Ryan Compton, a security guard at New York’s Metropolitan Museum of Art, embodies the complex realities faced by artists trying to sustain creative careers in a costly urban environment. Originally from South Jersey, Compton has lived in multiple cities, including Baltimore, Chicago, and Philadelphia, but returned to New York in 2022, convinced the city offers unparalleled resources and community for artists despite financial challenges.
Compton, 46, has a varied professional background that includes retail work at the Museum of Modern Art’s gift shop, cashier roles, and even mixing paint for renowned artist Takashi Murakami. He first worked part-time as a security guard at the Met in 2011 before leaving in 2015 to pursue a master’s degree in sculpture at the School of the Art Institute of Chicago. Financial pressures prevented him from balancing graduate school with the high cost of living in New York, leading to multiple relocations. His current role at the Met pays approximately $51,000 annually before taxes.
As an artist, Compton has engaged in experimental projects, including assisting the artist Roman Ondak with the interactive performance piece “Measuring the Universe” at MoMA and collaborating on “No Souls for Sale,” a project displayed at Dia Chelsea and Tate Modern in London. Though these opportunities provided valuable experience, they were unpaid, highlighting the financial challenges of early-career artists.
Compton’s artistic practice has evolved alongside his financial circumstances. Previously active in producing 3-D printed stuffed animals with skull motifs—an idea that gained some international attention—he has recently shifted focus to more affordable pursuits such as zine making and bookbinding due to constraints like university fabrication lab access and mounting student loan debt totaling $100,000. Despite these hurdles, he remains interested in acquiring a $1,000 3-D printer and maintains a subscription to Photoshop at $20 per month.
Living in a two-bedroom apartment in Parkchester, East Bronx, he shares rent of $1,000 with a co-worker, adding $50 monthly for utilities, with other expenses including a $90 phone bill and weekly groceries costing roughly $70. Compton frequently spends about $80 per week at the Met’s staff cafeteria, citing the demands of long shifts as limiting his capacity to prepare meals at home. Outside of work, he pursues modest cultural indulgences—such as visiting record stores specializing in experimental music and dining at affordable eateries—while also managing a collection of plants valued around $1,000.
Compton’s relationship with the Met extends beyond his security role; he has formed connections with fellow artist-guards and staff members, including former chairman of modern and contemporary art Sheena Wagstaff. Despite considering roles with higher pay within the museum, such as art handling, he remains concerned that the loss of overtime income might reduce his overall earnings.
While some artists relocate to less expensive areas, Compton remains committed to New York City, citing both the financial viability and vibrant artistic community as decisive factors. “I did four other cities, and they weren’t as good or great as I like New York,” he said. “I always end up here.” His ongoing balancing act between artistic ambition and economic reality highlights the broader challenges faced by creatives in urban centers across the United States.