit. Engaging, gossipy without being trashy, and just plain fun, The Warhol Economy is social science with a downtown mentality, it points to significant realities in the generation of cultural capital that are, important, and ready for broadcast."-Christina Panas, Soho Journal Currid's reasoned analysis and careful exposition of fact, The Warhol Economy is simply a pleasure to read in a way that sociological studies never are. "A brilliant analysis of the social mechanisms by which creative individuals and the industries they populate drive New York's economy.Beyond Ms.
"Currid provides an interesting explanation of the transformation of New York City from bohemia to cultural economy as art, music, fashion, and design collided."- Business Economist Colorful description abounds, as do colorful characters."- Publishers Weekly "In detailing the inner workings of New York's creative industries.urban planning PhD Currid gives readers an eagle-eyed look at the networking mechanics of the art-as-business crowd. "Elizabeth Currid's argument in this intelligent and innovative book is that New York, and certain other great cities in particular periods, function as the Factory on a greater scale, and that social policy out to reflect that fact."-Roz Kaveney, Times Literary Supplement But Currid goes much further, showing that the culture industry creates tremendous economic value in its own right."-James Surowiecki, The New Yorker Of course, everyone knows that art and culture help make New York a great place to live. In other words, it's SoHo and Chelsea, not Wall Street, that the politicians should really be thinking about. The Warhol Economy the social scientist Elizabeth Currid argues that this fixation is misdirected, and that it has led us to neglect the city's most vital and distinctive economic sector: the culture industry, which, in Currid's definition, includes everything from fashion, art, and music to night clubs. As the Street goes, we assume, so goes the city, which is why politicians will do almost anything to keep the brokerages and investment banks happy. "Any discussion about New York City's economic well-being tends to start and end with one phrase: Wall Street. But for the urban planner Elizabeth Currid, her passion for style led to some interesting statistics."-Anya Kamenetz, New York Times "Not every PhD student blows her fellowship money at Barneys New York. " describes the organic, informal, social networking side of the creative arts in a mixed tone of Rolling Stone new journalism and objective reporting that serves to advance her central thesis: that as an independent drive of an urban economy, the arts and its related industries should stop being viewed as the beautiful step-child of city environments."-Susan Gardner, Daily Kos The Warhol Economy explains how the cultural economy works-and why it is vital to all great cities. The economics of art and culture in New York and other cities has been greatly misunderstood and underrated. The book has fascinating original interviews with many of New York’s important creative figures, including fashion designers Zac Posen and Diane von Furstenberg, artists Ryan McGinness and Futura, and members of the band Clap Your Hands Say Yeah. With vivid first-person reporting about New York’s creative scene, Currid takes the reader into the city spaces where the social and economic lives of creativity merge. They haven’t understood, in other words, the social, cultural, and economic mix that Currid calls the Warhol economy.
Urban policymakers, she suggests, have not only seriously underestimated the importance of the cultural economy, but they have failed to recognize that it depends on a vibrant creative social scene. The implications of Currid’s argument are far-reaching, and not just for New York. And these creative industries are fueled by the social life that whirls around the clubs, galleries, music venues, and fashion shows where creative people meet, network, exchange ideas, pass judgments, and set the trends that shape popular culture. In The Warhol Economy, Elizabeth Currid argues that creative industries like fashion, art, and music drive the economy of New York as much as - if not more than - finance, real estate, and law. Which is more important to New York City’s economy, the gleaming corporate office - or the grungy rock club that launches the best new bands? If you said “office,” think again.
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