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cess to art is what makes it possible for artists living and making work in New York City today to engage in an endless dialogue—be it with the great artists from the past or with each other." State-run organiza-
Q NEW YORK, NEW YORK
No city seems to better defi ne the
"struggling artist," or has the simulta- neous ability to turn that same artist into an overnight sensation. It's impos-
sible to fi nd a master of the craſt who hasn't exhibited his or her work at one of the Big Apple's more than 500 galler- ies or 2,000 arts organizations. Simply put: New York would be nothing with- out its artists (and vice versa). T ough it would seem easy to draw a
line between a city's artistic community and its most wealthy denizens, to do so in New York City would be missing the point entirely. Because serving as patrons of the arts is one of the most important pastimes of the city's well- heeled set. "T ere is art of every kind on prac-
tically every corner of this city," says Jordana Zeldin, director of ArtBridge (www.art-bridge.com), a Chelsea-based nonprofi t with the goal of connecting the public with the arts. "Unlimited ac-
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tions like the New York Foundation for the Arts, established in 1971, high- light the importance of culture to the greater well- being of the city. In fact, the city's arts funding is larger than the annual budget of the National Endowment for the Arts. With its fi rst-class art schools and premier trade shows and art events, New York's art scene is con- stantly being reinvented.
People-watching, overheard conver-
sations or a simple walk to the closest coff ee shop can unleash a number of "only in New York" moments, all of which ignite the creative spirit.
Q NEW ORLEANS, LOUISIANA
In New Orleans, it's simple: "Art is
our language," says Barrister's Gallery (www.barristersgallery.com) owner Andy Antippas. He's not kidding. From its music to its
food, artistry is in the DNA of T e Big Easy. With its inimitable mix of French, Spanish and Southern infl uences, New Orleans is oſt en—and rightfully— referred to as the "most unique" city in America. "T e mix of many cultures over the
past 200 years continues the diversity within art, music, architecture and food in New Orleans," says artist George Rodrigue (www.georgerodrigue.com).
George Rodrigue's Four for Mardi Gras decorates the Sheraton New Orleans
nights, the area hosts something akin to a block party, where galleries stay open late—and keep the creative energy last- ing well into the night with wine and appetizers as your fuel. T e French Quarter has its own art
district, too—mostly along Royal Street, where artists perfect everything from animation to body art.
JANUARY/FEBRUARY 2012
"Local artists as well as artists from around the country are continually in- spired by this unique city." Also distinct to the city's art scene
is that many of its galleries are actually artist-owned. T e city's revitalized Arts District (formerly known as the Ware- house District) is once again thriving, with dozens of fi rst-class galleries, res- taurants and museums to keep visitors and locals alike occupied. On Saturday
"CREATIVITY STEAMS OUT OF EVERY CRACK, EVERY PORE, EVERY BODY LIVING [IN NEW ORLEANS]."
