Arts in a Changing America
Welcome to the Arts in a Changing America blog.
Our aim, niche, and focus is simply: the intersection of arts and changing demographics in the U.S. and the Americas.
We welcome submissions from emerging as well as professional “cultural reporters” who have their ear to the ground of what is happening artistically in communities, places, media, and among groups and publics not normally or regularly covered by mainstream art critics and publications.
Submissions can be as short as 150 words and as long as 2,000+ words.
Got any ideas? Pitch them to editor Maribel Alvarez at: firstname.lastname@example.org
From 2004 to 2012, the website and URL “artsinachangingamerica” was attached to ARTOGRAPHY, an innovative grants program of LINC (Leveraging Investments in Creativity) with support from the Ford Foundation.
Artography grantees formed a dynamic learning community. Two grantee cohorts in 2005 and 2009 represented some of the most intriguing, bold, and off-the-beaten-path artistic projects in the United States.
Artography was a grantmaking program with a very specific focus and mandate: it sought to capture evolving arts practices in the United States and re-vision those practices through the lens of demographic change.
Watch Artography documentary, created by Leba Haber Rubinoff, award-winning filmmaker and founder of Interactive Filmmaking. This 8 min video features interviews with Artography leaders and members of LINC’s advisory cohort, as well as performance vignettes from across the Artography community.
The grantmaking program ended in 2011; LINC decided to transfer the URL and archives to an independent blog owner/editor and see where the community of practice of non-conventional writers, documentarians, bloggers, and artists/autoethnographers may take it next.
Maribel Alvarez, a writer/ethnographer/cultural instigator/folklorist who had worked with the Artography Documentation team since 2005 was selected as editor and animator of the new blog.
This blog and website (and the community of writers that it brings together) takes off from three core proposals:
1. The United States, both the physical and social imagined community we narrowly refer to as “America,” is changing.
2. As that “America” of geography and ideals is changing, so are the arts that define it and are produced within its conventional boundaries.
3. By simply celebrating “diversity” we fail to plumb the depths of what those changes mean for Art, artists, and our common civic culture. Minoritized art is no longer; rather, it represents the best and most innovative artistic practices, while at the same time being a kind of art-making insistent on asking questions that further our understanding of the larger impact of this moment.