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The Warhol Economy: How Fashion, Art, and Music Drive New York City

3.26  ·  Rating Details ·  102 Ratings  ·  13 Reviews
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. 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. And the ...more
Published 2007 by Princeton University Press
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Ms. Rocket Pie
Dec 17, 2008 Ms. Rocket Pie rated it did not like it
Elizabeth Currid took on an ambitious project in attempting to draw attention to the vital nature of culture and arts to the life of the economy. She offers compelling statistics and studies that point to the relevance of the arts to the backbone of the New York City. The significance of third spaces in creating an environment for art to thrive and thus the economy to thrive is a summation of her thesis; unfortunately hundreds of anecdotal stories of happenstance meetings begin to drown out the ...more
Nov 09, 2009 Andrew rated it did not like it
In her Acknowledgments, Currid thanks the editor who agreed to publish her book after reading the first draft of the first chapter. I think he exercised poor judgment.
Aug 07, 2012 lilly rated it did not like it
Currid asks famous artists why they've made it. Not surprisingly, they give similar answers about being in the right place, working the network, doing work with substance judged by the world's best critical audiences. Currid reheats these answers, stitches them together in friendly prose, and serves it up as a Princeton University Press book. (I almost wrote Princeton Review there. Freudian slip.)

She assumes too much and ignores too much. She assumes that NYC is the center of global cultural pr
Sep 22, 2007 Andrew rated it really liked it
Early in Elizabeth Currid’s fascinating, if sometimes repetitive, exploration of New York's cultural and nightlife scenes, she quotes writer Frank O’Hara, who wrote, “I can’t even enjoy a blade of grass unless I know there’s a subway handy, or a record store or some other sign that people do not totally regret life.” This sentiment is widely shared by the many artists, designers and night club owners Currid interviews (including Quincy Jones, Michael Musto, Diane von Furstenberg). They prove Cur ...more
Mu-tien Chiou
Jun 14, 2012 Mu-tien Chiou rated it liked it
excellent topic and approach weakened by her literary execution.

Highlight: New York's unique preeminence as a global city come from its cultural economy (rather than business clusters).

“[Creative] industries operate horizontally, engaging with each other through collaboration, sharing skill sets and labor pools, and reviewing and valorizing each other’s products — and much of this often begins in the informal or social realm. Film directors and musicians hanging out at SoHo House or the Metropol
Dec 10, 2013 Mirabelle rated it it was amazing
Currid, E. (2007). The Warhol Economy: How Fashion, Art, and Music Drive New York City. Princeton, NJ: Princeton University Press.

In the Warhol Economy: How Fashion, Art, and Music Drive New York City, Elizabeth Currid provides a critical analysis of culture, art and consumption in New York City. With many examples and data she has collected, Currid allows one to understand why New York City is seen as the place for creative and cultural destination. Her argument holds that the arts and culture
Eric Miller
Jun 25, 2009 Eric Miller rated it liked it
At the time he turned forty the painter Martin Johnson Heade had yet to produce a distinguished painting. In 1859 he rented a studio in New York 's Tenth Street Studio building and changed his fate. His contact with other members of the Hudson River School radically improved his work. Unfortunately Heade later moved to Florida and was all but forgotten.

New York wasn't the center of the art world in the 1850s it is today, but Heade's story shows that New York was well on its way to being a place
Sep 07, 2008 Jbryon rated it liked it
It was so-so. Currid is obviously having fun. The quotes are really great, but there are a lot of them and they don't always express the point Currid is trying to make. They are also often too similar in sentiment from interviewee to interviewee. The numbers are no doubt compelling but there was little meat joined to those bones. More research was needed in this department. She will undoubtedly be published again -- The Warhol Economy generated bountiful buzz -- and her next work is sure to refl ...more
Dec 17, 2013 Alejandro rated it it was ok
El punto del libro es que la vida social y los lugares en dónde ocurre (bares, restaurantes, antros, etc.) son espacios importantes para el funcionamiento de las industrias creativas. La información que aporta es limitada y ejemplifica con unos pocos artistas y creativos. La prosa es entretenida y bien estructurada.
Aug 26, 2012 John rated it liked it
I liked this more for its cultural/economic history of NYC, from the 60s to the late 90s, which is fascinating. There isn't a big lesson or deep thought in this book, though... it's the details of the story that make this interesting.
Evan Corey
Dec 06, 2009 Evan Corey rated it liked it
Interesting, but obvious. The most useful chapter was the last (Chapter 7). The rest is extremely redundant and often states the obvious.
Apr 13, 2009 Mike rated it liked it
Interesting topic, the writing was rather dry and repetitious - more of an academic approach.
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“Creativity would not exist as successfully or efficiently without its social world. The social is not the by-product—it is the decisive mechanism by which cultural products and cultural producers are generated, evaluated and sent to the market.” 0 likes
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