Art is simple and complicated but its such an alluring and wonderful thing. Yet, let’s face it, money is an issue for any parent hearing their kid plead for an art education (trust me, I know, I begged my Mom when I was in high school). Studying and participating in art is not exactly welcome in a Filipino household, I’ll tell you that much. Yet, it’s important to understand why and I wish I caught onto the Bohemia of Finances series by art and culture writer, Brandon Brown (who writes critically about hip hop/rap – swoon!) sooner. I need to back track as soon as possible but I paid particularly close attention to Part 6 of the series because he conducted an interview with Patricia Maloney, Editor and Founder of Art Practical (double sigh, one of my art heroes). In any case, it’s an interview filled with great questions and amazing answers that touch upon an artist’s practice, pecuniary matters in the art world, and art theory/criticism and how they all intersect. Ms. Maloney’s answers to Mr. Brown’s questions certainly bring up some salient points about how the varying levels of education affect contemporary art and how art production and consumption affect an artist’s practice as well as the market. Definitely worth reading because it’s filled with a lot of great information and insight!!
By Dorothy R. Santos
Dorothy R. Santos (b. 1978) is a Filipina American writer, artist, and educator whose academic and research interests include feminist media histories, critical medical anthropology, race and technology. Born and raised in San Francisco, California, she holds Bachelor’s degrees in Philosophy and Psychology from the University of San Francisco and received her Master’s degree in Visual and Critical Studies at the California College of the Arts. She is a Ph.D. student in Film and Digital Media at the University of California, Santa Cruz as a Eugene V. Cota-Robles fellow. Her work as been exhibited at Ars Electronica, Fort Mason Center for Arts & Culture, Yerba Buena Center for the Arts, and the GLBT Historical Society.
Her writing appears in art21, Rhizome, Hyperallergic, Ars Technica, Vice Motherboard, and SF MOMA’s Open Space. Her essay “Materiality to Machines: Manufacturing the Organic and Hypotheses for Future Imaginings,” was published in The Routledge Companion to Biology in Art and Architecture. She is a co-founder of REFRESH, a politically-engaged art and curatorial collective and serves as the program manager for the Processing Foundation.View Archive →