What Google presented this month was revolutionary, a declaration that the web as we know it is dead, and an operating manual for how the new web will work. More important, it suggests how we all will find — or fail to find — culture over the next decade.
AJ Chronicles: Hollywood, 6; Non-Profit Arts, 1
Hollywood has reinvented its core model at least six times in a century. The nonprofit arts model has reinvented itself exactly once. Now there may no choice. But what’s the case?
AJ Chronicles: The Venice Biennale Blows Up — Some Takeaways
Culture awards of all kinds have been steadily losing their currency over the past decade. So what’s going on?
So Just How Big is the Culture Audience? (comparisons that may make you rethink)
By revenue, the nonprofit arts sector is small — about $73 billion in organizational spending compared to $1.17 trillion in total US arts and cultural production. Disney’s annual revenue alone is larger than every US nonprofit cultural institution in the country combined. But the map of audience shows something entirely different.
AJ Chronicles: Are Our Attention Spans Killing Culture or Reassembling It?
Depth hasn’t disappeared. Perhaps it’s gone lateral. The vertical architecture that produced “official” cultural memory has cracked, but the appetite for tradition — for context, for lineage, for the why — has migrated to wherever audiences and individuals can build their own context and throughlines. Sometimes those lines are deep obsessive sturdy. Sometimes they are skimming across the surface of micro-videos and news of the day.
Just How Big is the Culture Economy?
Most arts policy debates happen at one scale. Most cultural activity happens at another. It turns out the gap between those two scales — between the world that the arts, funding fights, and nonprofit board meetings live in, and the world where most people actually encounter culture — is so large that it’s worth pausing to measure.
AJ Chronicles: Perils of Philanthropy — The Metropolitan Opera
We collected 118 stories on ArtsJournal [subscribe] this week. Here’s what I learned. The detail that stuck out in the Metropolitan Opera’s announcement last fall that it had made a $200 million deal with the Saudi government to take the company to perform in the Kingdom for three weeks every winter was not the eye-popping […]
LACMA’s New Building: What’s the purpose of art in a Museum?
LACMA proposes a new model for museums. For a long time now, context has been an essential deliverable when you go to a museum. It’s how meaning gets constructed. Just what was so remarkable about the way Constable painted light, and how did it have an effect on the painters who came after?
The white cube gallery was modernism’s insistence that art speak for itself. But it was invented for audiences who already spoke the vocabulary. It assumed the context was already in the viewer’s head. The Geffen revives this for audiences who may not carry that context. Whether that is a brilliant adaptation, a beautiful concession, or just plain incoherence, is the open question of the building.
AJ Chronicles: This Week — Perils of the Algorithmic Culture
The threat isn’t that AI replaces artists. It’s subtler and more coercive: that an algorithmically saturated environment erodes the capacity for the kind of thinking that we like to think art requires. Tolerance for ambiguity. Patience with difficulty. The willingness to be bored before a breakthrough.
AJ Chronicles: How to Fight the Slop
Old systems of certification are failing from every direction: technological, legal, institutional and political. So what’s left when you can’t just say “trust us”? You have to show your work and construct a context, making the case not by institutional credential but by demonstration.
From Messages to Conversations: AI Agents are Changing how we Find Culture
The first audience for your art is becoming a machine. The question isn’t just how to optimize for that machine, it’s what you give it to say, and whether what it says is worth a conversation.
AJ Chronicles: The Excellence Problem and Why it Matters
I don’t mean to be pedantic, but I think defining what we mean by excellence really matters if we’re going to figure out the place of AI in creativity. Four stories this week suggest layers to this debate:
AJ Chronicles: Why Tech Infrastructure is Becoming the Most Important Arts Story of 2026
The infrastructure carrying culture to audiences — legal, technical, financial, corporate — was not built for the creative sector. It was built by and for technology companies, telecommunications firms, and entertainment conglomerates.
AJ Chronicles: What Habermas Feared for our Public Sphere
This week we collected 118 stories. It’s worth noting, I think, that attempts to address the current collapse of the non-profit culture sector are focused on changing market forces. But this is a larger, more systemic set of issues that has corroded all of civic life — from culture to education to journalism to our politics — and the institutions and structures that nurture it. Indeed, these forces are so much bigger than any one sector, it’s difficult to know where to start in addressing them.
What Ireland’s Basic Artist Income Experiment tells us about a new Arts Economy
Ireland demonstrated something: economic insecurity doesn’t just force workers out, it diminishes the overall creative economy. That matters enormously right now, because we are entering a period when a lot of people across a lot of industries are about to lose their job security.
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