Art-market speculation has saturated art-world discourse for at least the last eighteen months, with “When will the bubble burst?” worrying giving way to “What do we do now?” strategizing. How do changing economic conditions effect the young? According to a report published last December in the New York Times, younger job-seekers have it worse: “The recession provides a double whammy for the job prospects of those trying to establish themselves. There are fewer jobs to go around, and older Americans who can do so are either delaying retirement or seeking to return to the work force.” According to another story in the same paper, even the relatively well-to-do are feeling the pinch: “It is impossible to quantify how many affluent parents have trimmed allowances in recent months — or how many of their offspring, in turn, have sought either formal employment or odd jobs. But interviews with dozens of teenagers, parents, educators and employers suggest that many youngsters from well-to-do families seem to have found a new work ethic as the economic crisis that has jeopardized their parents’ jobs and investments has also led to less spending money for Saturday night movies or binges at Abercrombie & Fitch.”
The questions this raises, of course, have to do not only with immediate prospects, but with long-term effects. So noted Kate Zernike in an article published last month:
So what of the youth shaped by what some are already calling the Great Recession? … Will they marry younger, be satisfied with stable but less exciting jobs? Will their children mock them for reusing tea bags and counting pennies as if this paycheck were the last? At the very least, they will reckon with tremendous instability, just as their Depression forebears did.
“The ’30s challenged the whole idea of the American dream, the idea of open economic possibilities,” said Morris Dickstein, an English professor at the Graduate Center of the City University of New York, whose cultural history of the Depression will be published in September. “The version you get of that today is the loss of confidence on the part of both parent and children that life in the next generation will inevitably be better.”
How today’s young will be affected 10, 20 or 40 years on will depend on many things — the children of the Depression were shaped as much by the war that followed. The recession generation will include those born into it, at the youngest end, and those emerging out of college and high school into a jobless marketplace, at the oldest. If history is any guide, what will matter most is where they are on the continuum.
“There is no simple cause-and-effect relationship in how economic adversity pushed a generation into any one kind of behavior,” said Neil Howe, who with his longtime co-author, William Strauss, is credited with naming today’s 20-somethings the millennials. “The impact depends on the context and the mood of the time and how children understand the spirit of the times.”
We’re curious about how this affects art-making. Will young artists have to give up their studios and work from home? Will there be a decline in big-budget art films and sculptures that require production teams? Will there be a concomitant rise in drawings and small-scale painting? Will artists increasingly turn to using found (i.e., free) objects in their work? How do you see the economy changing your practice? To paraphrase Morris Dickstein’s quote above, how will it affect your vision of art’s possibilities?
UPDATE, 2:15 PM: Last week, the New York Times‘ ArtsBeat blog posed a similar question, and many responses have been filed. Click here to read them and here to read arts journalist András Szántó’s comments at the website Art World Salon.
A few years ago singer Ian Svenonious wrote an article where he suggested that the then-current trends in independent music (electroclash and the folk revival) were the result of increased rents. Since you don’t need a practice space to play an acoustic guitar or a drum machine, both genres were able to develop in bedrooms or other tight spaces. “Drawings and small-scale painting” seem a logical correspondent to folk and electroclash, but Verwoert has already laid a solid argument for a contemporary return to both, so probably nobody will notice this economic pressure when they do take over.
Somehow I suspect Nick Currie (aka Momus) has something to say about this as well. In the meantime, here’s a link to an interview with Svenonious that was published today on the Village Voice website: http://blogs.villagevoice.com/music/archives/2009/04/interview_ian_s.php
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