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Gentrification, Income Inequality, and Crime

Today’s Metro New York reports on a scary crime wave in Williamsburg, Brooklyn:

Of Brooklyn’s police precincts, Williamsburg’s 90th, which encompasses the gentrifying South Side plus its central and east sections, has seen the greatest rise in crime over the past year — 13.49 percent — according to Compstat data. The neighboring 94th precinct, which includes Williamsburg’s tonier North Side and Greenpoint, has seen a 6.38 percent crime hike — the borough’s second-highest increase.

“Gang violence in the community [has] re-emerged into something we haven’t seen since the 1980s,” said William Orellana of community group El Puente.

Williamsburg (and neighboring Greenpoint and Bushwick) may have the highest density of artists of any neighborhood in the country.  And although there was a vibrant Latino arts community there for decades, the Williamsburg of today is best known as a hipster haven, thanks in large part to the huge influx of (mostly White) artists who’ve come in droves since the mid-90s.

Reading about the sudden surge in gang violence made me think of a post I read on the Freakonomics blog yesterday:

The paradox of economic growth is that the same mechanisms that create great wealth –secure property rights and rule of law guaranteed by an independent judiciary — also give rise to great inequalities in its distribution. Private property provides a powerful incentive to produce wealth for oneself while simultaneously denying that same wealth to others. Wealth does trickle down to the rest of the population, but often not fast enough to avoid political strife and worse….

Economic libertarians argue that this growing inequality is unimportant: aren’t the poor of 2008 still far better off in terms of real income, health, life expectancy, and material comfort than even the richest citizen in 1900?

The fallacy of this argument is that human beings do not measure their well-being by absolute real income or longevity — but rather in relative terms. To paraphrase H.L. Mencken, a wealthy man is one who earns more than his wife’s brother-in-law.

Further, a growing body of research reveals that the social and medical costs of inequality are high…. Among both American states and Canadian provinces, homicide rates closely track income inequality, even after the absolute level of income itself is carefully controlled for. That homicide is not driven by poverty alone is demonstrated by Canada, where, because of aggressive redistributive policies, the poorest provinces have the lowest inequalities and also the lowest number of violent deaths.

It’s impossible to say right now what exactly is or isn’t going on in Williamsburg.  But I know for a fact that the extremely rapid gentrification of the past 10 years has created a lot of resentment and pent-up hostility towards the newcomers who are changing the face of the neighborhood. I wouldn’t be at all surprised to learn that this is a contributing factor in the current crime wave.  The irony is that artists tend to see themselves as victims of the gentrification process (since they can rarely afford to stick around in a neighborhood after it’s become hip), while to other neighborhood residents they look an awful lot like the perpetrators of that gentrification.

This all points to the importance of sustainable economic development built on a foundation of neighborhood self-determination.  Rising real estate prices cannot be the only measure of urban economic progress.  As with any ecological system, diversity creates strength.  As a society, we desperately need to develop better strategies for urban economic sustainability.  And as artists, we can’t continue to feign ignorance of our role in these processes.

Let there be space…

Fractured Atlas is proud to announce our partnership with The Tank for next week’s symposium - if you are in NYC, please attend!

Saving Our Cultural Capital: The Challenges Facing Independent Venues and Artists in Manhattan

A symposium hosted by The Tank, Milano The New School for Management and Urban Policy, and Fractured Atlas, in cooperation with Manhattan Borough President Scott Stringer. Co-hosted by Collective Unconscious, chashama, The Field and Volunteer Lawyers for the Arts.

New York City is a world-renowned cultural destination: from big-budget Broadways shows to dance performances in small Brooklyn lofts to Chelsea gallery openings. The performing arts drive the city’s economy and tourism and give New York the cultural texture that makes it a uniquely dynamic environment.

As cost-of-living and real estate prices continue to rise, can young artists and small venues still call Manhattan home? New York – and Manhattan, in particular – cannot lose the energy brought by these individuals and organizations, and the higher-market entertainment industry in the city relies on their innovations…but can we still make New York work for the emerging arts? This event will bring together city officials, arts professionals, business representatives, advocates and freelancers for an afternoon of conversation about solutions to the challenges facing independent venues and emerging artists in Manhattan.

This event is FREE and open to artists, advocates, policy-makers, foundation representatives & everyone committed to keeping Manhattan the cultural capital of the world.

Saturday, June 7th, 2:00pm – 5:30pm
Wolman Hall, The New School, 64 West 11th Street

More information: http://www.thetanknyc.org/culturalcapital

From Rust Belt to Artist Belt

The Cleveland Plain Dealer reports on a conference Cleveland State University a couple of weeks ago titled “From Rust Belt to Artist Belt.”

Artists see themselves as devoted to creativity. City planners now look at artists and see something else: a highly valuable form of urban fertilizer.

Sprinkle some galleries on a dying main street. Change the zoning to allow live-work loft space. Throw in some government money for facade renovation or mortgage assistance.

Voila: Property values will jump, and you’ll soon worry about how to avoid gentrification, which is what happens when people with money move into a former zone of blight….

Organized by the nonprofit Community Partnership for Arts and Culture, the event was intended to raise awareness about one of the latest trends in urban development - the rise of cultural districts in struggling city neighborhoods.

The issues addressed by this conference are increasingly becoming a defining urban policy challenge of our time. At Fractured Atlas, we’re hard at work on our own pilot project to tackle this stuff, called Place + Displaced. (If you happen to live in North Brooklyn, where the effort is currently underway, please take the survey.)

475 Kent Lives!

475kentlivesThis is quite parochial for our members in NYC, but it’s great news nonetheless.

Regular readers know that we’ve been tracking the 475 Kent saga. Well the light at the end of the tunnel is here! Congratulations to our friends and colleagues who are back in their homes after a months-long nightmare.

San Francisco Prioritizes Artist Housing

Here in NYC, the idea of setting aside affordable housing for artists is considered politically poisonous. The reasoning is that as soon as you designate housing - our city’s most precious and sought-after resource - for a particular occupation or industry, then the flood gates inevitably open. “Why not affordable housing for nurses, or firefighters, or teachers?” the people will say.

I’ve heard this argument again and again from elected officials at the city and state levels. Even organizations like the NYC Department of Cultural Affairs and the New York State Council on the Arts buy into this facile reasoning.

Thankfully, not everyone is so shortsighted. Luis Cancel, the newly appointed Director of Cultural Affairs for the City and County of San Francisco has come right out of the gate declaring that affordable housing for the city’s artists is a top priority. (Amazingly, the city hasn’t yet crumbled to the ground!) Cancel is actually a long-time New Yorker, where he has a 25-year history of arts administration and advocacy, mostly recently as Executive Director of the Clemente Soto Vélez Cultural Center.

I wonder if the powers that be in New York realize just how close the city is to being permanently displaced as America’s great cultural powerhouse. Chronically ignoring basic infrastructure needs while relying on ever-fading memories of Greenwich Village in the 1950s isn’t what I consider a viable long term cultural policy.

Matzo-Gate Pt. 3

Here in NYC the arts community has been closely following the 475 Kent story. A couple of weeks ago I posted a copy of the letter I sent to several city agencies in support of the evicted artists.

This afternoon I was contacted by one of the newly homeless artists. Apparently they’re mounting a coordinated effort to get international attention for their situation. (It also sounds like there are some possible indications that a positive resolution may be on the horizon, but it’s far too early to say for sure.)

Anyway, I’m going to dutifully post the information she provided here. Use it as you see fit. At this point, people are being encouraged to contact Mayor Bloomberg’s office by email or fax:

The FAX #s:
212 788 2460
212 341 3810
212 788 7745

**If your fax does not go through, please email your letter to the Mayor at:
mike@cityhall.nyc.gov
mbloomberg@cityhall.nyc.gov

___________________

Here is a sample letter:

To:
Mayor Michael R. Bloomberg
City Hall
New York, NY 10007
USA

Dear Mayor Bloomberg,

My attention has recently been drawn to the problem of the artist’s building at 475 Kent Avenue in Brooklyn, New York.

You are certainly aware by now that over 200 artists are in danger of losing their homes and workplaces permanently - which usually spells financial ruin in a community already subjected to considerable risk.

In the spirit of the cultural tradition that has long prevailed in this great city, I urge you to do everything you can to help the artists return to their professions immediately and to foster our common creative capital.

Sincerely,
************

Matzo-Gate Pt. 2

A few days ago I reported on the unfolding situation in Brooklyn whereby some 200 artists have been forced out of their live/work spaces with little notice and no recourse.

It appears that an organizing strategy is starting to take shape. The key issue appears to be under what specific conditions the residents will be allowed to return to their homes. The City is saying that can’t happen until there’s a permanent Residential Certificate of Occupancy, which could take as long as a year and is totally impractical. The newly homeless artists are saying they should be allowed back as soon as the immediate safety hazards have been fixed (which has arguably already happened).

Below is a copy of a letter I’m sending to the Fire Department and the Department of Buildings. If you’re concerned about the situation at 475 Kent Avenue - especially if you’re a NYC resident and really especially if you live in Williamsburg - then I’d urge you to take a minute to send your own. Feel free to use mine as a model (which is in turn based on one that was written by NYC Council Member David Yassky).

* * * * *

January 28, 2008

Patricia Lancaster,
Commissioner, DOB
280 Broadway
New York, NY 10007

Nicholas Scoppetta
Commissioner, FDNY
9 Metrotech Center
Brooklyn, NY 11201

Dear Commissioners Lancaster and Scoppetta,

I am writing to you regarding recent events pertaining to 475 Kent Ave in Williamsburg. As I’m sure you know, the residents of that building were evacuated on the night of January 19th due to hazardous conditions and remain homeless today. I ask that you issue a temporary Residential Certificate of Occupancy for the building as soon as the immediate hazards are mitigated.

As the largest arts service organization in the City, Fractured Atlas represents nearly 3,000 individual artists and small arts organizations within the five boroughs, including 600 in the Williamsburg neighborhood alone. We’ve seen first hand the terrible hardship this evacuation has caused for the 200 New Yorkers who lost their both their homes and work spaces with barely a moment’s notice. The public outcry – from artists and non-artists alike – has been passionate and intense. I urge you to address this situation as quickly and humanely as possible.

Please also consider that the City’s actions in this incident represent a troubling policy reversal. During the 2000 holiday season, the City forced tenants in DUMBO out of their homes because they lived in non-residential loft spaces. When the public protested, the Administration pledged not to evict residents of illegal lofts in the future. It is vital that this policy remain in effect.

I appreciate that there are legitimate safety concerns regarding 475 Kent Ave. However, the explosive grain in question has been removed and there is no further justification for keeping people homeless in the dead of winter. The City has stated that the building will not house tenants until there is a full Residential Certificate of Occupancy. This is an unreasonable and excessive hurdle that will take months to complete. As soon as the most immediate safety hazards are corrected, the residents of 475 Kent Ave. must be allowed to return to their homes.

Thank you for your time and consideration,

Adam Forest Huttler
Executive Director
Fractured Atlas

Cc: Magdi A Mossad, Brooklyn Borough Commissioner, DOB
Edward Kilduff, Brooklyn Borough Commander, FDNY

Matzo-Gate

The NYC arts community has been stunned by the mass eviction of 200+ artists from their live-work spaces in Williamsburg, Brooklyn. In a clumsy and chaotic process that began last Sunday, January 20th, a host of city agencies including the Department of Buildings, the Office of Emergency Management, the Fire Department, and the Policy Department have forced an “emergency evacuation” of 475 Kent Street.

There are conflicting stories about what’s going on and what’s motivating it, but it ostensibly hinges on an illegal silo of flammable matzo meal in the basement. Yes, really.

Hi Low & In Between has a good chronology as told by the artists themselves.

Where Can NYC Musicians Work?

Our good friends at NYC Performing Arts Spaces have put out a much needed new study entitled Where Can We Work? about the challenge the city’s musicians face in finding affordable space to rehearse, record, and perform. As James Barron wrote in this morning’s NY Times:

Steadily rising real estate prices are taking a toll on all but the best-financed music groups and institutions…. In other cities, some groups in the hunt for affordable rehearsal space might begin as “garage bands.” But few people in New York City have their own garages, and musicians say that finding an affordable place to practice is as much of a challenge for performers who make a living in music as it is for part-timers and amateurs.

For as long as I’ve been in this industry, the theatre, dance, and visual art communities have been screaming out in desperation about the dearth of affordable, appropriate space. But this is the first time I’ve seen anyone shine a light specifically on the space needs of musicians, and it’s a welcome development.

You can download the full report here.

Wonk Alert! Great Read on Urban Cultural Policy

My comrade-in-arms Paul Nagle has just published a paper on the economics of live/work space for artists in cities. Room for Creativity: The Role of Affordable Artists’ Live/Work Space in the New Economy is a short and accessible version of his much longer and denser thesis on the same subject. If you’re interested in this stuff (and you should be if you care about the future of the arts in this country) then I highly recommend you check it out.

You can get an electronic version for $5 or a print version for $10.

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