Tag Archives: intersection of consumption and production in urban space

Markusen, A. and Schrock, G. (2006). The artistic dividend: urban artistic specialization and economic development implications. _Urban Studies_, 43(10):1661.

Greg Schrock, PhD, Urban Planning and Policy from the University of Chicago, is Assistant Professor at Portland State University. His research focuses on the intersection of regional economies and local labor markets, and how economic and workforce development initiatives can promote social equity and upward mobility in low-wage sectors.

With this article, the authors aim to reconceptualize the additional, positive impact of artists on their cities that would not otherwise occur without them: the “artistic dividend.” Thus far, their contributions have been understated because current methodologies ignore critical improvements artists bring to manufacturing facilities, cross-fertilization into other sectors and artistic practices, or the fact that “regional consumption of the arts may be import-substituting, as consumers prefer to spend on performances and artwork rather than spending at shopping malls full of imports” (1662).

Artists “heavily patronize other artists’ work and as so much of this work is labor-intensive, the multiplier effect of local arts consumption maybe higher than expected” (ibid).

There are two forms of dividends: first, current income streams within the market and second, “returns to the region as a whole on past investments” (ibid), which echo Markusen’s (2004) “distinctive city” findings about artist distribution among cities. They operationalize the artistic dividend occupationally, and look at individuals who self identify as artists.

So how and where are artists locating themselves at the start of the 21st century? Los Angeles, New York, and San Francisco lead the pack, having highly skewed location quotients (particularly in performing arts), believed to be linked with: increases in arts funding, emphasis on tourism, and the pursuit of cultural capital by city leadership.

At the same time, these cities reversed the trend of decentralization, with artistic communities reconvening in LA, New York, and San Francisco in the 90s, so much so that LA overtook the highest-concentration-of-artists mantle from New York. Artists did flock to other second-tier cities, making their populations more secure. Migration is affected by the artists’ decision about where they want to live and work, but work is not the deciding factor.

Without question, artists cluster by their particular practice. For example, designers and architects are more likely to have full-time professional occupations in their field. New York, LA, and San Francisco are home to the largest concentrations of designers but not architects. Because the latter’s work is so cooperative, they cluster in metro areas in general. Advertising industries are correlated with large pools of artistic groups, but Markusen and Schrock demurred to make claims about direction of causality. Artists, especially writers, are self-employed in varying patterns; therefore policymakers should look at more information than just arts organization impact studies.

The authors conclude with the following policy recommendations. Cities should: (1) support artists’ centers, (2) link resident artists with their corporate communities not for philanthropy but product development purposes, (3) improve their decision-making processes for arts funding, and (4) make more granular, strategic investments.

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Markusen, A. (2004). The distinctive city: Evidence from artists and occupational profiles. University of Minnesota: Project on Regional and Industrial Economics.

Ann Markusen, PhD in Economics from Michigan State University, is Professor at the University of Minnesota, Minneapolis’ Humphrey Institute of Public Affairs and Director of the Project on Regional and Industrial Economics. She is considered one of the foremost authorities on “creative placemaking” and has also taught at Rutgers, Northwestern, Berkeley, and the University of Colorado.

Tracking occupations in American cities, Markusen makes discoveries about the “distinctive” city, and the occupational and lifestyle trends of various artists, and gives recommendations for cities to articulate the arts to distinguish themselves from other municipalities.

Beginning with discoveries, cities “have not resurged at the expense of other second tier cities” (4) in recent decades. Some occupations trend toward major metros, others second-tier, others still avoid the second-tier, opting for cities bigger and smaller. A city’s size does not dictate the degree to which its economy is specialized or hierarchical, but distinctiveness does appear to be on the rise.

To study change over time, Markusen used the “occupational advantage” (7) measure in California cities and discovered the cities are becoming increasingly specialized. Regarding the artistic advantage: in the 1990s, artists showed a reversal in the decentralization trend, particularly in LA, New York, and San Francisco.

Reasons for the concentration of artists in these and other cities:

  1. sheer size, though “only at very high thresholds does the demand for elite arts activities show sensitivities to size of place” (11);
  2. demand might be higher in the traditionally elite cities because of the concentration of disposable income;
  3. the media and advertising industries are in larger cities and have a high demand for artistic labor pools;
  4. arts lure tourism dollars;
  5. cross-pollination and synergies across the various art practices;
  6. artists themselves are drawn to cultural amenities; and
  7. artists patronize other artistic works.

And now the factors that draw artists away from large cities to smaller ones:

  1. different types of artists prefer different locales;
  2. as they’re often self-employed, they are freer to move from city to city;
  3. their presence in a city is linked to the host-city’s sectoral strength;
  4. self-employment varies considerably across regions;
  5. because they’re often self-employed and “footloose,” artists are “paradoxically, capable of acting as stabilizers in a regional workforce” (18), often staying where they are and producing at the same frequency.

Conclusions:

  1. The notion that a city’s sheer size or personal wealth equates to artistic competence is unsupported.
  2. Sectoral strengths are linked to artistic clusters and migration patterns.
  3. Higher cost of living matters sometimes, sometimes not, in dissuading artistic presence.

So what can cities do to cultivate their distinctiveness? Cities should:

  1. play to their current strengths,
  2. “make more modest [arts] investments in smaller distinctive neighborhood-based arts complexes that will stabilize communities, home-grow artists, and create that…urban mosaic” (21);
  3. target the sectors that play up the distinctiveness;
  4. lure artists through amenities, arts education, social/housing benefits;
  5. subsidize artists’ spaces;
  6. link artists to each other; and
  7. rethink current arts investment strategies (read, megaprojects).

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Lloyd, R. (2002). Neo-bohemia: Art and neighborhood redevelopment in Chicago. _Journal of Urban Affairs_, 24(5): 517-532.

Richard Lloyd, PhD Sociology University of Chicago, is Associate Professor at Vanderbilt University. His areas of expertise are urban sociology, sociology of culture, social theory, sociology of art, work and occupations, social change, and political sociology.

This article is Lloyd’s first publication from his ethnographic study of Chicago’s alternative enclave, Wicker Park, from 1999-2001, from which he developed the concept of the “neo-bohemia.” Spending those two years as participant observer, attending a wide range of events, and conducting long, open-ended interviews with approximately three dozen informants, Lloyd determined that the socio-spatial reformations within neo-bohemias belie much postmodern theory regarding the organization of the city, the spectacular (Sorkin, 1992) and the decentralized (Soja, 1989).

“The city remains a place where people actually live, not just visit” (519).

Therefore, Lloyd suggests, instead of conceiving culture as a strictly consumable commodity, we should start to investigate “the new intersections of consumption and production in consumption and production in urban space” (ibid).

The three trends he observes in Wicker Park (and expands upon in his 2004 paper “The Neighborhood in Cultural Production: Material and Symbolic Resources in the New Bohemia”):

  1. the displacement of manufacturing and adaptive reuse;
  2. the intensifying commodification of culture, produced and consumed locally, as well as exported; and
  3. the increasing valorization of artists’ human capital.

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