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

"[Currid] 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

"Any discussion about New York City's economic well-being tends to start and end with one phrase: Wall Street. 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.... [In] 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. In other words, it's SoHo and Chelsea, not Wall Street, that the politicians should really be thinking about. Of course, everyone knows that art and culture help make New York a great place to live. But Currid goes much further, showing that the culture industry creates tremendous economic value in its own right."--James Surowiecki, The New Yorker

"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

"In detailing the inner workings of New York's creative industries...urban planning Ph.D. Currid gives readers an eagle-eyed look at the networking mechanics of the art-as-business crowd. Colorful description abounds, as do colorful characters."--Publishers Weekly

"Not every Ph.D student blows her fellowship money at Barneys New York. But for the urban planner Elizabeth Currid, her passion for style led to some interesting statistics, which she examines in The Warhol Economy."--Anya Kamenetz, The New York Times

"Sweeping, gossipy, flawed and fun, Currid's book stands alone as a work equally obsessed with the 'location quotient' of a given industry and with Marc Jacobs, the designer....It is the job of the social scientist to take a banal observation--for example, that New York is full of artists and musicians who like to go out at night and all seem to know one another--and worry over it to the point that the obvious seems to fairly glow with complexity. Currid pulls this trick off nicely, and she throws in some amusing backstage anecdotes for extra cultural currency."--Carly Berwick, Bloomberg Muse

"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. Interviews with well-known bands, designers, artists, club owners, and writers underscore the value of cultural producers; an appendix's worth of hard numbers back them up."--Annie Fischer, Village Voice

"Currid points to the glittery fashion industry, fabulous club life and art openings as more than just creative inspiration in the New York Scene. All are big financial players that help fill the Big Apple's own coffers.... The Warhol Economy brings out the voices of New York scenesters, including fashion designers Diane von Furstenberg and Zac Posen, musicians Quincy Jones and the Talking Heads, as well as Hilly Kristal, founder of the famous but now defunct club CBGB."--Tanya Enberg, 24 Hours Toronto

"Currid offers social science with a downtown mentality, crunching numbers with one eye on her data set and the other on the dance floor....The Warhol Economy performs the very useful role of demonstrating how that which appears ephemeral and unimportant in the life of a city actually serves as part of what makes it function.... [The] book reforms and advances the debate on cities and the creative economy that continues to loom large in New York and across the country."--Joe Leduc, Big RED & Shiny

"New York's creative industries are inextricably linked...[Currid] discusses not just the power of such social networks, but also the fusion of fashion and art."--Elissa Strauss, New York Sun

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 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.

The implications of Currid's argument are far-reaching, and not just for New York. 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. They haven't understood, in other words, the social, cultural, and economic mix that Currid calls the Warhol economy.

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. 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.

The economics of art and culture in New York and other cities has been greatly misunderstood and underrated. The Warhol Economy explains how the cultural economy works-and why it is vital to all great cities.