Sarah Hromack

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June 23, 2010 at 5:15am
Is Brooklyn-based microfinancing startup Kickstarter the next fountain of non-profit arts funding? Let us see. (We already know what I think about book publishing.) In the meantime, I’m backing equally Brooklyn-based art space—and podcast!—Marian Spore’s summer campaign, which hopes to raise $4,000 in the next 21 days to support projects by Marina Zurkow, Joe Winter, and Thom Kubli. Current status: $1,585. Go, Spore.

The trick with Kickstarter lies in its donor incentive system: Arts non-profits in particular need to strike a sweet spot in determining the value of their content, whether it be physical—should Marian Spore meet its baseline goal by July 14 at midnight, I will receive a limited-edition poster designed by UK-based burneverything in exchange for my paltry $15 donation—or virtual: part deux of my donor package, the inclusion of my name and a link back to this domain on the gallery’s website, is arguably worth much more given the nuanced relationship between the longevity of web content and the social capital it generates. I could have secured my spot on Spore’s virtual donor wall for a mere $5, the lowest contribution level, a fact that belies a general tendency among non-profit arts organizations to underestimate the web as a means of generating fiscal capital. 

Briefly: People, support Kickstarter, Marian Spore, and other web-based arts fundraising initiatives. To Marian Spore and others seeking to play online as such: don’t sell yourself short along the way.

Is Brooklyn-based microfinancing startup Kickstarter the next fountain of non-profit arts funding? Let us see. (We already know what I think about book publishing.) In the meantime, I’m backing equally Brooklyn-based art space—and podcast!—Marian Spore’s summer campaign, which hopes to raise $4,000 in the next 21 days to support projects by Marina Zurkow, Joe Winter, and Thom Kubli. Current status: $1,585. Go, Spore.

The trick with Kickstarter lies in its donor incentive system: Arts non-profits in particular need to strike a sweet spot in determining the value of their content, whether it be physical—should Marian Spore meet its baseline goal by July 14 at midnight, I will receive a limited-edition poster designed by UK-based burneverything in exchange for my paltry $15 donation—or virtual: part deux of my donor package, the inclusion of my name and a link back to this domain on the gallery’s website, is arguably worth much more given the nuanced relationship between the longevity of web content and the social capital it generates. I could have secured my spot on Spore’s virtual donor wall for a mere $5, the lowest contribution level, a fact that belies a general tendency among non-profit arts organizations to underestimate the web as a means of generating fiscal capital.

Briefly: People, support Kickstarter, Marian Spore, and other web-based arts fundraising initiatives. To Marian Spore and others seeking to play online as such: don’t sell yourself short along the way.

January 25, 2010 at 12:51am
[Flash 9 is required to listen to audio.]

Hosted by Michael Connor and Claire Hamilton of Marian Spore, Radiovisual is a new podcast about contemporary art in New York City. The first episode covers Jeffrey Deitch’s appointment to MOCA; the demise of Williamsburg’s Monkeytown; and the 10th issue of Thurston Moore’s Ecstatic Peace Poetry Journal, published as an extended exhibition/publication/performance series at/by White Columns. Notable: “Quick and dirty” reviews of Omer Fast, Patti Smith and Steven Sebring, and Bruce High Quality Foundation’s latest exhibitions. While the cadence was a bit awkward at points, yes—even if it wasn’t, Connor’s script reads like it was written for a print audience—I believe the medium has critical potential. (Oh, and bonus points to Hamilton for going on record over her fascination with Thurston Moore’s teeth. Cute.)