Tepper, Pitt release leading report on double majors
March 12th, 2013

Sociologists Richard Pitt and Steven J. Tepper have just released the results of a national study that examines the rise of double majoring on university and college campuses.  With some institutions seeing rates of double majors at or above 50 percent, this timely report explores why students double major, what types of double majors are More…

MFA is the new MBA?
March 28th, 2013

Companies all across America are starting to see a critical talent gap as older employees retire. Arts students may not have all the traditional skills, but they have the most important one: creativity. Steven Tepper writes about this in Fast Company.

The Internet, Social Media, and the U.S. Department of State: A Conversation with Alec Ross
May 9th, 2011

The Curb Center’s Washington, DC, based Arts Industries Policy Forum hosted Alec Ross, Senior Advisor for Innovation to Secretary of State Hillary Clinton, as its guest conversationalist on April 5, 2011. His unique perspectives on public policy regarding technology, innovation and cultural diplomacy framed the discussion. Much of the discussion centered on the role of social media in changing the political dynamics in the Middle East.
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Paula Cleggett, Emerging Visual Artists Elect DC
October 12th, 2011

Like most cities, artists, gallery owners, critics, curators, collectors and the curious weave a nebulous network to sustain a creative community. Unlike most cities, the DC art scene operates in the shadows of national monuments, free national art museums and internationally recognized art centers. Cities across the U.S. battle against the pervading myth that you can only make it as an artist in a culture-rich metropolis like New York, Los Angeles or Chicago. True, DC has distinct offerings and challenges…but clear indications show that emerging artists don’t settle for DC, they choose DC. More…

Steven Tepper, Not Here, Not Now, Not That! Protest over Art and Culture in America
September 2nd, 2011

Tepper makes a strong argument that arts protests are good for democracy and not simply collateral damage from the so‐called culture wars. He suggests that the art world has too often tried to silence its critics and that a 21st century approach to arts conflicts requires balancing the needs of artists with the needs of the community. He argues that art is most relevant when people care enough to fight over it. Communities are healthiest when people have avenues for expressing their hopes and fears. Fights over art provide the democratic space to negotiate differing views of community life and community identity. More…