Constructing contemporary artistic identities in Toronto neighbourhoods

Abstract

This paper examines the role of the neighbourhood in the construction of artistic identities. Drawing upon in‐depth, semistructured interviews with Canadian visual artists from Toronto, I identify some of the common features of downtown Toronto neighbourhoods where artists congregate. I demonstrate that artists are drawn to neighbourhoods that have not been gentrified and do not directly reflect current dominant values in society. I focus, in particular, on the importance of marginal niches of improvisational space within the urban fabric. Marginal spaces, often neglected and overlooked, weakly classified and in a state of becoming, I argue, are essential to the development and sustenance of an artistic identity.

Young artists and the development of artistic quarters in Polish cities

“…With time, as SoHo began to attract more mainstream artists, art galleries and non-artistic gentrifiers, some artists started to move to other post-industrial, working-class or ethnic neighbourhoods (Cole, 1987;Zukin, Braslow, 2011). This cycle of emergence, growing popularity, boom, and then decline of artistic concentration repeated itself in other New York districts, and has been observed in many other major North American and West European cities such as London (Green, 1999;Ambrosino, 2013;Gornostaeva, Campbell, 2012;Harris, 2011;While, 2003), Paris (Clerval, 2008;Collet, 2008;Vivant, 2009Vivant, , 2010Gravereau, 2013;Chabrol, 2011, Boichot, 2013, Berlin (Heebels, van Aalst, 2010;Boichot, 2013), Brussels (Debroux, 2013a, 2013b, Barcelona (Tremblay, Battaglia, 2012;Ballester, 2013), Montreal (Tremblay, Battaglia, 2012) and Toronto (Bain, 2003;Ley, 2003;Hracs, 2009;Matthews, 2008).…”

“…The character of the local scenery and built environment, their "look and feel", are yet another factor drawing artists to historic neighbourhoods or post-industrial spaces rather than to new construction or the suburbs (Wedd et al 2001;Bain, 2003;Heebels, van Aalst, 2010;Ryberg et al, 2013). The "authentic", "characterful" social settings of working-class or ethnic neighbourhoods are frequently preferred by artists to areas reflecting middle-class norms and values, which they tend to contest (Bain, 2003;Ley, 2003;Cameron, Coaffee, 2005).…”

“…The "authentic", "characterful" social settings of working-class or ethnic neighbourhoods are frequently preferred by artists to areas reflecting middle-class norms and values, which they tend to contest (Bain, 2003;Ley, 2003;Cameron, Coaffee, 2005). Built form, like social and ethnic structure, creates an ambiance which may be a source of inspiration or a platform for artistic expression (Bain, 2003;Drake, 2003).…”

“…As Zukin and Braslow (2011, p. 136) claim, "a creative district locates, embodies, and represents a place where people can perform their difference from mainstream behavioural norms and social roles in relative safety, with few negative consequences to themselves or to the district as a whole." The new area may thus become the main foundation on which the symbolic socio-spatial identity and reputation of young artists is built (Bain, 2003;Drake, 2003;Lloyd, 2004;Zukin, 2008;Heebels, van Aalst, 2010;Ambrosino, 2013).…”

“…Opting for life on the margins of society, they decided to or were forced to live together in liminal spaces of their cities, which they shared with other social groups who had no alternatives (Bain, 2003;Vivant 2010;Zukin, 2008). The search for authentic ethnic and working-class neighbourhoods is often romanticized, however, as relations between artists and these "authentic" social groups tend to be superficial due to the difference in cultural capital.…”