ABSTRACT

Why and how do artists engage in activities that likely lead to gentrification, despite their awareness of its effects and despite that they will possibly be among the displaced groups? I highlight a missing link in existing literature explaining the recurring patterns of art scenes and gentrification in US cities– the cyclicality of artistic careers trajectories in art scenes’ spatiality. The study shows that the shifted reputation of the neighborhood in early stages of gentrification is instrumental to positioning individual cultural producers in the cultural field through the local art scene’s collective accumulation of symbolic capital. Early-career artists accumulate symbolic capital through space. Paired with the capitalist and racist legacies of the US city, this contributes to reproducing gentrification. Theoretically, the article draws from Bourdieu’s theory of the cultural field and geographical literature of the symbolic economy. Empirically, it draws on interviews with cultural producers in Bushwick (Brooklyn, NYC).

摘要

艺术家为什么以及如何参与可能导致高档化的活动，尽管他们意识到其影响并且尽管他们可能会成为流离失所的群体之一？我强调了现有文献中一个缺失的环节，它解释了美国城市艺术场景和高档化的反复模式——艺术场景空间性中艺术职业轨迹的周期性。研究表明，在高档化的早期阶段，社区声誉的转移有助于通过当地艺术界的象征资本的集体积累，将个体文化生产者定位于文化领域。早期艺术家通过空间积累象征资本。再加上美国城市的资本主义和种族主义遗产，这有助于再现高档化。理论上，文章借鉴了布迪厄的文化场域理论和符号经济的地理学文献。根据经验，它借鉴了对布什维克（纽约布鲁克林）文化制作人的采访。