Resisting the creation of forgotten places: artistic production in Toronto neighbourhoods

This article analyzes semi-structured interviews with contemporary visual artists from Toronto, Canada, to explore the relationship between artists, memory, and place. The focus of the article is on three neighbourhoods in downtown Toronto that have the potential to become forgotten places of artistic production: Yorkville, King Street West and The Junction. Through an analysis of artists' spatially grounded narratives about these three neighbourhoods, I reveal how the intense emotional and material connections that artists have to places have the potential to challenge the loss of collective urban memory. This article contributes to intersecting literatures on neighbourhood change, artistic production and the importance of vernacular memory in urban cultural geography.     

Female artistic identity in place: the studio

In this paper I examine the role of the studio as a central site of artistic identity construction and maintenance. Using ten case studies drawn from interviews with contemporary women visual artists from Toronto, Canada, I argue that women artists value studio space because it powerfully reinforces their sense of commitment and belonging to a predominantly male‐dominated profession. I consider how women cope with the demands of artistic practice when they are unable to establish a spatially separate workspace by addressing the experiences of artists who are parents. I demonstrate how women artists who are primary care‐givers are rarely adequately protected from the interruptions of daily life and have grown accustomed to working in fragments of time and space. While these women may appear willing to concede space to others, when space is crucial to their artistic practice, they have a remarkably strong influence on the form of their creative environment. I maintain, then, that the studio as a fixed physical space continues to be a very real necessity for women artists in all stages of their careers.     

Why are artists getting poorer? About the reproduction of low income among artists

In the period 2006 to 2013, Norway has experienced a substantial increase in public subsidies to culture as well as a substantial increase in real income growth in general. This paper discusses different explanations for why Norwegian artists’ real artistic income has declined between 2006 and 2013, despite the positive economic development in Norway. We have based the study in particular on two comparable studies on the income and work situation of Norwegian artists in 2006 and 2013. We analyse and discuss why the artists’ real artistic income has declined during this period. We do not find a single, general, explanation for this, but the income decline does not primarily seem to be due to either an increasing number of artists or a decline in public scholarships to artists. Our two most striking findings are: (i) A substantial decline in most artists’ artistic working hours and a corresponding increase in artistically related and non-artistic working hours, and (ii) a tendency for artists to derive less of their income from the market, together with an apparent decrease in cultural consumption (spending) among Norwegians. These two factors – especially the latter – seem to be the major factors behind the decline in artistic income.     

Claiming and Controlling Space: Combining heterosexual fatherhood with artistic practice

This article is structured around nine short vignettes that explore the complex and embedded gendered relations of fatherhood for heterosexual male contemporary Canadian visual artists at different stages of life. In contributing to the geographical literature on work, gender, and identities, this article answers the questions: What form does hegemonic masculinity take in the visual arts? How do male artists organize and conceptualize work life and family life? What impact does fatherhood have on artistic identity construction? In formulating answers to these questions, I argue that dominant discourses of masculinity have left some men feeling illegitimate as both artists and fathers, and reliant on spatial control as a mechanism to ‘fix’ their artistic identities.     

Determining the Accuracy of Historical Landscape Paintings

Historical landscape paintings are widely used to reconstruct past environments. However, artists did not necessarily fully depict reality, many exercising license to relocate and remould features. This paper applies photogrammetric techniques to the problem of determining the accuracy of artistic depictions of landscapes. Four 19th century paintings of Hobart, Tasmania, Australia by different artists were used to test the methods. The artists varied in their accuracy, with Frankland, the surveyor, being the most accurate, and Glover, the romantic professional artist, being the least accurate. This variation suggests that the use of paintings for historical reconstructions and measurements of historic features should be preceded by an accuracy assessment.     

ADMINISTRATIVE DEFINITIONS OF ARTISTS IN THE NORDIC MODEL OF STATE SUPPORT FOR ARTISTS

This article considers the role of public arts policy in producing societal definitions for “art” and “artists”. It examines administrative definitions generated and used by the Nordic system of state support for artists and reflected in its administrative categories and structures of decision‐making. Using the concepts of “artistic field” and “artistic classification system” as starting points, the article focuses on the regulated and institutionalized interaction of the state and artistic fields in decision making, and on the administrative categories emerging from this interaction. Through this interaction, professional and administrative definitions of “art” and “artist” are closely intertwined in the four countries discussed. The administrative categories examined show considerable variation between the countries related to differences in the nature of this interaction. The definition power involved in state support for artists is related to the nature of this interaction, as well as to such factors as the legitimating arguments, objectives and criteria for the support.     

Performing Trans in Post-Revolutionary Iran: Gender Transitions in Islamic Law,Theatre, and Film

In the wake of a string of sensationalist documentaries about transsexuality in Iran, Iranian theatre and film artists began crafting groundbreaking trans performances to educate audiences and depict characters living non-heteronormative lives without the translating influence of queer theory or identity politics. Investigating transsexual bodies as assembled by jurists in Iranian Shi?a jurisprudence and by artists on stage and screen reveals the ways in which the transsexual body is constructed in Islamic legal discourse and represented in narrative and bodily form in the public imaginary in Iran. Representations of transsexuality in theatre and film highlight the role of the arts as a vehicle for social change, communal recognition, and self-cognition. In particular, performances of female-to-male gender transitions in theatre and film have expanded the boundaries of how gender presentation is translated onto Iranian stages, into Tehran coffeehouses, and onto global screens. These trans performances usher Iranian spectators into new forms of viewership and artistic consumption in their attempt to creatively represent transsexual bodies and narratives to increase tolerance towards transsexuals; further, they have ignited a conversation among artists and activists about the assemblage of transsexual bodies in artistic productions and the most effective narrative and emotional forms of catharsis to inspire change.     

Creating a life: the role of symbolic and economic structures in the gender dynamics of Swedish artists

This article examines the prevalence of parenthood among professionally practising artists in Sweden. The overall aim of the article is to employ feministic and sociological perspectives to provide a theoretically-based understanding of the problems of balancing work and family life in the arts. Data are presented that reveals that female artists are more frequently childless compared to their male counterparts and women in the overall population. Male artists, however, are less frequently childless than men in general. The article develops a theoretical explanation focused on the effect of economic resource structures, which leave women artists to cope with lower incomes with which to pursue careers in the arts, and symbolic structures, which present creative work as difficult to combine with everyday domestic work. Given that motherhood continues to be associated with more comprehensive caring responsibilities than fatherhood, women are more frequently confronted with a choice between starting a family and pursuing their artistic calling.     

The social contract of artists in the era of cultural industries

The aim of this paper is to analyse the growing emphasis on the concepts of the experience economy, creative industries, and cultural industries as ways in which the social contract of artists is negotiated. What expectations are directed towards the artistic profession and how is the contribution of artists to society and their work conditions constructed by these concepts? The paper applies the concept of social contract from the sociology of professions which enables a focus on the artistic profession not only in an internal arts world perspective, but also in a broader societal frame. The study presented was carried out in a Norwegian context. Empirically, the paper is based on 28 applied research reports.     

Nationalism studies between methodological nationalism and orientalism: an alternative approach illustrated with the case of El Greco in Toledo,Spain

Methodological nationalism is still dominant in nationalism studies. When studying the construction of national identities, scholars generally limit their study to the borders of one nation‐state, while only paying attention to members of that particular nation. Implicitly, foreign actors and influences are left out of the picture. I will challenge this methodological nationalism with a case study, which demonstrates that the place of Toledo within the Spanish national imagination, and more particularly that of El Greco, the most important representative of the city's artistic heritage, was largely determined by foreigners. During the nineteenth century, El Greco was rediscovered primarily by foreign scholars and artists. Moreover, it would be the rise of international tourism in the early twentieth century that convinced Toledans to adopt El Greco as the city's main artistic icon. This case, thus, clearly shows that in nationalism studies methodological nationalism can be avoided by also including foreign actors.     

The role of heritage conservation districts in achieving community economic development goals

Most jurisdictions have some kind of measures to protect physical fabric and manage change within historic neighbourhoods. In Ontario, Canada’s largest province, these are called Heritage Conservation Districts. While much has been written about such aspects as identifying such districts, the designation process and their role in the urban landscape, less exploration has been devoted to understanding their potential role in economic development. This study examined two heritage districts in the Town of Markham, a fast-growing exurban municipality north-east of Toronto. Both of these neighbourhoods and both designated heritage areas have in place an economic development mechanism called a Business Improvement Area. The research involved interviews, household questionnaires, observation and statistical analysis. It was found that overall the data indicated that the management of the heritage resources supported and enhanced economic development. It was also found that there were considerable differences between the two areas in spite of their close proximity. The reasons for those differences are outlined.     

A HISTORIC NEIGHBOURHOOD AS ARTS SPACE: THE LITTLE INDIA EXPERIENCE

Many cities around the world are redeveloping their neighbourhoods as arts and cultural precincts. Urban industrial zones and lower‐income residential areas have taken on new life as arts neighbourhoods in a bid to attract high‐yield visitors, propel their creative industry and brand themselves as attractive to investors and residents. This article has two aims. Conceptually it explores the notion of arts urbanization – the creation of arts spaces in cities and the socio‐spatial dynamics which they embody. Empirically, the concept is tested using the case of Singapore's Arts Housing Scheme. Under this scheme, historic ethnic precincts take on new roles as arts and creative belts. While the scheme has yielded some success by way of fostering spaces of identity and inspiration for artists, it has also generated social concerns and spatial challenges. Singapore's Little India offers an empirical setting to explore this concept. The paper argues that geography matters to the arts and that arts‐led urbanization creates distinct spatial configurations in cities. For this reason, a greater understanding of and research into arts neighbourhoods and their socio‐spatial dynamics are essential if we are to aspire to sustainable and sensitive development of cities and their creative communities.     

Residential segregation and inequality: Considering barriers to choice in Toronto

Segregation of visible minorities has persisted throughout time in Toronto. In examining these concentrations, the literature has been heavily focused on the notion that visible minorities are choosing to live in proximity to their respective ethno-racial groups and that these are spaces of aspiration rather than marginalization in Canada. This paper raises questions about the assertion of “self-segregation” by emphasizing affordability constraints on residential choices that are often rooted in discrimination in the labour market. Census data from 2016 and an adopted neighbourhood classification scheme were used to understand the spatial patterning of visible minorities in the Toronto census metropolitan area and highlight differences in the socio-economic characteristics of visible minority dominant and white dominant census tracts. The findings invite the inference that economic opportunities play a critical role in the residential choices of visible minorities and raise concerns about the quality of life in visible minority neighbourhoods. This research contributes to our understanding of how social inequalities have impacted the socio-spatial organization of the city of Toronto.     

The growth of artistic nationalism in Senegal

ABSTRACT. In the 1960s, Senegal's first national leaders narrowly defined how artists should practise nationalism through their work, particularly in the weaving craft, and enforced this definition through selective state patronage. This ideological and stylistic control echoed state control over economic markets. As subsequent administrations have restructured the economy, leading to a powerful informal business sector, so have independent contemporary weavers redefined artistic nationalism. Using ethnographic and archival interviews, this article examines nationalism in Senegalese weaving, placing the perspectives of contemporary weavers alongside those of two arts administrators who helped to develop state‐sponsored programmes in the 1960s and 1970s. I argue that contemporary weavers find inspiration from Senegalese nationalism of the mid‐twentieth century, yet have modified it to encompass individual expression. Because definitions of artistic nationalism in Senegal have shifted, it remains a significant ideology within the national arts scene.     

Visual artists: counter‐urbanites in the Canadian countryside?

Professional visual artists have always enjoyed considerable latitude in the selection of a place of work and residence. Recent decades have witnessed their growing presence within the Canadian countryside. This paper seeks to provide an interpretation of this phenomenon by exploring two sub-objectives. First is to determine whether artists who establish themselves in rural communities can be considered to be part of the counter‐urbanisation movement, involving the relocation of urban residents down the settlement hierarchy. Second is to identify what types of migration are occurring and why. Our surveys of visual artists residing in the southern Ontario communities of Elora and Parry Sound reveal that most participants are part of a movement involving the decision to take up both residence and employment in a rural locale. We further find that the relocation of visual artists is driven to some extent by a strong attachment to natural landscapes. By way of conclusions, we briefly speculate about the broader population of urban residents. We remind ourselves that artists often have been harbingers of new movements and that today there are growing numbers of workers outside the artistic community who also have increasing latitude in regards to choosing where to live and work. Overall, our findings suggest that there is ongoing blurring of geographic boundaries—between space and place, between place of work and place of residence and, of course, between rural and urban.     

THE ROLE OF FINNISH LEFTISTS IN SOVIET–FINNISH ARTISTIC EXCHANGES DURING THE LATE SOCIALIST PERIOD

The article examines artistic exchanges between the USSR and Finland from the viewpoint of the Finnish left. After WWII, Finland was in a difficult geopolitical position; although not occupied by the USSR, it received little support from the West and so remained an independent capitalist democracy, with little foreign leverage. The Soviet influence was felt in many areas, and throughout the Cold War, Finland received many more world-class Soviet artists than any other Western country. This was in part a consequence of Finland’s proximity to the USSR, but the Finnish Communist Party, a major domestic political force, also played a role. Immediately after the war, organizations associated with the Finnish Communist Party enjoyed a virtual monopoly over such exchanges, but this began to change in the mid-1950s. Around that time, the USSR began to allow Finnish artists to train and perform at its world-class arenas, and many of those Finnish students had links with the political left. Based on interviews and supported by archival material from Finland and Russia, the article explores the role of the Finnish left in these artistic exchanges.     

Management skills for artists: ‘learning by doing’?

Although artists must usually be self‐reliant when managing their business, an artist’s education typically concentrates on artistic skills rather than managerial knowledge. This paper analyses the current curricula of 154 art institutions (public and private), focussing on the so‐called DACH countries (Austria, Germany and Switzerland). The results show a deficit in the implementation of economic and, especially, business‐related topics in the education of artists at art universities and institutions. A glimpse at Anglo‐American countries shows that, unlike in Europe, art schools are more open‐minded about implementing economic content into their curricula.     

Towards The “New Rural History”: A Review Essay

The true subject of art history is the succession of innovations that have changed the practices of artists over time. This article uses a survey of illustrations in textbooks to consider not only when in their careers the greatest artists of the twentieth century made their greatest discoveries but also how quickly they made them. The results underscore the dominant position of Pablo Picasso and Cubism in twentieth-century art: Picasso alone accounts for the two best three-year periods produced by any artist, and he and Georges Braque account for three of the best five-year periods, all for the work the two young artists did in creating Cubism. Andy Warhol's innovations in pop art and Henri Matisse's development of Fauvism also rank among the century's most important breakthroughs. In general, identifying the most important short periods of artistic creativity highlights the differing methods of conceptual and experimental artists: great conceptual innovators (e.g., Picasso, Matisse, and Warhol) made their greatest discoveries abruptly, whereas great experimental innovators (e.g., Piet Mondrian, Wassily Kandinsky, and Jackson Pollock) made their discoveries more gradually. The finding that artists who innovate early in their lives do so suddenly, whereas those who innovate late do so more gradually, adds an important dimension to our understanding of human creativity.     

Placing the second generation: A case study of Toronto

We examine the social mobility of the second generation in the Toronto metropolitan area by analyzing whether the adult children of immigrants live in more affluent and desirable neighbourhoods than the first generation. Using 2016 census microdata, we compare the social characteristics of census tracts where immigrants and the second and third-plus (3+) generations concentrate. The index of dissimilarity indicates the degree of residential separation among generations and for five ethno-racial second-generation groups: Chinese, South Asian, Black, Southern European, and Northern and Western European. The empirical findings show that the neighbourhoods where the first generation is over-represented are less affluent than those where the second and 3+ generations concentrate, with the largest improvements in social status occurring between the first and second generations. Although they frequently live in more distant suburban neighbourhoods than the first generation, the second generation still tends to live in inner and outer suburbs more than the exurban 3+ generation. For the second generation, the degree of residential concentration varies across ethno-racial groups with persistent segregation marking the residential locations of racial minorities. The findings highlight the variegated geographies and social mobility of the second generation in Canada's largest metropolitan area.