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Jamie Day – After taking art classes at The Art’s Student League and The School of Visual Arts, it seemed to me that the Art schools were creating generations of art school graduates without a common goal or sense of Fine Art responsibility. Art schools refuse to teach artists how to sell your work or financially support your work.
Clifford Jackman – After attending art schools in New York (Fashion Institute of Technology) and Boston (Massachusetts College of Art) and also being in the military, I realized the problem with art schools. They didn’t teach graduates to respect each other, balance a checkbook and/or build the Fine Art industry and livelihood. There was not, nor is there at this time any Fine Art Unions, or industry groups protecting the Fine Artist industry and livelihood. Essentially there was NO planning, or communication about the future, and most damaging to the fine arts industry was that there was no esprits de corpse.
Art school academia taught us nothing about food, clothing and shelter. They taught us to worm/sleep, your way into gallery representation or die poor and unknown. I wanted a different Fine-Art life, so Jamie and I, create live/work homes for artists/writers and entrepreneurs in rural America.
ART AS FINANCIAL ASSET
Clifford Jackman – In the mid 1990’s there was also the negative conversion of Fine Art into an asset class for the rich. Financial advisors, galleries, art administrators, museums, and all their sleazy sales people converted lame art into a commodity and lame artists into entertainers (Charles Saatchi/Damian Hirst). These art administrators (seven administrators make a living off of one artist’s work) catered to the extremely wealthy looking for asset protection and/or cultural capital.
Nobody is nurturing the current art scene. Art fairs and Etsy has not raised the annual income of art and writer grads. Artists’ and writers’ annual salary continues to fall below a livable wage and is below that of a ditch-digger.
On the other side of the economic spectrum – the low income and poverty side of America in urban, suburban, and rural areas – non-profit art groups financially support “the children’s art program” and “the senior citizen’s art therapy” within their community, BUT NOT THE INDIVIDUAL ARTIST. That’s because these non-profits don’t care about artists or the current art scene – they only care about their salaries.
Art administrators don’t want to lose funding like they did with the National Endowment for the Arts in the 1990’s. That’s because grants were awarded to individual artist like Karen Finley, Andres Serrano, and David Wojnarowicz. These art admin or artsy salespeople are damaging artists and the current art scene because they are siphoning money away from the artist that should help recent art grads and current art creation.
I saw the need here for ARTIST-RUN residencies – eliminating the over-reaching art administrative problem, and giving more power to the artist.
COMPOST MISSION
Compost Art Center’s Mission is to enable artists, writers, inventors, and IT entrepreneurs to work on their next creative project while living in an affordable, harmonious, and productive setting. Our non-profit mission is to create and provide affordable living and working space. Our projects encourage artists to participate in the use of their imagination and experimental vision in order to establish the role of the fine artist and small business entrepreneurs as a vibrant and central participant in the community where they live and work.
COMPOST PHILOSOPHY & INSPIRATION
RENT… OR OPEN A RESTAURANT IN SANTA FE –
Jamie Day – As we both graduated art schools in the mid 1990’s the gentrification of the artist’s and writer’s neighborhoods was in full swing in both Boston (Central Square/Cambridge, Fort Point/Boston, and Jamaica Plain/ West Roxbury/Boston). And in New York (All Downtown Manhattan) and Williamsburg, Brooklyn. In these gentrified areas rent had risen to quickly to get any serious fine art or entrepreneurial work done.
The play and then movie RENT describes these trials and tribulations of young artists in NYC in the 1990’s. Also at this time was the expansion of the internet, so we could do good research and more important – listen to our favorite college radio stations on line. The internet made it possible to live anywhere as long as it had a decent internet connection. We decided to leave NYC and not “Open a Restaurant in Sant Fe,” but open a restaurant in the northeast Kingdom of Vermont.
2004, Compost Art Center worked with Amistad
Fundacion, a Cuban and Duke University cultural exchange program. Amistad Fundacion was working with the Town of Easthampton who had set up a Sister-City program with Playa, Havana in Cuba. Compost Ar Center hosted/supported Cuban artists in the Hamptons and had gallery shows in Amagansett and Sagaponack.
Compost also coordinated American artists visiting and working in Cuba.
Sagaponack Compound
COMPOST Art Center Development – Division Street, Chinatown, NYC 2012
2014 – 2022
In 2014 Compost Art Center started two new projects. Eagles Nest in Southampton, NY-a 20-acre compound that we’re currently offering as a rental or residency the cabin to aritsts/writers and IT professional, Please contact Compost for more information.
Another successful Compost story with American Main Street real estate and American poverty. The build-out in Pennsylvania coal-country Appalachia and/or Pennstucky took 5 years and then in 2022 the building was sold to a local (Catawissa) musician and artist who works in NYC as a Production Manager.
Besides being the new owner of one of the finest buildings in Shendoh (local name) the new owner plans on creating future art businesses that will help downtown Pennsylvania grow in a positive, artistic, and regenerative manner.
And in 2021 Compost Art Center finished renovation of a 7200 sf brick and steel Federal building, just off Main Street, in a small Pennsylvanian coal-country town. The building is available for sale, rent, or a residency. Please contact Compost for more information.
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