Arts in the city: Debates in the Journal of Urban Affairs

Abstract

There has been growing interest in the urban affairs literature in investigating the role of the arts in the city because of its multifaceted potential to impact a place. To document central elements of the emerging debates on the arts and the city over the last 20 years, we examined key articles on the subject published in the Journal of Urban Affairs and highlighted their links with several special issues of other journals. The debates canvased over this time can be organized as (1) defining artists as human capital, (2) studying cultural amenities, and (3) examining the role of art around the city. This analysis uncovers some of the themes, methods, and places articulating these academic debates and identifies pivotal overarching economic, symbolic, and social issues. The paper suggests that key directions for future research include widening the journals to be analyzed; developing bibliometric analyses; broadening the geographic selection of case studies, including research in languages other than English; and encouraging more special journal issues focused on art and the city to facilitate multidisciplinary conversations.

Reviewing the role of cultural and creative industries in developing an urban cultural policy platform in Rasht city, Iran

“…This view makes it a necessity to evaluate the influence of top-down national policies and models on urban cultural projects and vice versa. One of the main objectives of cultural urban policies has been the development of CCIs and artistic activities in public spaces to gain the attention of creative individuals in cities (Redaelli and Stevenson, 2021). This has been especially emphasised by creating cultural and creative quarters to regenerate urban spaces as a destination for artists, tourists and the local community to reinforce the economic value of local art and culture (Pourzakarya and Fadaei Nezhad Bahramjerdi, 2019a).…”

Evolution of the territorial field of art in a post-socialist city. Distribution patterns of private contemporary art galleries in Krakow, Poland, between 1989 and 2019

“…They form art gallery districts (Debroux, 2017;Halle & Tiso, 2009;Jansson, 2014;Jyrämä, 2002;Kim, 2007;Molho & Sagot-Duvauroux, 2017;Molotch & Treskon, 2009;Morgner, 2019;Moulin, 2009;Quemin, 2020a;Rius-Ulldemolins, 2012Schuetz, 2013;Schuetz & Green, 2014), often clustering in large numbers along the same streets, such as the famous rues des tableaux in Paris (de Maupeou & Saint-Raymond, 2012;Saint-Raymond et al, 2016). Their clusters combine the logic of competition and cooperation, enabling them to overcome their weaknesses related to their usually modest size (Moulin, 2009;Redaelli & Stevenson, 2021;Rius-Ulldemolins, 2016).…”

“…At the same time, as posited by Markusen (2014; see Redaelli & Stevenson, 2021) studies of urban creativity need new conceptual approaches. In this case, there is a need for theories that would combine the spatial and the temporal dimensions of the artistic dynamics in the urban space in general and in particular the successive emergence and disappearance of art clusters of different types.…”

“…Spatial patterns of art production and consumption are increasingly focused on by urban scholars (Redaelli & Stevenson, 2021). Locations of prestigious public and private cultural institutions reflect urban centralities and their shifts through the centuries (Boichot, 2011;Paül i Agustí et al, 2017;Phillips, 2014;Wedd et al, 2001).…”

“…Krakow is one of the two major centres of visual arts in Poland, trailing behind the much stronger capital city of Warsaw (Bazylko & Masiewicz, 2008), and because of its traditions and heritage is considered the cultural capital of the country (Murzyn-Kupisz & Hołuj, 2020;Romańczyk, 2018;Wallis, 1994). However, considering the global art system, the Polish art market represents its semi-peripheries (Molho & Sagot-Duvauroux, 2017;see;Redaelli & Stevenson, 2021). Nonetheless, the case of Krakow (a fine example of a post-socialist historic city) offers an excellent opportunity to study the development of an art gallery landscape as it burst free after the strict state control of art market and art circulation was lifted in the landmark year of 1989, the fall of the communist regime.…”