Creative Placemaking Ann Markusen Markusen Economic Research Services Anne Gadwa Metris Arts Consulting

EXECUTIVE SUMMARY

A White Paper for The Mayors’ Institute on City Design, a leadership initiative of the National Endowment for the Arts in partnership with the United States Conference of Mayors and American Architectural Foundation. Creative Placemaking Ann Markusen, Markusen Economic Research Services and Anne Gadwa, Metris Arts Consulting

This white paper is for The Mayors’ Institute on City Design, a leadership initiative of the National Endowment for the Arts in partnership with the United States Conference of Mayors and American Architectural Foundation.

1100 Pennsylvania Avenue, NW Washington, DC 20506-0001 (202) 682-5400

To view or download this free report, go to http://arts.gov/pub/pubDesign.php.

Creative Placemaking: Executive Summary

In creative placemaking, partners from public, private, non-profit, and community sectors strategically shape the physical and social character of a neighborhood, town, city, or region around arts and cultural activities. Creative placemaking animates public and private spaces, rejuvenates structures and streetscapes, improves local business viability and public safety, and brings diverse people together to celebrate, inspire, and be inspired. The Problem: The Solution: The Payoffs: In turn, these creative locales foster envisions a more decentralized portfolio festivals that revive emptying downtowns entrepreneurs and cultural industries of spaces acting as creative crucibles. and attract regional visitors. Large cultural Gains in livability, diversity, jobs and in- American cities, suburbs, and small towns Revitalization by creative initiatives that that generate jobs and income, spin In each, arts and culture exist cheek-by- institutions, often inspired by their smaller comes off newcon productsfront st randuc turaservices,l ch aandng e and rejowlsid withent privateial sector exportanim atande pretaillac es ancounterparts,d spark ec areon oincreasinglymic deve engagingl- in attractup androo retainting unrelated businesses businesses and mixed-incomeopm ehousing,nt. active placemaking. Innovative products and services for the and skilled workers. Together, creative often occupying buildings and lots that cultural industries placemaking’s livability and economic had been vacant and under-used. In large This white paper summarizes two decades development outcomes have the cities, many such hubs reflect the ethnic of creative American placemaking, drawing potential to radically change the future or historical character of place and invite on original economic research and case of American towns and cities. residents and visitors alike across porous studies of pathbreaking initiatives in large boundaries to visit, patronize, and enjoy. and small cities, metropolitan to rural, Instead of a single arts center or a cluster In smaller towns, traditional cultural as well as published accounts. The case of large arts and cultural institutions, practices and landscapes are transformed studies stretch from Providence, Rhode contemporary creative placemaking into distinctive cultural centers and Island, to Los Angeles, California, and

THE PROBLEM THE SOLUTION THE PAYOFFS AMERICAN CITIES, SUBURBS, REVITALIZATION BY GAINS IN LIVABILITY, DIVERSITY, JOBS AND SMALL TOWNS CONFRONT CREATIVE INITIATIVES THAT AND INCOMES STRUCTURAL CHANGES AND ANIMATE PLACES AND SPARK INNOVATIVE PRODUCTS AND SERVICES RESIDENTIAL UPROOTING ECONOMIC DEVELOPMENT FOR THE CULTURAL INDUSTRIES Creative PlaceMaking 4

Creative Economies Host 2 million artists 3.6 million cultural workers 4.9 million cultural industry jobs

Creative Placemaking Fosters Economic Development Recirculates residents’ incomes locally at a higher rate Re-uses vacant and underutilized land, buildings, and infrastructure Creates jobs in construction, local businesses, and cultural activity Expands entrepreneurial ranks of artists and designers Trains the next generation of cultural workers Attracts and retains non-arts-related businesses and skills

Creative Placemaking Fosters American Leadership in Globally Competitive Industries Movies Social media Broadcasting Advertising Publishing Design services News media Architecture Musical recordings and video Video games

Cases of Creative Placemaking Three Cleveland west-side theatres, one owned by a community development corporation, lead the redevelopment of a commercial corridor as Gordon Square Arts District.

Buffalo’s Mayor and a non-profit arts developer transform a vacant auto plant into artist studios and housing, infusing the neighborhood with creative and economic activity.

Portland’s new transit stations incorporate artwork that reflects distinctive neighborhoods and encourages ridership.

San José’s 01SJ Biennial marries art and technology to generate new products, bring people downtown, and showcase the City’s diversity. Creative PlaceMaking 5

from Arnaudville, Louisiana, and Fond du As cultural industry incubators, creative Lac, Minnesota, to Seattle, Washington. places make valuable contributions to the Challenges Each reveals a distinctive strategy national economy. More than 2 million for Creative that succeeded when initiators built Americans support themselves as artists, partnerships across sectors, missions, and and the ranks of cultural workers exceed Placemaking levels of government, leveraging funds 3.8 million, or almost 3% of the nation’s Forging partnerships from diverse sources and programs. workforce. Many are entrepreneurs, some employ others; 65% of writers, 57% of Countering community Creative placemaking serves livability, visual artists, and 41% of musicians are skepticism diversity, and economic development self-employed. Assembling adequate goals. Livability outcomes include financing heightened public safety, community Artists and related cultural workers identity, environmental quality, increased provide the core expertise for American Clearing regulatory hurdles affordable housing and workplace cultural industries, supporting close Ensuring maintenance and options for creative workers, more to 5 million jobs. These industries—the sustainability beautiful and reliable transportation performing arts, movies, television, choices, and increased collaboration broadcasting, sound recording, video A voiding displacement and between civic, non-profit, and for- games, design, advertising, publishing, gentrification profit partners. Economic development tourism—are among our most competitive Developing metrics of quickens because arts and cultural internationally, producing billions of performance investments help a locality capture a dollars in export earnings. higher share of expenditures from local income. Instead of traveling elsewhere Creative placemakers confront daunting for entertainment and culture, or going challenges. Many have stumbled along the to a big-box retailer or shopping mall, way. Others have been slowed down or Successful residents are patrons of local talent suffer growing pains. We asked leaders of Creative and venues, earnings that re-circulate successful efforts about the challenges they at a higher rate in the local economy. faced, how they met them, and what lessons Placemaking Re-using vacant space generates local they learned. In addition to overcoming Prompted by an initiator with property and sales tax revenues that can fiscal challenges stemming from the Great innovative vision and drive be devoted to streets, lighting, sanitation, Recession, many creative placemakers greenery, and police and fire. Additional have navigated similar obstacles, namely: Tailors strategy to distinctive jobs and incomes are generated in difficulties in creating partnerships, features of place construction, retail businesses, and arts countering skepticism on the part of Mobilizes public will and cultural production. New businesses, communities and public leaders, assembling in the creative industries and others, are adequate financing, clearing regulatory Attracts private sector buy-in attracted to these communities. hurdles, ensuring long-term maintenance Enjoys support of local arts and sustainability, avoiding displacement and cultural leaders Place has always been important for the and gentrification, documenting progress, emergence of new products, industries, and developing performance metrics. Builds partnerships across and jobs. We find that creative places are These insights are as important as their sectors, missions, and levels cultural industry crucibles where people, achievements for informing policy and of government ideas, and organizations come together, encouraging other communities. generating new products, industries, jobs, and American exports. They nurture In the United States, creative placemaking entrepreneurs and expand the ranks of operates at all geographic scales and self-employed artists and designers who with a diverse array of initiators and market their creations far afield. Training partners. We identify six components grounds for area youth, they incubate the of a successful strategy, drawn from next generation of creative workers and in-depth interviews. Each effort starts entrepreneurs. Because jobs increasingly with an entrepreneurial initiator; follow people, rather than vice versa, demonstrates a commitment to place they draw and retain other businesses and its distinctive character; mobilizes and workers to their rich, lively, and public will, both in local government diverse environs.1 and the citizenry; attracts private sector Creative PlaceMaking 6

support, either from cultural industries or place developers or both; wins the active participation of arts and cultural leaders; and succeeds in building partnerships across sectors (for-profit, non-profit, government, and community), missions (e.g., cultural affairs, economic and workforce development, transportation, housing, planning, environment, and health), and levels of government (local, state, and federal).

Our research finds that through creative placemaking, arts and culture make substantial contributions to local economic development, livability, and cultural industry competitiveness. These contributions have not been given their due in public policy. Many city and small-town leaders are beginning to Photo © Cleveland Public Theatre understand these connections. Some are Summer Performance Series, Cleveland Public Theatre modeling their initiatives on pathbreakers elsewhere, tailoring them to their own distinctive assets and challenges. At the state and federal levels, politicians, policymakers, and agency heads see the potential for arts and cultural activities to improve the effectiveness of their missions in transportation, housing, workforce development, health care, environmental remediation, and education. Exemplary cases of creative placemaking suggest that a collaborative policy platform can be developed across agencies, levels of government and public/non-profit/private sector organizations. This platform should be constructed from evidence on what works and where, and it should include evaluation from the start.

Arts and culture at this historic juncture are proving their power as economic and social catalysts. Through smart collaborations with other sectors—government, private business, foundations—they are creating opportunities for rejuvenation and economic development, anchored in and tailored to diverse communities. The arts can be a fulcrum for the creative transformation of American cities. ▲

1 Ann Markusen and Greg Schrock, “The Artistic Dividend: Urban Artistic Specialization and Economic Development Implications,” Urban Studies 43, no. Photo © JackRamsdale.com 10 (2006): 1661-1686; Richard Florida, The Rise of the 2008-024: Taste of Summer © 2008 City of Philadelphia Mural Arts Program/ Creative Class (New York, NY: Basic Books, 2002). Ann Northrup and Reentry Workers. Creative PlaceMaking 7

Ann Markusen, Principal, Markusen Economic Research Services

Ann Markusen holds a PhD and MS in The Economics and Politics of Territory (1987), ▼ Artists’ Centers: Evolution and Impact on Economics from Michigan State University High Tech America (1986), and Profit Cycle, Careers, Neighborhoods and Economics with fields of expertise in urban and regional Oligopoly and Regional Development (1985). (2006, The McKnight Foundation) economics, economic development, public finance, and industrial organization. An Markusen’s recent work focuses on urban Markusen has given keynote addresses expert on urban and regional economic revitalization, particularly on the contributions on the creative city and the roles of artists development, she has testified before of arts and culture, human capital, and public and arts and culture in urban revitalization Congress and served as President of policy. Her recent publications include: in Europe (Finland, Germany, France, the North American Regional Science UK), Australia, Brazil, Japan, South Korea, ▼ “Arts and Culture in Urban and Regional Association, Brookings Economic Policy Canada, and in many cities and smaller Planning: A Review and Research Agenda” Fellow, Council on Foreign Relations Senior towns around the US. (Journal of Planning Education and Fellow, and Member of the Presidential Research, 2010) Commission on Offsets in International Markusen is a frequent advisor to mayors ▼ Los Angeles: America’s Artist Super-City Trade. Markusen won the William Alonso and city councils, state governments, and (2010, Center for Cultural Innovation) Memorial Prize for Innovative Work in the federal government. She has worked for ▼ native Artists: Livelihoods, Resources, Space, Regional Science (2006) and the Walter Chicago Mayor Harold Washington’s Steel Gifts (2009, The McKnight Foundation) Isard Award for Outstanding Scholarly Industry Task Force, the Michigan House ▼ San José Creative Entrepreneur Project: Achievement (1996). In 2010-11, she is serving of Representatives as Staff Economist, and Artists’ Resource and Space Study (2008) as the Fulbright Distinguished Chair at the the Government Accountability Office in and Final Report and Recommendations MacIntosh School of Architecture’s Glasgow Washington. She is a widely sought public (2009, Center for Cultural Innovation and Urban Lab, where she is conducting a US/ speaker across the US and internationally City of San José) UK comparative study of creative cities. on economic development. Markusen has ▼ artist Data User Guide (2008, Leveraging held professorships of three to ten years Investments in Creativity) exploring the Markusen has published more than a dozen each at University of Colorado, University demographics of state and metro artists books, include Reining in the Competition for of California Berkeley, Northwestern from 2000 Census data Capital (2007), From Defence to Development University, Rutgers University, and University ▼ Crossover: How Artists Build Careers across (2003), Arming the Future: A Defense Industry of Minnesota, teaching in the field of Commercial, Non-profit and Community for the 21st Century (1999), Second Tier Cities economic development. Her publications Work (2006, The James Irvine Foundation, (1999), Trading Industries, Trading Regions can be downloaded from her website at The William and Flora Hewlett Foundation, (1993), Dismantling the Cold War Economy http: www.hhh.umn.edu/projects/prie. and Leveraging Investments in Creativity) (1992), The Rise of the Gunbelt (1991), Regions:

Anne Gadwa, Principal, Metris Arts Consulting

Anne Gadwa is principal of Metris Arts on artists, the larger arts ecology, academic arts sectors can work more Consulting, which provides data, analysis, neighborhoods, and the regional economy. effectively with a large concentration of and planning support to help communities ▼ “Arts and Culture in Urban and Regional Somali residents in the Cedar Riverside strengthen the arts and help arts activity Planning: A Review and Research neighborhood in Minneapolis. (Cedar strengthen communities. An experienced Agenda” (Journal of Planning Education Riverside Neighborhood Revitalization researcher, Gadwa holds a master’s degree and Research, 2010) Program, Minneapolis, 2009) in Urban and Regional Planning from ▼ San José Creative Entrepreneurs Project: the University of Minnesota’s Humphrey Artists’ Resource and Space Study (Center Gadwa’s past professional experience in Institute of Public Affairs and a B.A. from for Cultural Innovation, Los Angeles, 2008) choreography and managing finances and Oberlin College. Gadwa has authored major ▼ Defining, Measuring and Comparing operations of non-profit arts organizations studies and journal articles, including: Place-Based Public Investment Outcomes (Movement Research, NY, 2001-2005 and (Lincoln Land Institute, Cambridge, MA, In the Heart of the Beast Puppet and Mask ▼ How Artist Space Matters (Metris Arts 2009) Theater, MN, 2005-2007) informs Gadwa’s Consulting for Artspace Projects, 2010), ▼ Working Effectively with Somali Residents work. For more information and to download a pathbreaking study of the impacts of Through the Arts, a study examining publications, visit www.metrisarts.com. three artist live/work projects in Minnesota how the non-profit, commercial and 1100 Pennsylvania Avenue, NW Washington, DC 20506-0001 (202) 682-5400

To view or download this free report, go to http://arts.gov/pub/pubDesign.php. Creative Placemaking Ann Markusen Markusen Economic Research Services Anne Gadwa Metris Arts Consulting

3 I. Introduction

5 II. Arts, Culture and Creativity as Placemakers Creative Placemaking: Scale and StrategY Outcomes: Livability and Economic Development

8 iII. Creative Places as Incubators of Arts and Cultural Enterprise The Creative Economy Creative Workers and Entrepreneurs Cultural Industries

15 I V. Challenges for Creative Placemaking Forging and Sustaining Partnerships Countering Community Skepticism Assembling Adequate Financing Clearing Regulatory Hurdles Ensuring Maintenance and Sustainability Avoiding Displacement and Gentrification Developing Metrics for Performance and Evaluation

18 V. Components of Successful Placemaking Initiatives Creative Initiators Designing around Distinctiveness Mobilizing Public Will Garnering Private Sector Support Securing Arts Community Engagement

23 VI. Conclusion: Toward a Creative Placemaking Policy Platform Placemaking Policy Platform The Creative Economy CASE STUDIES Creative Workers and Entrepreneurs PAGE 24 Cultural Industries

55 endnotes 57 Further Reading 59 biographies 60 acknowledgements

To view or download this free report, go to http://arts.gov/pub/pubDesign.php. Creative PlaceMaking 3

I. Introduction

For two decades, American cities, suburbs, and small towns have struggled with structural change and residential uprooting. The causes are powerful: an integrating world economy, accelerating technological change, and Americans’ proclivity to move. These forces unsettle communities and diminish returns on past investments in public infrastructure and in local networks and know-how.

Prairie and rural Appalachian towns leveraging resources from many funding they find business skills and access to shrink as capital-intensive agriculture, sources. They create and provide jobs, each other that improves their work and resource exhaustion, and manufacturing nurture local businesses, generate spin-offs, earnings.2 Cultural industries cluster and flight whittle down jobs and income. In revitalize local economies, and stabilize thrive where creative workers reside. Arts- cities large and small, downtowns lose neighborhoods. They reinforce the nation’s anchored revitalization encourages non- business services and retail to low-density global leadership in cultural industries, arts firms and families to commit to place suburbs. Lacking the room and resources a major source of jobs. In Cleveland, for and to participate actively in remaking to build anew, close-in city precincts and instance, three theaters are driving the where they live and work. Confirming the inner-ring suburbs continue to lose higher- redevelopment of a commercial corridor as investment payoff, seniors, families with income residents. Venerable cities suffer an arts district on the city’s under-served children, and young working people are out-migration, especially of the young, west side. In dozens of cities large and moving back into central cities and arts- while fast-growing cities and outer-ring small, vacant auto plants, warehouses, and rich small towns. suburbs struggle with the public sector hotels are transformed into artist studios costs of sprawl. The Great Recession has and housing, infusing creative and economic Arts-based creative placemaking compounded these problems. activity into their neighborhoods—Buffalo’s complements American cultural industries Artspace Lofts are an example. In Portland, and supports their role as global economic In response, governments have committed new transit stations incorporate artwork players. High tech and finance have billions to physical infrastructure and that reflects each neighborhood, quickening dominated American discussions of incentives to induce companies to move the take-up of environment-friendly competitive advantage. In fact, the nation’s or stay, with mixed results. Physical capital ridership. San José’s 01SJ Biennial marries cultural industries are undisputed world investments have crowded out human art and technology to generate new leaders and innovators, responsible capital investments that hold greater economic sectors, bring people downtown, for millions of good-paying jobs. Film, promise for regional development. attract 50,000 visitors, and showcase the television, publishing, news media, Incentives to firms have quickened rather diversity of the City’s residents. recorded music (classical, jazz, world), than dampened business migration and video games, social media, advertising, have cut deeply into long-term public Animating new and existing infrastructure, design, and traveling performances of sector revenues.1 these creative placemaking developments music, modern dance, musical theatre, make important contributions to and drama—all are arenas where American Yet revitalization has come from an economic competitiveness, livability, creativity, design, and workmanship excel. unexpected quarter. Mostly under the and sustainability. Artists and designers Many non-arts sectors employ artists to radar, unusual partners have made are an entrepreneurial asset ripe for design products, improve work processes, significant arts and cultural investments, development, and in creative places, and illustrate marketing campaigns that Creative PlaceMaking 4

make companies more productive and and sustainability, avoiding displacement in visitors and new businesses, as Mark successful in an increasingly visual and and gentrification, and developing Stern and Susan Seifert’s longitudinal aural world. performance metrics. These insights are study in Philadelphia finds.3 In some as important as achievements in informing cases, the innovation is so powerful that In this white paper, we report the results policy and helping other communities craft it becomes a role model for creative of extensive research on placemaking led their creative placemaking strategies. adaptations in other cities and towns. by arts and culture and its contributions to Some cities’ successful experiments have livability, economic revitalization, creative Successful pioneering cases share the induced state and national policy changes entrepreneurship, and cultural industries. same ingredients. Each is rooted in that enhance placemaking, diversity, The methodology consists of reviews of the talents and vision of one or several environmental sustainability, existing literature, a scan of hundreds of collaborating initiators. Each project has and economic competitiveness. possible cases of place-based creative mobilized public will around its vision. revitalization, and an in-depth analysis of Each has garnered private sector business In this paper, we first review the more than a dozen pathbreaking efforts support and buy-in. Each enjoys the character and contributions of arts that share common components of commitment of some or all of the area’s and culture as placemakers. We then successful creative placemaking but are arts and cultural community who give of explore the significance of creative unique in their initiators, mission, partners, their talents, experience, and resources. places as cultural industry incubators. diversity mix, and geography. In each, initiators dovetail their aspirations We address the challenges in successful with those of other agencies and partners creative placemaking and review Not all creative placemaking efforts to tap into diverse pots for funding. characteristics shared by successful succeed. Not all are good public arts-related revitalization efforts around investments. Based on responses to our A culture-based revitalization effort must the country. The research findings call interview questions about obstacles and be appropriate to its local circumstances, for further investigation into how a new lessons learned, we identified common not a “me, too” replica of what other intergovernmental policy platform could challenges: creating partnerships, cities and towns are doing. The best of be constructed to bridge functional and countering skepticism on the part the projects nurture distinctive qualities sectoral divides, advancing the livability of communities and public leaders, and resources that already exist in the and economic productivity of American assembling adequate financing, clearing community and can be celebrated to communities of all sizes. ▲ regulatory hurdles, ensuring maintenance serve community members while drawing Creative PlaceMaking 5

II. Arts, Culture, and Creativity as Placemakers

Today’s placemaking efforts celebrate and stabilize distinctiveness with modest- scale investments, a dramatic change in American economic development. Cities and neighborhoods used to compete for major infrastructure commitments, aspiring to move up an urban hierarchy of look-alikes. In the new century, sponsors look beyond physical alterations, paying more attention to the animation of places with economic and cultural activity.

To participate in creative and cultural competed for government-funded canals By the late twentieth century, some of these activities, residents and visitors alike and railroads and, more recently, interstate had become isolated in inner cities suffering are invited to spend their discretionary highways. They also bid for job-generating from population loss and disinvestment. incomes locally and to cross boundaries military bases, universities, state capitols, Aging fine arts audience members drove between unique and diverse and government agencies. Cities faced to these destinations, parked in municipal neighborhoods and within networks of with industrial crowding and suburban garages, saw a show, and went home. small towns. Large-grained neighborhoods exodus made investments in cultural and dominated by destination facilities like recreational space, as in the nineteenth- Over the past two decades, under the stadiums and mega-event centers are century City Beautiful movement. In the rubric of “the creative city,” arts, community, giving way to mixed-used developments twentieth century, cities engaged in federally and civic leaders have joined forces to that combine workspaces with housing, funded urban renewal, tearing down and fashion and nurture a larger portfolio of retail, culture, and recreational space. replacing aging factories and housing with smaller spaces for arts and culture and Elements of sustainability—transit, biking, monolithic districts and structures. The animate them with activity.5 The creative walkability, and clean water and air—are outcomes have been disappointing on city embeds arts and cultural activities in also intentional goals. This new sensibility both livability and economic development neighborhoods cheek-by-jowl with private aspires to make places attractive to fronts and have not stopped the centrifugal sector export and retail businesses and entrepreneurs, skilled workers, and new migration of business and residents.4 mixed-income housing. The vision invokes and existing residents. Arts and culture what Jane Jacobs celebrated in post-World play a pivotal role in this transformation. The arts quarters of cities participated War II Manhattan—a mosaic of distinctive in these movements. For more than a neighborhoods, each with its cultural Placemaking is not a new American hundred years, larger American cities built hallmarks, cuisines, festivals, and street preoccupation. Citizens, local and state monumental art museums, symphony life: Little Italy, SoHo, Greenwich Village, governments, and federal agencies have halls, opera houses, and theatres. Often Chinatown. Across porous borders, city always strategically shaped communities these were clustered together, as in San folk and visitors alike are invited to shop, and regions. In economists’ parlance, Francisco’s Civic Center or New York’s enjoy, and learn alongside local residents.6 governments supply “public goods” such as Lincoln Center, the latter an urban renewal Even large cultural venues and revitalization infrastructure, parks, and education, none project. Most were designed as stand-alone efforts can encourage neighborhood of which can be adequately supplied by edifices or complexes with little integration diversification: New York’s recent Time private enterprise. Youthful American cities with street life or arts-related businesses. Square makeover is an example. Creative PlaceMaking 6

Creative placemaking: scale and strategy

Placemaking can occur at scales as large as a multi-state region and as small as a rural town or city neighborhood. Spanning the tiny and the huge, there are literally hundreds of American cities and regions that have looked critically at their cultural and economic development portfolios and sites, debating how best to use their scarce resources to foster a distinctive creative milieu.

In our literature review and the appended City of Music embraces commercial, non- working artists—the program soon spread case studies, we found creative profit, and community music-making in throughout the city as the renamed placemaking projects working at many many venues (see case study). San José’s After School Matters (see case study). In geographic scales and with a diverse array 2008 Creative Entrepreneur Project Buffalo, Paducah, and Providence, vacant of initiators and partners. The multi- sought to animate its downtown and industrial spaces and run-down housing state New England Creative Economy neighborhood cultural nodes long-term were transformed into artist housing Initiative, launched in 2003 by the New with enterprising artists and designers and arts workspaces, jump-starting England Council, brought together (see case study). neighborhood renewal (see case studies). leaders from the business, cultural, and A community development corporation political communities of each of New Some small towns have put themselves and two theater companies joined forces England’s states to insist that economic on the map by cultivating a distinctive in Cleveland’s west side to create Gordon development include investment in creative face. Asheville, North Carolina, Square Arts District, a commercial creative industries, a creative workforce, has remade itself as a city of craft, business and housing revitalizer (see and a community life rich in arts and mounting its annual HandMade: case study). In Los Angeles, Hollywood cultural heritage. Also in 2003, Governor The Western North Carolina Craft, Boulevard’s past glory and present Jennifer Granholm funded Michigan’s Architecture & Design Expo. Ashland, creativity has been preserved and revived Cool Cities Initiative to promote place- Oregon’s Shakespeare Festival has in a concerted public/private effort (see based creative jobs and industries across blossomed over the years into a huge case study). the state.7 In 2005, Lieutenant Governor undertaking that draws visitors nationwide Mitchell Landrieu started Louisiana’s for more than a dozen serious plays, many Other creative placemaking initiatives Cultural Economy Initiative, convening contemporary, over a nine-month season. seek to fuse arts and cultural content with an annual Cultural Industries Summit and Branson, Missouri, building on bottom- the missions of other sectors. In Portland subsequently designating cultural districts up commercial music venues, attracts (see case study) and Los Angeles, new around the state. In each of these cases, large numbers of visitors to its dozens transit stations incorporate public art that state governments devoted substantial of country music stages. Arnaudville, has been designed, with community input, resources and leadership to creative Louisiana, has recently recast itself as to reflect the neighborhood, harnessing placemaking. an arts locale celebrating Cajun culture artistry to quicken ridership. The City of (see case study). All four of these rural Phoenix is complementing freeways and Citywide creative placemaking strategies areas and towns increased livability aqueducts with sculptures and artwork have also been crafted, often with and economic development through that softens hard edges and creates prominent mayoral or city councilmember distinctive strategies. recreational space (see case study). On leadership. For twenty years, the Fond du Lac reservation in northern Philadelphia’s Mural Arts Program has Many creative placemaking efforts Minnesota, a health care and social uplifted neighborhoods with distinctive address specific neighborhoods, including services manager has improved healing large-scale artwork created by artists, downtowns and residential and industrial and community identity by commissioning neighborhood youth, reentrant workers, areas that offer under-utilized private and suffusing a network of dispersed and prison inmates, simultaneously and public capacity ripe for human buildings with Native artists’ work (see beautifying, delivering arts training, and ingenuity. In the early 1990s, the City of case study). San José’s 01SJ Biennial increasing public safety and community Chicago devoted a vacant downtown lot seeks to merge art with Silicon Valley’s health (see case study). Emerging in the to gallery37, a workforce development formidable high technology sector (see mid-2000s from the Mayor’s office,S eattle program that apprenticed youth to case study). Creative PlaceMaking 7

Outcomes: Livability and economic development

The creative city vision serves livability, diversity, and economic development goals. It addresses safety, aesthetic, expressive, and environmental concerns of people who live, work, and visit. Resident artists, often traversing the neighborhood at all hours, make the streets livelier and safer, as do patrons of cultural venues and well-designed streetscapes.

Local arts offerings—public art, murals, from many ethnic and racial groups. By buildings, and infrastructure, investments art parades, art fairs and crawls, dispersing arts and cultural resources in creativity increase their contribution museums, performances, and open studio across multiple districts, they create to the public good and private sector nights—offer people an opportunity to vibrant hubs that serve residents and productivity. Sales, income, and property enjoy and participate. Federal research attract visitors. tax revenues paid to local governments shows arts and cultural participants are rise, enabling better maintenance of and more likely to be civically engaged in Creative placemaking generates economic additions to public infrastructure like their communities than non-participants, returns in multiple ways. Arts and cultural streets, lighting, sanitation, greenery, and even after controlling for other factors.8 investments help a locality capture a public safety. In short-term construction Arts activities are often fused with new higher share of local expenditures from and permanent work with arts and cultural environmental initiatives to clean up income. Instead of traveling elsewhere presenters and producers, new jobs and the streets, create bike paths and bus for entertainment and culture, or going income streams are created. Additional shelters, expose and transform unsightly to a big-box retailer or mall for shopping jobs and incomes are generated in retail public utilities, and design landscaped fun, residents spend more on local talent businesses that serve an expanded urban parks over sewer and waterworks. and venues, money that re-circulates population of residents and visitors. And, They also showcase an area’s heritage and at a higher rate in the local economy. as we next show, they spawn, attract, and the culture and skills of newer residents By using vacant and underutilized land, retain creative businesses. ▲ Creative PlaceMaking 8

III. Creative Places as Incubators of Arts and Cultural Enterprise

Cultural industries flourish in creative places. New products and services sprout in districts where skilled creative workers congregate by day and night. There, “the secrets of the industry are in the air,” as pioneering economist Alfred Marshall put it. Creative places nurture entrepreneurs, expanding the ranks of self-employed artists and designers and related workers who market their creations far afield and often employ others in whole or part.

They anchor multiple enterprises in cultural when young engineers and innovators the American arts and cultural enterprise industries that specialize in products began to cluster there—committed to the writ large. Whether approached as and services employing creative talent. place rather than to particular employers.10 industries (what cultural firms make), Either formally or through informal work The same is true of Detroit and motor occupations (what cultural workers do), apprenticeships, creative places foster vehicles, Los Angeles and motion pictures, or a set of organizations (producing firms, workforce development by training area New Orleans and jazz, Nashville and non-profit, public agencies and community youth to become the next generation of country music, Boston and publishing, groups), the arts and cultural sector is the creative workers and entrepreneurs. They Chicago and advertising, New York and nation’s most under-rated economic engine, also draw and retain non-arts businesses visual art, and San Francisco and product producing millions of well-paying jobs. It is and workers to their rich, lively, and diverse design. The Seattle City of Music initiative our most competitive sector. Many nations environs. Jobs increasingly follow people, is explicitly designed to enhance its music are challenging American science and rather than the other way around.9 industry. In smaller towns and at the engineering prowess, but few successfully neighborhood scale, cultural nodes host do so in visual arts, a diverse music Place has always been important for distinctive creative activities as well. portfolio, digital media, design, and writing, the emergence of new products and from literature to screenplays and news. In entire industries. They form crucibles This role of creative placemaking in hosting addition to its impressive export earnings, wherein people, ideas, and organizations cultural industries is under-appreciated. it is the creative sector that most cultivates come together. Silicon Valley outpaced Few economic sectors are as large, diverse, and disseminates what it is to be American established East Coast electronic centers entrepreneurial, and export-generating as to the rest of the world. Creative PlaceMaking 9

The creative economy

The creative economy consists of three overlapping domains: workers, industries, and places, depicted as intersecting circles (Figure 1).11 Each domain is populated by a unique set of actors and institutions. In all three, American enterprise is a strong driver of results.

Creative people decide what kinds of education and training to pursue and FIGURE 1. where to live and work. Those choosing arts and design make up the cultural The Creative Economy: Workers, Industries, Communities workforce along with related support workers. As shown by the non-overlap in Figure 1, not all creative workers are creative workers cultural embedded in cultural businesses and industries organizations. Many are self-employed, though some may sell their services or PEOPLE BUSINESSES & output to cultural industries, and many ORGANIZATIONS are employed in non-cultural enterprises. Compared to the workforce as a whole, artists are more than five times as likely to be self-employed (45% self-employment vs. 8% of workers overall, as of 2002), and they often create jobs for others.12 Many gravitate to communities that offer rich cultural industry work and learning opportunities. Others choose affordable PLACES cities and small towns, exporting their creative work over the Internet, through galleries communities and publishers, or by traveling to perform.

Source: Adapted from DeNatale and Wassall, 2007, p. 5. Used with permission In the cultural industries, businesses, non-profit organizations, and informal partnerships produce and market cultural goods and services. Their ingenuity and of thousands of communities and span all of neighborhoods, districts, downtowns, or investments have built important cultural income levels and ethnicities. Some cultural small communities. Creative placemaking clusters over the decades: Hollywood enterprises operate strictly in virtual space may originate in the public sector but it just moviemaking, Nashville’s country music, and are thus not embedded in place. as often emerges in the community. Artists, and New York’s galleries, Madison Avenue arts leaders, community developers, high advertising, and Broadway theatres. Yet Places are the spatial setting for arts and tech entrepreneurs, philanthropists, real arts and cultural producers are widely cultural production and consumption. Local estate developers, managers in non-arts dispersed and found even in some tiny governments plan and regulate land uses, businesses, and immigrant community rural hamlets, though not in all places, as provide infrastructure and services, and act activists—all have led in the revitalization shown in Figure 1. Creative firms sustain as a forum for all kinds of creative actors cases profiled here. jobs and related businesses in hundreds who wish to alter or improve the character Creative PlaceMaking 10

Creative workers and entrepreneurs

Artists form a highly educated and innovation-producing segment of the American workforce. In 2005, an estimated 2 million Americans reported artwork as their major occupation.

Defined by their creative skills and additional people who do artwork as a occupational grouping includes arts work process, arts occupations include second job. Nor the tens of thousands of professors, librarians, advertising managers, musicians, writers, actors, dancers, artists who work primarily as teachers (K-12, reporters, editors and technical writers, designers, architects, announcers, and colleges and universities, private studios) camera operators, and jewelers, among visual artists (Table 1). Artists were twice as or as arts administrators. Nor the unknown others. It still does not cover K-12 teachers likely as workers overall to have completed numbers of artists who spend more than and accomplished artists who do not sell college degrees. These rates rose from 51% ten hours a week making art and sharing it their work. Creative workforce totals in 2000 to 55% by 2005. Yet artists’ median beyond their families and close friendship would be even larger if support workers annual income lags behind that of other circle but who earn no income from it. were included: people who make and professional workers by 19.4%.13 repair musical instruments, theatre The ranks of cultural workers exceeded prop makers and stage managers, sound The estimate of two million does not 3.6 million, about 2.7% of the nation’s mixers, and so on. In addition, many other include hundreds of thousands of workforce, in 2002.14 This broader jobs are dependent on the quality and

Table 1. Artists by Discipline 2003-2005

PERCENT OF TOTAL ALL ARTISTS

DESIGNERS 779,359 39.0

ART DIRECTORS, FINE ARTISTS, AND ANIMATORS 216,996 10.9

ARCHITECTS 198,498 9.9

WRITERS AND AUTHORS 185,276 9.3

musicians and singers 169,647 8.5

PHOTOGRAPHERS 147,389 7.4

PRODUCERS AND DIRECTORS 139,996 7.0

ANNOUNCERS 55,817 2.8

ENTERTAINERS AND PERFORMERS 41,128 2.1

ACTORS 39,717 2.0

DANCERS AND CHOREOGRAPHERS 25,851 1.3

TOTAL ARTISTS 1,999,474 100

Source: Markusen and Schrock, 2006: Table 8. Creative PlaceMaking 11

competitiveness of artists’ work inside large to attract young people, despite the high occupations. But the current Great companies but outside the cultural sector. cost and long years of education and the Recession has been tougher on artists than paucity of formal jobs. Since 1970, the workers as a whole. Artists’ unemployment Self-employment rates among artists are share of visual and performing arts among rates in the second year of the recession extraordinarily high, more than one in all bachelor’s degrees has shot up from rose to 9.5%, above that for all civilian three compared with less than 10% of 3.6% to more than 5.6%.17 workers. Artists also left the workforce in the workforce as a whole.15 Those whose higher than average numbers and thus were artwork is a second job have much higher The nation’s artistic workforce grew rapidly not counted as unemployed. Architects and rates of self-employment. Combining between 1970 and 1990 and since then designers have been disproportionately primary and secondary jobs, rates are has kept pace with overall labor force affected, though actors suffer the highest as high as 65% for writers and 28% for expansion.18 Writers and designers have unemployment rates—over 50% in the fourth architects (Table 2).16 Arts careers continue been among the fastest-growing cultural quarter of 2009.19

Table 2. Self employment rates, artistic occupations, US, 2000

% Self- Primary second Occupation employment Job job

writers 65 71,369 10,056

Visual artists 57 69,470 13,549

Musicians, singers 41 65,618 32,728

Performing artists 36 113,178 37,494

Actors 37 32,652 3,8117

Producers, directors 22 11,879 949

Dancers, choreographers 12 3,029 na

Designers 32 132,122 24,095

Architects 28 31,295 3,068

Source: National Endowment for the Arts, 2008: 5. Data from the American Community Survey.

Cultural industries

If asked to name the nation’s cultural industries, most Americans might mention movie-making, musical recording, photography, and perhaps publishing. But the enterprises, both commercial and non-profit, that rely heavily on cultural workers and produce cultural content are much broader than this.

They include music and performing arts design services, eating and drinking newspaper and book publishers, and organizations, museums and galleries, establishments, educational institutions, religious institutions. Some of these are broadcasters, advertisers, printers, arts equipment makers and repairers, quite new. The video game industry, for Creative PlaceMaking 12

Table 3. Distribution of Artists in Selected Industries, United States, 2000

Total Artists as % Total Industry Artists of Industry Employment

Independent artists, performing arts 259,066 45.3 571,645

Other professional, scientific, technical services 64,536 22.8 283,636

Sound recording industries 7,700 20.0 38,428

Motion pictures and video industries 55,403 17.9 309,204

Radio and television broadcasting and cable 61,263 10.4 590,482

Toys, amusement, sporting goods manufacturing 12,685 9.4 135,414

Specialized design services 22,785 8.4 271,541

Advertising and related services 36,048 6.6 544,099

Publishing, except newspapers and software 23,545 5.6 418,578

Religious organizations 55,362 5.6 991,520

Drinking places, alcoholic beverages 11,284 5.1 219,437

Newspaper publishers 21,240 4.2 508,928

Cultural Industries 630,917 4,882,912

Civic, social, advocacy, grantmaking organizations 6,992 1.1 661,391

Printing and related support activities 8,547 1.0 855,008

Management, scientific, technical consulting services 7,170 0.7 975,059

Other amusement, gambling, recreation industries 9,846 0.7 1,497,631

Colleges and universities, including junior colleges 20,268 0.7 3,111,308

Computer systems design and related services 6,147 0.5 1,246,028

Restaurants and other food services 7,111 0.1 6,307,807

Elementary and secondary schools 6,571 0.1 7,791,243

All Selected Industries 703,56 27,328,387

Source: Markusen and Gadwa, 2008. Data from Census Public Use Microdata Sample 21 Creative PlaceMaking 13

instance, is estimated to serve a $55 billion 17.3 million between 1998 and 2004, an As people often say in tough times, you market worldwide.20 increase of 10%.23 can always laugh with a movie or find an emotional outlet with a good book or a Cultural industries are defined by Cultural industries account for an important great play. American films, dramas, novels, researchers as those employing high component of US output and exports. non-fiction, and original compositions and concentrations of artists in their workforce Although gross national product data are not recordings are sought worldwide, and (Table 3). Jobs in cultural enterprises available for all of the cultural industries, the American artists and cultural managers’ are estimated to be between 4.6 and totals for a number of important ones are expertise is admired in most corners 4.9 million or more than 3.5% of the listed in Table 4. Not all of the large group of the globe. Young people, the future American workforce.22 They include all “Professional, Technical, and Scientific marketplace, are especially avid consumers. people who work for performing arts Services” can be considered cultural. On organizations (whether commercial or the other hand, other sectors that rely Export totals for cultural industries are non-profit), Madison Avenue advertising on cultural talent—advertising, higher even more difficult to determine, because firms, broadcasting networks, videogame education arts training and research, and data on important sectors like tourism, producers, and Hollywood’s moviemakers, toys and amusements, for instance—are not advertising, design services, and other among others. In these enterprises, included here. Nor are the manufacturing cultural content services are subsumed creative talent supports large numbers of industries that make musical instruments, in larger industry groups. However, even other workers. But the table also shows cameras, recording equipment, computer a selected set of cultural industries— that more than 200,000 artists are spread software, and the many other tools and broadcasting, telecommunications, motion across other industries where their talents materials that support artistic output. pictures, sound recording, performing make companies’ products, services, and arts, printing, and publishing—generated production and design processes more Because they enjoy robust domestic $45 billion in export sales in 2008, more efficient. Under a broader definition that and international demand, the cultural than computer systems design, electrical includes other leisure activities, cultural industries constitute a reliable comparative equipment, air transportation, financial industry employment grew from 15.7 to advantage for the American economy. services, and American agriculture

Table 4. US Gross National Product by Industry Accounts, 2007

Selected Cultural Industries billions $

Publishing 303

Motion picture and sound recording 99

Broadcasting and telecommunications 800

Performing arts, museums, spectator sports 99

Amusements, gambling, and recreation 109

Professional, scientific, and technical services 2,697

Total, Selected Cultural Industries 4,108

All Private industries 22,895

% Total, Selected Cultural Industries 18%

Source: Bureau of Economic Analysis, Department of Commerce, 2010 Creative PlaceMaking 14

Table 5. US Exports, Cultural Industries vs. other major exporting industries, 2008

Exports Cultural Industries (Millions $)

Broadcasting and telecommunications 6,321

Motion picture and sound recording industries 11,989

Performing arts, spectator sports, museums, and related activities 376

Printing and related support activities 2,447

Publishing industries (includes software) 24,597

Total, Selected Cultural Industries 45,730

Exports Other Major Exporting Industries (Millions $)

Computer systems design and related services 9,725

Electrical equipment, appliances, and components 28,489

Air transportation 35,559

Securities, commodity contracts, and investments 37,044

Farms 45,568

Motor vehicles, bodies and trailers, and parts 87,389

Computer and electronic products 117,607

Source: Bureau of Economic Analysis, Industry Economic Accounts, Input-Output Accounts Data

industries (Table 5). Unfortunately, we with such amenities. There is no easy way to spend their discretionary income cannot compare them with other innovative of accounting for this economic impact, locally. Local cultural opportunities also industries such as biotech and robotics, the beyond affirming that tourism, a form of invite people to participate actively as data for which are buried in large chemical direct participatory experience, is one amateur musicians, dancers, costume- and machinery manufacturing sectors. of the world’s largest industries and is makers, actors, and writers, deepening closely tied to creative destinations. appreciation for artistic expertise and International tourism, strongly tied increasing their patronage of professional to arts and culture, is an especially Arts and culture’s economic contribution artists and arts organizations. When you important source of export earnings. cannot be measured in exports alone realize how hard it is to play a guitar well or Visitors to the US spend much of their or tourists brought into the community. sculpt in stone, your desire to hear or see time and money visiting unique and As noted above, many small towns, an accomplished artist soars. And the more prestigious cultural sites and enjoying aging suburbs, and deteriorating city residents make art, the more likely they are live performances. A place without a neighborhoods have revitalized their to become creative entrepreneurs. This distinctive cultural aura is much less apt economies by expanding arts and cultural observation brings us back to the project to land on visitors’ itineraries than those services that offer residents opportunities of creative placemaking. ▲ Creative PlaceMaking 15

IV. Challenges for Creative Placemaking

In this difficult Great Recession era, creative placemaking has paradoxically quickened. From small cities on the Plains to inner-ring suburbs to communities with vacated industrial structures, initiatives are bubbling up, often led by unlikely partners. They face considerable obstacles.

Many have become discouraged. Others The external environment has not been have been slowed down or face growing welcoming. State and local public budgets Challenges pains. We found that many of the most are shrinking. Banks and developers successful efforts had incubation periods are risk-averse. Philanthropists and arts for Creative of one to two decades or more: historic organizations have experienced asset Placemaking Hollywood, Cleveland’s Gordon Square, implosion and a fall-off in contributed San José’s ZERO1, Fond du Lac’s Min No income. Turf walls can be high between Forging and sustaining Aya Win complex, Chicago’s After School agencies—most housing and workforce Matters, and Providence’s waterfront and development programs are not tailored for partnerships industrial area arts revitalization. self-employed artists or small 501(c)(3)s, Countering community and zoning ordinances forbid artist- In our research, we asked leaders of nurturing live/work spaces. The baffling skepticism successful efforts about challenges they architecture of federal programs Assembling adequate financing faced, how they dealt with them, and complicates matters. Schools, financially what lessons they learned. We found pressed, are cutting arts programs. Yet Clearing regulatory hurdles difficulties with the following: creating in the pathbreaking cases summarized in partnerships, overcoming skepticism on our Appendix, and in many other places Ensuring maintenance the part of communities and public leaders, across the country, placemakers have and sustainability assembling adequate financing, clearing succeeded. In this section, we summarize regulatory hurdles, ensuring maintenance the challenges; in the next, we analyze Avoiding displacement and sustainability, avoiding displacement the components that successful cases and gentrification and gentrification, documenting progress, collectively demonstrate. and developing performance metrics. Developing metrics for These insights are essential to informing performance and evaluation policy and helping other communities. Creative PlaceMaking 16

Forging and sustaining partnerships

Partnerships, as we show below, are central commissioner teamed up to animate a spend about a third of their time on the to successful creative placemaking. Yet many vacant lot with a new program apprenticing District effort. Partnering, many leaders placemaking entrepreneurs articulated the youth to working artists. Portland’s TriMet reflect, requires listening, accommodating challenges in forging them. In many cases, public art staff had to earn the trust of transit others’ agendas and timelines, sharing building and maintaining partnerships have engineers and minority community leaders, information, and teaching each other skills. delayed projects and cut into the time each with very different concerns. The three It also requires knowing when to abandon that can be spent on programming. At non-profit initiators of Cleveland’s Gordon unfruitful or conflict-ridden relationships Chicago’s After School Matters, a Chicago Square Arts District, each with his/her own that are impeding progress. first lady and department of cultural affairs organizations to run and raise funds for,

Countering community skepticism

Some creative placemaking initiatives the pace of their efforts. Art forms, some cases, the concept itself escapes confront community skepticism that makes organizations, and neighborhoods that people. San José’s ZERO1 organizers see it harder to earn public endorsement feel left out may complain of inequity their toughest challenge as convincing and resources. Artists who initiated and oppose public support, an ongoing residents and tourists that melding arts Arnaudville’s transformation only gradually challenge for Philadelphia’s Mural Arts with technology can serve as a powerful earned buy-in from town leaders, slowing program and Seattle City of Music. In economic and urban strategy for the City.

Assembling adequate financing

Nearly every group of placemaking purchase funds from 19 different grantors we were separate small organizations, initiators described daunting fundraising and lenders. The relatively small size of many we couldn’t do capital campaigns. We challenges. Both Artspace Buffalo Lofts and initiators compounds the problem. Large don’t have wealthy donors on our staffs. Cleveland’s Gordon Square Arts District philanthropic organizations and wealthy Together, we’ve done great with funders and required sustained campaigns that knocked individuals are often generous supporters of government.” But it has taken years, and the on many doors across all sectors to raise a region’s largest arts organizations. One of funding for the two remaining theaters has funds. Artspace raised rehabilitation and Gordon Square’s partners explained, “When not been fully raised.

Clearing regulatory hurdles

It isn’t always about money. Regulatory problematic state agency design standards. roots in live music venues’ problems with regimes also pose hurdles for arts and Using new concepts in traffic calming, the public safety and anti-music ordinances. In culture-originating projects. Many cities Gordon Square partners fought the Ohio these and other cases, placemakers had to have zoning codes that forbid the mixing Department of Transportation for two years devote time, thought, and political capital of residential with commercial and before winning its bid to narrow its main to changing regulatory regimes. industrial uses, preculding artists live/ street, Detroit Avenue, a state highway. work housing.24 In Buffalo, Artspace faced Seattle’s City of Music initiative had its Creative PlaceMaking 17

Ensuring maintenance and sustainability

Maintaining space, streetscapes, and convince the same parties to provide problems. Portland’s TriMet is already artwork and sustaining programming maintenance and operating support over thinking through the durability of the art in pose big challenges. Often it is easier the long run. American cities are riddled its transit stations. Building these concerns to garner private sector, public sector, with over-sized infrastructure projects that into an initiative’s design is advisable. and philanthropic support for money to later become white elephants. Outdoor build or renovate buildings than it is to murals in many cities pose preservation

Avoiding displacement and gentrification

Arts-initiated revitalization can set off sell their homes to other artists rather to it. In the Hollywood case, the City’s gentrification pressures that displace than the highest bidder, the district Community Redevelopment Agency current residents and small businesses, may lose its artistic integrity. Hollywood responded with an innovative Arts including non-profit arts organizations.25 Boulevard’s rejuvenation prompted at Retention Program. To keep them In other words, they may be too least one small theater group to decamp affordable and committed to artists, successful. In Kentucky, Paducah’s for other city locations, and endangered non-profit developer Artspace Projects Lowertown now faces a dwindling stock other arts groups. Low income and commits to owning and managing the of properties available for the artist minority residents are sometimes at risk artist live/work and studio buildings that relocation program as well as greater from creative revitalization. it builds and renovates. Land banking and residential demand from non-artists. In community land trust have been used in the absence of deed restrictions that There are, however, creative ways to other locales to preserve arts and cultural encourage Paducah’s relocated artists to guard against displacement or respond renovations.26

Developing metrics for performance and evaluation

As creative placemaking efforts succeed to alternatives that might have used the of arts and cultural placemaking. Two and get smarter, advocates and funders same resources? that deserve mention are economist are beginning to desire and demand Stephen Sheppard’s documentation of documentation of progress and measures It is quite difficult to determine the impact of museums and other arts of success. They want to be able to the precise impacts of a localized spaces on neighborhood property values demonstrate outcomes to funders, public intervention, because so many other and social networks, and urban planner officials, and community members, often things are simultaneously influencing Anne Gadwa’s multi-faceted study of prerequisites for future support and new the environment. Surprisingly, there are several artist live/work buildings on artists, projects. They want to know: What is the almost no good studies of other types of arts communities, neighborhoods, and impact on artists? On the surrounding urban interventions such as stadiums or businesses.27 These efforts demonstrate arts community? On local businesses? public housing. Impact analyses are often that it is possible to evaluate and provide On residents of the neighborhood? On written as advocacy documents before metrics, and there is likely to be a surge in property values, tax revenues, and public the fact, but their data are hypothetical. good scholarship on this front. ▲ service demand? On local quality of life? However, recent pioneering evaluation On civic engagement? Is the project studies have developed and applied worth what we spent on it? Is it superior methodologies for showing the impact Creative PlaceMaking 18

V. components of Successful Placemaking Initiatives

In thousands of state and local laboratories, arts and cultural catalysts have partnered in economic and community development and revitalization efforts. Pioneering cases from the nation’s largest metros to tiny hamlets illuminate how partners came together to produce economic development and livability through the arts.

More than a dozen such cases are profiled small business) and various levels of means that the initiatives produce gains in in the Appendix. Each possesses a government. All cases have demonstrated livability and sustainability as well as new commitment to place and its distinctive concrete outcomes. Many others were jobs and economic activity, and do so in qualities; a unique vision; successful identified in a nationwide scan. Those an equitable and participatory way. The partnering; buy-in from public, private, showcased also satisfy geographical, components suggest a new policy vision and arts and cultural non-profit sectors; diversity, and size criteria. at all levels of government where agencies and an ability to cross boundaries to join forces across functional missions (e.g., leverage support and funds from other Synthesizing across the in-depth case economic development, environmental functional agencies (transportation, studies, we identify six components protection, arts, and culture) to foster housing, environmental, parks and that distinguish successful place-based successful initiatives, evaluate them, and recreation, workforce development, arts and cultural revitalization. Success disseminate the results.

Creative initiators

Generally, one person or a small team originates a creative placemaking vision. The individuals most responsible for sparking arts development and revitalization efforts come from a surprising range of backgrounds.

Private sector actors sometimes start artists and performers, drawing tourists Chicago’s Department of Cultural Affairs, the process. For instance, a Silicon Valley and new residents. In Seattle, a group of animated a vacant downtown lot with a executive first envisioned marrying the region’s disgruntled musicians formed a Joint Artists new program apprenticing youth to working technological prowess to its underdeveloped Musicians Political Action Committee to artists. On Fond du Lac’s Ojibwe reservation, artistic talent in creating the youthful and challenge the City’s antagonism to live music Social Service Director Phil Norrgard internationally respected 01SJ Biennial. and went on to provide ideas and energy for wanted to infuse his multi-building complex the Seattle City of Music Initiative. with contemporary Ojibwe art, because art Artists, alone or with others, often lead is central to healing. In the process, his tribal creative placemaking. For instance, painter Creative initiators are found in the public agency has been a substantial contributor to George Marks envisioned the revitalization sector, too, not always in cultural affairs Ojibwe artists’ visibility and careers. of Arnaudville, Louisiana, as a haven for agencies. Lois Weisberg, Commissioner of Creative PlaceMaking 19

Designing around distinctiveness

In the twentieth century, most places aspired to move up what economists call the urban hierarchy to move from rural to small town to city or metropolis ranking.

In the arts arena, as with sports stadiums residential structures with architectural (and incomes) of Ojibwe artists by and convention centers, this often and historic merit. In each of these cities, commissioning and purchasing their work meant competing to host and expand coalitions of artists, city officials, real estate while transforming the Band’s buildings large art museums, repertory theatres, developers, banks, and philanthropists into places of healing and community and performing arts centers. All quite worked to recreate attractive work and identity. Not all such cultural initiatives expensive, some of these investments have living spaces in emptied structures, taking look backward. Seattle City of Music succeeded, but many have not.28 Over the advantage of shorelines and preserving began with the recognition that Grunge past two decades, city and town leaders the individual character of buildings. music had put the City on the map as a have intentionally sought a distinctive Providence’s famous WaterFire® event uses destination for young people. San José’s brand through a bundle of activities that the river as an artery connecting various ZERO1 directly addresses Silicon Valley’s will draw and retain residents and visitors.29 sites. Many other American communities lopsided concentration of innovative In our survey of arts-based revitalization, have used vintage architecture and land scientists and engineers and under- we found that most successful projects uses as stages for arts-infused revitalization. representation of artists, seeking to link reach for this quality of distinctiveness. these creative occupations to spur new They build on existing expertise and Some cities have built their arts initiatives ideas and animate the City. characteristics of place. around a characteristic local culture practice or industry. Artist initiators Some cities have crafted their arts As reflected in their urban layout and in Louisiana's Arnaudville embraced initiatives around notable problems, making architecture, some communities have the town’s Cajun heritage. Hollywood the proverbial lemonade out of lemons. built their initiatives around unique local Boulevard redevelopers restored the Phoenix, one of the nation’s most sprawling economic and social history. Buffalo, historic downtown of the movie industry, and auto-dependent metros, fastened Cleveland, Providence, and Paducah making it again the destination where on a large visual arts program to adorn its are all older industrial cities that first visitors can stroll along the Walk of Fame many miles of sound barrier-lined freeways. blossomed when water-based trade was with its bronze star plaques embedded Philadelphia’s Mural Arts tackled graffiti- dominant. Built along rivers and lakeshores, underfoot. Fond du Lac’s Min No Aya ridden areas by training young people to they possess commercial, industrial, and Win Center sought to increase visibility create neighborhood-reflecting beauty.

Mobilizing public will

Good placemaking ideas generally don’t become reality without strong public sector support. In some instances mayors, city council members, and responsive agency staffers avidly embraced initiatives.

In others, proposed projects are met with auto plant into artist housing. In cities with to support his campaign. Although regime local government indifference, hostility, and/ weak mayor/strong council systems, a change may sometimes derail creative or budgetary crises. In some cases, mobilized single councilmember may deliver public placemaking initiatives, some cities have citizens make a difference through advocacy will. Cleveland City councilmember Matt been able to sustain them. Providence’s and action, including the insertion of arts and Zone helped incubate the Gordon Square revival as an arts and cultural city owes cultural agendas into electoral politics. Arts District, committing Community much to a string of Mayor advocates. Development Block Grant monies, Mayors, especially in cities with strong negotiating $3 million in public financing, Entrepreneurial efforts on the part of key mayoral systems, have often been and attending every planning and team City staffers often mobilize public will. In San enthusiastic and effective supporters. In meeting. In some cases, politicians commit José, Chief Strategist Kim Walesh, lodged Buffalo, Mayor Anthony Masiello assigned during election season. Newly elected in the Office of Economic Development, a senior staff person to work strenuously Mayor Greg Nickels christened Seattle successfully won City Council and Mayoral on an initiative to transform an abandoned City of Music after musicians organized support for new arts facilities, festivals like Creative PlaceMaking 20

Left Coast Live and 01SJ, and the City’s resources. In case after case, local and transit projects, that state capital pioneering Creative Entrepreneur Project. politicians and city staff helped move bonding be used to restore historic their town’s revitalization plan forward by theaters, or that historic preservation City government commitment is also proposing that public art be incorporated and Low-Income Housing Tax Credits be essential for accessing state and federal in state and federally funded roadway offered for rehabbed artist housing.

The Reinvestment Fund Discovers Arts and Culture’s Potential

The Reinvestment Fund (TRF) has been financing urban real The Reinvestment Fund had never looked systematically estate projects and businesses in the Mid-Atlantic for twenty- at cultural assets as a factor in community change. They five years. TRF has substantial portfolios in affordable housing, had intuitively supported it, as in their involvement with commercial real estate, and charter schools. While the Fund Crane Arts, a huge wedge-shaped Philadelphia plumbing had always provided debt financing to local arts and cultural warehouse they had helped convert into artist studios and facilities, it was not until recently that TRF’s President and suites. In 2007, Nowak wrote a remarkable brief, Creativity CEO, Jeremy Nowak, began to understand the power of arts and Neighborhood Development, in which he lays out a and culture as catalysts for neighborhood change. He read framework for placemaking, addresses the development the work of University of Pennsylvania scholars Mark Stern impact of community arts and culture, and reviews the and Susan Seifert documenting the long-term stabilization types of flexible investments that can be employed.31 and enlivening of neighborhoods that enjoy concentrations Since then, TRF has become more focused on the arts: of artists and arts activities.30 In fact, their work had made supporting the redevelopment of sections of Orange, New use of some of TRF’s urban market indicators to track the Jersey, in partnership with HANDS, a non-profit community relationship between such things as cultural participation and development organization that is converting historic properties real estate values. “Their work was like a light bulb shining on into new arts and performing arts facilities; financing the a big asset right under my nose,” Nowak is fond of saying. “And renovation of the Queen Theatre in Wilmington, Delaware, the self-organizing dimension of so much cultural activity made which will anchor an emerging arts community; and building, it clear to me that we had always underestimated its value.” in partnership with Homes For America, the new City Arts Building, in the Station North section of Baltimore.

Garnering private sector support

Private sector developers, lenders, sponsors, philanthropists, and local arts businesses have in most cases been important facilitators of arts and culture-led revitalization.

Where investments in arts space are productivity and workforce retention. for neighborhoods, cultural industries, and involved, local developers and banks are PDI/Dreamworks founder Richard entire regions. Artspace Buffalo Lofts’ artist important partners. Possessing considerable Chuang served on San José’s Creative housing finance package relied on corporate knowledge about the real estate market Entrepreneur Project Steering Committee philanthropists, and San José’s ZERO1 has and neighborhood economy, they have and gave the keynote address at its Artist recruited high tech corporate sponsors. resources to invest and can earn a return on Town Hall. Because they see future new development. Paducah’s Artist Relocation product potential in ZERO1’s fusion of art Commercial art galleries, theaters, music Program, Cleveland’s Gordon Square Arts with technology, Silicon Valley high tech presenters, and music venues have District, and Providence’s sustained arts- companies supply 30% of its budget. been significant participants in cultural based revitalization all have benefited from revitalization at both neighborhood and the support of local banks and developers. Private sector philanthropists, including city scale. Music presenter and venue corporate and family foundations and owner Chris Esparza’s Giant Creative Cultural industry firms often sponsor or individuals, are often backers of arts- Services and two commercial art gallery contribute to citywide creative initiatives based revitalization, because they see the owners made substantial contributions to because they see future benefits to potential to generate significant benefits San José’s Creative Entrepreneur Project. Creative PlaceMaking 21

Securing arts community engagement

Arts-related revitalization cannot take place without significant input of time, talent, and financial commitment on the part of the arts community.

Sometimes a new or rehabbed large arts real estate developer, has rehabilitated or San José’s Creative Entrepreneur Project. facility can prompt downtown rejuvenation, constructed more than twenty buildings Ethnic arts organizations have also as has San Francisco’s Yerba Buena Center around the United States as artist live/ played lead roles. Movimiento de Arte or Grand Forks, North Dakota’s Empire work, studio, and presentation space. An y Cultura Latino Americana (MACLA) Theatre. But in creative placemaking, it arts-dedicated non-profit, its commitment created a visual arts center that turned is more often smaller and unusual arts to managing artists space post-production around its San José neighborhood.32 entrepreneurs that lead the effort. to keep it affordable and dedicated to the Educational institutions with strong arts arts has helped secure public sector and departments can help revitalize a city’s Theaters provide a good example. In philanthropic support. cultural industries: in Los Angeles, Otis Cleveland, two smaller theater companies College of Art and Design commissioned joined the Detroit Shoreway Community Artist service organizations can be reports on the Arts and Cultural Economy Development Corporation in designing key partners in creative placemaking. of Los Angeles.33 These and many other and raising funds for an envisioned Gordon Dedicated to helping artists become good organizations contribute staff time, Square Arts District. Artist housing is business people, California’s Center for sponsorships, and portions of their hard- another. Artspace Projects, a non-profit Cultural Innovation was at the forefront in earned revenues to placemaking projects.

Building partnerships

Initiators, politicians, city staffers, businesses, philanthropists, and arts organizations are all actors in successful arts-based revitalization efforts.

But it is the partnerships forged among Developers and builders are steeped in one important axis (shown here as the them, and with state and federal area market intelligence and offer land and diagonal axis). Historically, most American government agencies, that have proved structural expertise as well as development city cultural affairs offices operated central to successful outcomes. Partnering skills. Mayors, governors, city council independently of other city agencies can be challenging, as shown above. But members and legislators understand public and, with small budgets, often focused its prevalence confirms that it is a crucial priorities intimately, have problem-solving narrowly on public art. In recent years, component of creative placemaking. and negotiating skills, the power of the bully in cities like San José and Minneapolis, pulpit and to set agendas, and to allocate cultural affairs offices have merged with Partners bring different configurations of public resources. Banks and financial economic and community development capability and knowledge to the creative institutions control financial resources and agencies, increasing their leverage. In placemaking table. A non-exhaustive possess regional market savvy. Foundations other cities, cultural affairs leaders have account includes the following. Arts and also make financial commitments and they approached and forged informal or cultural organizations and cultural industries are important shapers of cultural policy project-based partnerships with other offer visual, musical, spatial and design skills, and economic development. Public sector City agencies that have greatly amplified and innovative solutions to place-based leaders and staff wield legal and mission their reach. For instance, the City of San problems. Artists bring their entrepreneurial know-how as well as planning, process, and José’s Creative Entrepreneur initiative, led talents, motivation, comfort with risk- evaluation skills across agencies and levels by the Office of Cultural Affairs, earned taking, and considerable formal education. of government. partners in the City’s housing, planning, Community development organizations and transportation departments, as well possess local intelligence, knowledge Partnerships operate along three as others in the economic development of zoning and other local government axes: cross-agency, cross-sector, and agency in which it was embedded. In practices, financing experience, a network intergovernmental (Figure 2). Single another case, Philadelphia’s Mural Arts of local stakeholders, and knowledge agency to multi-agency partnerships program, embraced by the City’s Mayor, of what works at the grassroots level. within a single tier of government form won enduring support from the City’s Creative PlaceMaking 22

FIGURE 2. Axes of Partnership: Sector, Mission, Level of Government

l) Arts, culture and multiple a All Sectors other missions t, Informt, i

Three Sectors or Prof c, F i Partnering by Mission* ubl t, p t, i

rof Two Sectors p Arts, Culture and

on- a Second Mission N ( Arts & Culture only ector Single Sectors Local Local & Local, Local, regional, ng by S ng by

i Only Regional Regional state & federal & State Partnering by Level of Government rtner a

P *Transportation, Housing, Urban Redevelopment, Health, Education, Environment, Public Safety

Departments of Transportation, Streets, partners must find the opportunities where Lac has been able to use federal Bureau of and Behavioral Health. In each case, interests, missions, and resources dovetail. Indian Affairs building maintenance funds agency partners either fund or offer in-kind In the restoration of historic Hollywood to help purchase Ojibwe artwork for its contributions (space, staffing, equipment) Boulevard, for example, the local Chamber social services and health-care complex. to the Citywide arts initiative. of Commerce and private developers figured out how to work with Los Angeles’ Although the challenges are remarkable, Alliances across public, commercial, Community Redevelopment Agency, many initiators and advocates of non-profit, and community sectors form and the latter successfully responded to creative placemaking succeed in forging a second axis for creative partnering the neighborhood’s small non-profit arts partnerships along each of these axes, (shown in Figure 2 as the vertical axis). organizations threatened by gentrification. often simultaneously. Many learn by doing; Organizations in each operate quite some learn by watching the innovations differently, constrained by legal and Inter-government partnerships form a third of counterparts in other places with governance systems.34 Sometimes axis. State and federal agencies have been similar circumstances. However, many conflicting agendas threaten the entire important partners in place-based arts and local initiators design and pursue projects effort. It requires time, understanding, cultural revitalization. Sometimes an initial without the benefit of lessons from such and accommodation for a non-profit arts funding stream helps ensure a project’s counterparts. An intergovernmental creative group to work with a for-profit developer, incubation. Chicago launched its gallery37 placemaking policy could disseminate such a bank, one or more public sector agencies with federal Job Training Partnership Act learning. The case studies in the Appendix beholden to an elected city council, and an funds. Artspace Buffalo Lofts won state identify a range of best practices that can informal (i.e. unincorporated) community and federal tax credits and a HUD grant, serve as initial guideposts. But more analyses group that has no executive director and crucial for the project’s success. In other are required to identify basic building blocks not much of a budget. Regardless of who cases, state and federal support has been and a template that can serve a wide variety initiates creative placemaking, potential an add-on after initial funding. Fond du of communities. ▲ Creative PlaceMaking 23

VI. Conclusion: Toward a Creative Placemaking Policy Platform

Growing attention to arts and culture as community creators and cultural industry stimuli parallels thirty years of emerging consciousness about the environment and its significance for livability and economic competitiveness. When Americans broadly first began to understand the negative consequences of environmental degradation in the 1970s, they organized to experiment with new forms of remediation and stewardship, winning significant changes in policy, law, and government organization.

Similarly, in the 1990s, and even earlier how these are conditioned by external environmental research and evaluation in some communities, creative initiators circumstances (size of place, industry have helped us understand how best began to use arts and culture as a way of structure, local human capital, health of the to remediate past damage and how to stemming industrial decline and job and overall economy). Failed initiatives as well as avoid future degradation—and with which resident outmigration, reusing vacated successful ones should be examined. technologies and conservation practices— land, buildings, and infrastructure in new arts and cultural placemaking evaluations ways that enliven neighborhoods and In our research effort, we faced real will ensure more effective outcomes. whole regions while incubating creative challenges finding data that fully captured businesses. But the policy frameworks and cultural industry dimensions and In the absence of any past federal creative networking around creative placemaking performance. Similarly, it proved difficult placemaking initiative, people in big have yet to be built. to locate data that revealed the impact cities and tiny hamlets have shown the of creative placemaking on resident way in literally hundreds of experiments The research reported here indicates that and business income, livability, and city that stretch back twenty years and even a new policy platform could link creative government revenues and services. longer. They are using arts and culture to actors from multiple sectors, local agency While we were able to document the animate downtowns and neighborhoods, to missions, and levels of government in a composition and sum of expenditures stoke their creative industries, to stabilize visible and concerted initiative to encourage on a placemaking initiative, it proved population and jobs, and to attract new creative placemaking and cultural industry more difficult to determine the costs and residents and businesses. As the case innovation. This effort can begin with benefits of that initiative compared to studies show, such efforts have been dissemination of local pathbreaking models other uses of the same human energy and strenuous and enduring, encountering such as those we have documented here: financial resources. These are not insoluble tough challenges and redesigning how leaders initiated, structured, and problems: better research and evaluation partnerships and strategies to fit their own funded their efforts, and the hard evidence could be conducted retrospectively, as circumstances. It may take a decade, but on outcomes. Many more case studies we have here. Furthermore, an evaluation we anticipate that creative placemaking/ could be done and sifted through to help component could be built into new efforts cultural industry initiatives will continue to policymakers understand the on-the-ground as a condition of public sector funding spread from place to place, state to state, processes that seem to work best and or regulatory accommodation. Just as and from local to federal government. ▲ Creative PlaceMaking: case studies 24

case studies Table of Contents 25

CASE STUDIES

26 Introduction 27 Community Developers Partner with Theaters cleveland, Ohio’s Gordon Square Arts District

29 Artists, the Third Leg of the Cultural Stool creative Entrepreneur Project, San José, California

31 After Autos … Artists artspace Buffalo Lofts, Buffalo, New York

33 Unusual Bedfellows Transform the City of Music seattle, Washington

35 Art—A Rural Community’s Newest Crop arnaudville, Louisiana

37 Building Community, Boosting Ridership triMet’s Interstate MAX Public Art Program, Portland, Oregon

39 Chasing Artists, Not Smokestacks Paducah, Kentucky Artist Relocation Program

41 Art Shores Up the Walk of Fame remaking Los Angeles, California’s Hollywood

43 Art as Healing Fond du Lac Reservation, Minnesota

45 mArrying Art to Technology 01SJ Biennial, San José, California

47 After School Matters in Chicago, Illinois 49 Transforming Neighborhoods and Lives Philadelphia, Pennsylvania’s Mural Arts Program

51 Animating Infrastructure Phoenix, Arizona Public Art Program

53 mAyors and Artists Spark a Renaissance Providence, Rhode Island creative placemaking: case studies 26

Introduction

In thousands of state and local laboratories, arts and cultural catalysts have partnered in placemaking and cultivating cultural industries. In this Appendix, we profile fourteen unique and pathbreaking cases with demonstrated accomplishments. We chose the case studies from hundreds of possible cases written up by others or widely admired by practitioners, policymakers, and researchers.

For every case that we profile, there are geographic, diversity, and size dimensions. efforts, adapting successful strategies to many more that could serve as exemplars. Our cases also serve as roadmaps for their own circumstances. Those showcased are wide-ranging in other communities that have begun similar

Successful pioneering cases share the same components. Each:

▼ is rooted in the talents and vision of one or several collaborating initiators

▼ demonstrates a commitment to a particular place and its distinctive qualities

▼ mobilizes public will around its vision

▼ garners private sector business support and buy-in

▼ enjoys the commitment of the local arts and cultural community

▼ dovetails initiators’ aspirations with those of other partners

▼ crosses boundaries to leverage support and funds from other functional agencies (transportation, housing, environmental, parks and recreation, workforce development, small business) and levels of government

All have produced gains in livability and that often resulted in delays and changes functional missions and with private, non- sustainability as well as new jobs and/ in strategy. The components and lessons profit, and community partners to foster or economic activity. They generally do learned demonstrate the need for a new successful initiatives, evaluate them, and so in an equitable and participatory way. policy platform at all levels of government disseminate the results. Initiators faced formidable challenges where agencies join forces across creative placemaking: case studies 27 Community Developers Partner with Theaters Cleveland, Ohio’s Gordon Square Arts District

Under the banner of “The Art of Economic Development,” Gordon Square Arts District, a collaboration of three non-profits, is midway through a $30 million revitalization that will generate half-a-billion in economic development in an inner city Cleveland, Ohio neighborhood.

Led by a community development City of Cleveland funded a market and corporation, the team is raising funds from economic feasibility study. Elected in public and philanthropic sources to renovate 2002, City Councilmember Matt Zone two theaters and build a new home for a negotiated $3 million in public financing third. A dazzling artist-created streetscape and attended every planning and team now serves as the District’s central spine. meeting. By 2008 the partners had The District has revitalized the area’s assembled enough public and private commercial core with arts offerings and funding to complete its Detroit Avenue new retail businesses while preserving and Streetscape, linking the theaters and adding low-income housing units. generating new and rehabbed businesses, homes, restaurants, and shops. The non-profit organizations’ core team all own and/or operate theaters. The Artwork has been central to the Gordon 37-year-old Detroit Shoreway Community Square vision. The team commissioned Development Corporation (DSCDC) bought environmental artist Susie Frazier Mueller Photo © Cleveland Public Theatre Gordon Square Arcade and its historic to work with developers and architects in Cleveland Public Theatre, Gordon Square Arts District Capitol Theatre in 1979, averting demolition. designing the streetscape and leveraged The 27-year-old Cleveland Public Theatre her $6,000 stipend into $250,000 worth of purchased a condemned theater nearby public art elements along the Avenue. The that opened in 2003 but without heat half-mile stretch includes backless, curved, or air conditioning. Near West, a musical and under-lit amoeba-like benches and theatre company founded in the 1970s to irregular laser-cut crosswalks—imaginative give local kids an alternative to life on the reflections of the topography of Lake Erie. streets, operates on the third floor of an old church and hopes to build anew. Cleveland’s The partnership has been extraordinarily major arts institutions are clustered on the entrepreneurial in securing financial support city’s East Side, each large enough to lobby (see box). It sought and won funding from independently for funding. But the West the City of Cleveland, county, regional, state, Side theater groups were treated as small and federal programs; from non-profits like potatoes by funders and banks alike until they LISC and the statewide Finance Fund; from began to work together under the rubric of the Cleveland and Gund Foundations, major the Gordon Square Arts District in 2002. philanthropies; and from private donors and the City’s public utility. The arts-based makeover took more than ten years to gel. Funds from the Local By October of 2009, half of the Gordon

Photo © Detroit Shoreway Community Development Initiative Support Corporation enabled Square plan had become reality. The Capitol Gordon Square Arts District an arts master plan in the late 1990s. The Theatre opened its doors, streetscape creative placemaking: case studies 28

improvements on Detroit Avenue stretched from West 58th to West 73rd, and parking lots Gordon Square Arts District, Cleveland, had been created and improved. In phase Sources of Funding, 1997-present one of its renovations, the Cleveland Public Theatre replaced seven roofs, funded in part Contributions, by a State of Ohio capital grant, and Near Source of Funds, Loans, In-Kind Contributions Loans ($) West is ready to build its new performance Planning, marketing, feasibility studies center, fronted by a public plaza. Local Initiative Support Corporation 50,000 Economic development impacts have been a City of Cleveland Community Development 25,000 major rationale for the Gordon Square Arts Block Grants District funding, and the results to date are heartening. An economic impact study found Streetscape and arts district that 245 construction jobs were funded Neighborhood Progress, Inc. 6,000 annually over the 2004-2009 period with City of Cleveland % for the Arts 1,900,000 310 forecast for each of the next three years. In the first full year of operations, 2013, the Northeast Ohio Area Coordinating Agency 1,500,000 analysis expects 643 new non-transient jobs Greater Cleveland Regional Transit Authority 25,000 net of those displaced, at least 10% of them in Gund Foundation 1,200,000 arts, design, and architecture with most of the Cleveland Public Power in-kind wiring rest in retail, restaurants and clubs. The team anticipates 100,000 theatre-goers a year once all three theatres are up and running. donations

For Gordon Square Arts District leaders, Theatre renovations cobbling together the funding has been State of Ohio capital grant 1,900,000 the biggest challenge. “When we were Capitol, Public Theatres separate small organizations,’ reflects Cuyahoga County capital grant 360,000 Ramsey, “we couldn’t do capital campaigns. Capitol Theatre We don’t have wealthy donors on our staffs. City of Cleveland loan 1,500,000 Together, we’ve done great with funders and Capitol Theatre 30 years at 2% government, though it has made it tougher Cleveland Foundation 500,000 on our individual fund-raising efforts.” He Capital Theatre capital grant estimates that a third of each organization’s Philanthropic contributions, 2,200,000 staff time goes into the Arts District effort. Cleveland Public, Near West Theatres The partners also had to fight with the Ohio New Market, federal and state Historic 4,000,000 Department of Transportation for two years Preservation tax credits for approval to narrow Detroit Avenue, Finance Fund, statewide 120,000 a state highway. Using the ideas of traffic Capitol Theatre calming, the team eventually won permission.

Key Takeaways

A veteran community development More than half the $30 million in streetscape and theatre corporation (CDC) initiates a decade- renovations has been lent or granted by public agencies (local, plus arts remaking of an inner city regional, state, federal) and private non-profit foundations, commercial corridor. developers, philanthropists, and utility company partners.

Three theaters comprise the distinctive Community development, highway and transit monies anchor for Gordon Square Arts District, complement arts and cultural investments to generate a partnership of the CDC and two permanent jobs, foster new and expanded businesses, theatre companies. and engage neighborhood youth through drama. creative placemaking: case studies 29

Artists, the Third Leg of the Cultural Stool Creative Entrepreneur Project, San José, California Photo courtesy of 1stACT Silicon Valley Photo © Everett Taasevigen High n’ Low Rider by Rubén Ortiz-Torres Jazz on the Row, Santana Row in San José

The City of San José aspires for its downtown to be Silicon Valley’s City Center. Following big public/private investments in arts and cultural venues and non-profit arts organizations, leaders sought to animate the city with cultural happenings and wide-ranging artist involvement.

“The City needed flavor on the street,” business training, professional development Innovation, San José Repertory Theatre, recalls entrepreneur Chris Esparza, CEO scholarships, a web-based resource guide, San José Museum of Art, and California of the for-profit Giant Creative Services, and commissions for artists on public Theatre, home to Opera San José and “because it had created beautiful building transportation projects. “As inventors and Symphony Silicon Valley. The City had facades that no one wanted to be in.” In interpreters of artwork, artists are now also partnered with smaller culturally early 2008, the City’s Office of Economic celebrated as the backbone of the arts specific arts groups like Teatro Visión Development/Cultural Affairs took up the sector, but also as small businesses that and Movimiento de Arte y Cultura Latino challenge, launching a citywide Creative make San José ‘cool,’ attracting talent and in Americana (MACLA), incubating them into Entrepreneur Project (CEP) to nurture turn economic activity,” says Kerry Adams- medium-sized organizations and anchors artists and link them with the region’s Hapner, Director of Cultural Affairs. for their communities and districts. “But we extraordinary technology community. hadn’t explicitly considered how to nurture Over two prior decades, the City had and support artists, the critical third leg The City now celebrates and sustains invested heavily in downtown cultural of the stool,” recalls the City’s Chief Valley artists across disciplines with artist facilities, including the Tech Museum of Strategist, Kim Walesh. creative placemaking: case studies 30

In addition to animating San José’s pre-development studies on live/work and downtown and neighborhoods, City leaders workspace for artists. The ZERO1 biennial also dreamed of marrying Silicon Valley’s (see profile) leads the region’s art and technological prowess to its artistic skills. technology fusion. Climate Clock, a major In 2007, Cultural Affairs manager Lawrence public art initiative, will use information Thoo approached Walesh with the idea and measurement technologies to gather of helping artists become more successful and display climate change data in San commercially. With the non-profit Center José’s Diridon Station, where commuter for Cultural Innovation, they launched the trains, fast rail, light rail, and busses KEY TAKEAWAYS Creative Entrepreneur Project (CEP). Its converge. To fund it, the City pools its high-powered steering committee brought percent for art dollars with San José State An Office of Cultural together high tech and arts entrepreneurs, University resources, private investments, Affairs staffer proposes developers and architects, college faculty a submitted National Science Foundation and board members, and senior City staff proposal, and eventually, federal Percent an artist-focused initiative from planning, housing, and economic for Art funding, for high-speed rail. to complement City development departments. investments in arts facilities CEP has played an important role and cultural organizations. CCI conducted a survey of artists in the in animating San José’s redeveloped San José area, presenting results to an downtown. Because live music takes The City builds a diverse Artists’ Town Hall.35 In his keynote, Richard place chiefly in commercial venues, the steering committee and Chuang, co-founder of PDI/Dreamworks, City’s Cultural Affairs staff and Arts partners with the non- told how doing artwork as a non-English- Commissions had historically not seen profit Center for Cultural speaking child saved him from the life live music as part of their purview. 1stACT Innovation to survey artists, of a laborer and explained with dazzling Silicon Valley, a non-profit launched in report back to them in an graphics how art, design, and technology 2008 by Valley powerbrokers, is now Artists’ Town Hall, and make fuse in an increasingly visual world. The working with the City to re-infuse the recommendations. survey revealed artists’ powerful desire urban core with music. A new live music to make arts income through bookings, festival, Left Coast Live, organized by Implementation is a joint sales, and commissions; find affordable CEP steering committee member Chris project of the City, private workspace; and improve marketing Esparza, is now a six-day, 100-band event sector developers, colleges, and networking. The recommendations that matches innovative live music with 35 arts organizations, and prompted City-funded Business of Art downtown venues. cultural entrepreneurs. courses, a Creative Capacity Fund for artist training and scholarships, an on-line The Creative Entrepreneur Project City cross-agency small and creative business resource guide, is singular for its high-level economic partnerships provide and a creative business component in its development patronage, bridges built artist business training, workforce development program.36 with other city departments, and professional development entrepreneurial partnerships with leaders CEP followup is a City partnership with in high tech, downtown business, education, scholarships, a web- individuals and organizations, public non-profit arts, diverse communities, and based resource guide, and and private. After their Business of Art actors outside the region. The CEP sends commissions for artists on training, a group of the artists formed the a signal to the artist community that the public transportation and Silicon Valley Artist Collaborative, building city values their role, understands their other public art projects. a website, organizing exhibitions, and contributions to placemaking, and sees the convening regularly. The non-profit Latino potential in greater crossover between arts The CEP has animated arts organization MACLA is conducting and technology. the City’s redeveloped downtown with new artist- initiated festivals, music venues, and art fairs. creative placemaking: case studies 31

After Autos … Artists Artspace Buffalo Lofts, Buffalo, New York

Buffalo ends up near the bottom of most city rankings. But Richard Florida saw something in Buffalo and bucked that trend in his The Rise of the Creative Class. Wanting to prove the point, politicians across party lines including Buffalo’s mayor and a New York governor and US senator supported Artspace Buffalo Lofts, a now vibrant artist community carved out of a vacant automobile factory.

Not only did Buffalo Lofts create new space for artists, but it also began to break down historic social divides and trigger an economic revival in one of Buffalo’s most challenged neighborhoods.

East of Main Street—neglected, unproven, poor. City leadership took a gamble that locating an artist live-work development just past the Main Street dividing line might help erase the barrier and draw dollars and confidence east. Sixty low-income artists and their families now reside in affordable live-work units carved out of the former Buffalo Electric Vehicle Company building, vacant for over 15 years, and in six new fourplexes built behind the factory. Within a few months of opening, five hundred names were on the waitlist. At Coe Place, Photo © Monika Parlikova Byrne, 2008 adjacent to the building and east of Main, Artspace Buffalo Lofts new property owners have breathed life into vacant, dilapidated buildings. They frequently attend art openings at the two-story community gallery operated by Artspace Buffalo Lofts residents.

Strong political backing, the acumen of an experienced artist space developer, an outpouring of community and arts support, and a specific financing instrument—Low- Income Housing Tax Credits (LIHTC)—built Artspace Buffalo Lofts. An $11 million tax credit award, the largest single such New York State outlay for 2006, provided the lion’s share of the $17.6 million development costs. A public subsidy for leveraging private sector dollars, Low- creative placemaking: case studies 32

Income Housing Tax Credits give private years thanks to solid cross-sector support investors federal tax credits for their equity and community buy-in. investments in affordable housing. Buffalo Lofts earned both State and Federal tax Artspace and their local partners, however, credits, significantly expanding the equity faced significant hurdles building Artspace available to the project and opening it Buffalo Lofts. Even with its long history of up to individuals earning only 30% of success nationwide, Artspace had never area median income. Buffalo’s Mayor before secured funding for a project in Masiello took sizable political risks for the New York State. Additional challenges KEY TAKEAWAYS project. Masiello conveyed to the State’s ranged from unearthing buried leaking Department of Housing and Community gas tanks that triggered cost overruns, to A Buffalo Mayor initiates the Renewal that Artspace Buffalo Lofts was coaxing the Department of Housing and conversion of a long-vacant his administration’s top LIHTC priority. He Community Renewal to apply flexibility in also guaranteed the developer, Artspace its design standards, to the collaborative auto factory into sixty Projects, 24/7 access to Eva Hassett, his development process itself. To amass $17.6 low-income artist family chief of staff, who provided critical on- million in development costs, they pulled housing units and six new the-ground leadership on everything from together loans and grants from 19 different fourplexes in a challenged organizing tours to fundraising to political lenders and grantors in the public and neighborhood. connections at the state and federal levels. private sectors. With 23 different projects in operation around the country, Artspace A non-profit developer of Senator Hillary Clinton and Governor knew how to piece together funding artist housing assembles George Pataki came on board as early and support for artist spaces. But more tools and partners to make it supporters, boosting the project’s tax recently, as the tax credit market turned work: state and federal low- credit prospects. Clinton’s support helped south with the economic recession, it has income housing tax credits, leverage an additional $250,000 from been forced to try to do more with less more flexible state design the federal Department of Housing and with other artist housing developments. standards, and $17.6 million Urban Development. Artspace Projects, a Strong local leadership and collaboration in loans and grants from 19 developer of artist spaces with 23 projects across sectors, functional agencies, and lenders and grantors, public under its belt in 17 cities and 12 states, governmental levels are becoming even and private. provided its considerable expertise. Artists, more critical. arts organizations, and neighborhood Support of artists, arts and community groups offered their Transformative. That’s the descriptor organizations, and enthusiastic support. Without broad-based Hassett chose to sum up Artspace Buffalo neighborhood and community buy-in, the project never would Lofts … Transformative for the artists and have happened. Phased in incrementally, families living in the building, a source community groups helps early artist tenants opened their homes up of validation for individual artists across move the project to as often as three times per week for tours Buffalo, a means to breathe new life into completion in a record to potential funders—fostering a sense of a vacant eyesore downtown, a catalyst for 3.5 years. ownership for supporters. Despite Buffalo’s surrounding neighborhoods’ revitalization, economic challenges, Artspace Projects and a way to break down a barrier isolating The artist live-work completed Buffalo Lofts in a record 3.5 a marginalized part of town. development helps erase an old Main Street dividing line, drawing dollars and confidence east. creative placemaking: case studies 33

Unusual Bedfellows Transform the City of Music Seattle, Washington

Thanks to an unlikely coalition, Seattle has shed its repressive mid-1990s anti-dance ordinances and poster-bans and dubbed itself “City of Music.” Under an economic development mantle, stakeholders including mayors, grunge rock celebrities, and for-profit and non-profit producers, presenters, and venues, together build on Seattle’s music legacy. In the process they cement its reputation as a great place to live.

Seattle’s Office of Film + Music, an anomaly among U.S. cities, champions the three-part City of Music initiative—City of Musicians, City of Live Music, and City of Music Business. Strategies range from embracing outdoor festivals, a wealth of different music venues, and business retention efforts for the music business industry writ large to bolstering K-12 music education and musician homeownership programs. In year two of the 12-year initiative, musicians now have access to affordable health care at a pay-what-you-can musicians’ clinic. In 2009, live music venues earned a special exemption from Seattle’s 5% tax on admissions fees, contributing to a climate in which two new venues opened, in stark contrast to 2008 when six venues closed.

Photo courtesy of City Seattle It took political and legal action by the Sasquatch! Music Festival city’s musicians, but politicians finally got the wake-up call that music in Seattle is a $1.2 billion industry deserving of support. With wealth and fame from the grunge explosion, Nirvana bassist Krist Novoselic founded JAMPAC (Joint Artists and Musicians Political Action Committee) in 1995, which successfully fought off local anti-music ordinances. Gradually, JAMPAC found politicians sympathetic to their creative placemaking: case studies 34

cause, until “What will you do for music?” helped coordinate the musicians’ health became a major campaign platform issue. clinic. Aside from a modest discretionary budget and salaries for two dedicated staff Taking office in 2002, pro-music Mayor positions, the private sector funds most Gregory Nickels commissioned two City of Music Initiative costs. When the economic impact studies by University of Office of Film M+ usic promotes the Seattle Washington’s William Beyers (2004 and scene at Austin’s South by Southwest 2008).37 The 2008 study revealed that festival, for instance, city coffers contribute music created 20,193 jobs in the region, only a fraction of the expense. KEY TAKEAWAYS with $2.2 billion in sales and $840 million in earnings, and generated $148 million The Seattle Music Initiative has been nimble Musicians and music in tax revenues in King County. Beyers’ enough to outlast a mayoral leadership entrepreneurs challenge music industry studies broke new ground change. But, it still faces challenges, some by not restricting their purview to the even from within the arts community. city regulations to demand non-profit music sphere, as so many Mayor Michael McGinn made pro-music recognition of the role of arts studies do. They scaled the silos constituencies even greater promises than music, a $1.2 billion industry, between sectors, showing the full range did incumbent Nickels, helping ensure in economic vitality. of enterprises that supply the music his victory over Nickels in November sector (instrument makers, composers, 2009. However, in a city that also hosts a A new mayor mounts a music teachers, equipment retailers, vibrant dance and theater scene, some City of Music initiative recording studios) and included clubs arts advocates question Seattle’s leaders’ that nurtures musicians, and symphony halls together as live support for music above other art forms. live music (classical to venues. Not only did the studies reveal Government officials counter with economic contemporary), and music the music industry’s economic heft, they impact figures and claim that by promoting businesses. also empowered the broad swath of music, they will whet the public’s appetite players within Seattle’s music industry to for other art forms. No other art form has By 2008, including multiplier see themselves as a coalition. bridged the sectors the way music has. effects, music of all genres The broad music coalition united, amassed generated more than 20,000 Office of Film + Music Director, James the political capital needed, and the City jobs, $2.2 billion in sales, Keblas, took up the challenge of nurturing continues to be responsive to their needs. and $148 million in King the music industry, working hard to ensure County revenues. that a wide array of stakeholders continue Their efforts make Seattle shine on quality to craft and support the City of Music of life measures. Seattle frequently tops Initiative. Seattle’s Office of Arts and the list as a place where young people want Culture spearheads K-12 music education to move.38 Talent at Microsoft and teenage efforts. Sub Pop Records invests in youth DJs at the youth-run Vera Project share through their annual Loser Scholarship, the benefits of a vibrant music city, as do which offers college scholarship money to individual musicians, symphony conductors, high school seniors involved in music or non-profit arts advocates, club owners, and other arts. Non-profit arts organizations record labels. creative placemaking: case studies 35

Art – A Rural Community’s Newest Crop Arnaudville, Louisiana Photo © Tom Pierce, 2009 Photo © Tom Photo © Lorrae Lantier Weekly fiddle jam Creole musician Joe Hall

Over six years, Arnaudville, population 1,480, remade itself from a small, forgotten community into a rural hub of cultural activity. Led by an artist, a handful of townspeople re-imagined the town’s impediments as assets.

By adopting a decentralized, regional region’s residents to share their talents in the New York, but decided to stay, transforming approach and tapping into existing talent, culinary, literary, performing, and visual arts, the old auto store into Town Market. they’ve unearthed a wellspring of community and environmental sustainability. Through an pride. Visitors from all over the world and Art in Context program, activity spills past With friends, Marks wondered whether residents of the region play music at weekly school walls into satellite stages, classrooms, the factors blamed for Arnaudville’s decline acoustic fiddle jams, speak French at monthly and galleries across the region. Neighboring could be converted into assets. Off the conversation tables, and see bonfires floating towns of Grand Coteau, Breaux Bridge, and I-10 and I-49 beaten paths, big box stores down the bayou on flat-bottom boats during Sunset host literary festivals and Cajun jams. and strip malls had bypassed Arnaudville. the Fire and Water Festival. Straddling St. Landry and St. Martin Parishes, As recently as 2005, these activities and it was a step-child of both. By building on A vacant auto store turned artist platforms did not exist, despite plenty of arts, distinctive culture, and tourism, the cooperative, Arnaudville’s Town Market local talent. When artist George Marks friends imagined that the Parishes might Rural Arts Center houses the Deux Bayous returned to care for his ailing father, he finally embrace them while preserving their Gallery, painter George Marks’ studio, found that old storefronts had been freedom from superstore retail. NuNu’s Café and its Frederick Stage, and torn down, the bakery had closed, and the Frederick l’Ecole des Arts (Frederick the former meat market was now a drug Although the Arnaudville experiment School). Centered on creative living, the house. A successful painter with gallery started as a grassroots “act first, apologize non-profit Frederick School invites the representation, Marks considered moving to later” movement, Marks and fellow creative placemaking: case studies 36

organizers worked from sound political Cultural Economy Initiative. District status instincts and crafted savvy strategies. grants the town sales tax exemptions for They reached out to artists who might original art purchases and eligibility for relocate to the area but would celebrate, state historic tax credits. From staff at the not change, Arnaudville’s unique rural Acadiana Center for the Arts—the regional culture reflecting Cajun, French, German, arts council—Frederick School organizers Spanish, and Native American influences. A learned grants could fund their programs, relocating fiddler, for instance, re-opened a helping free them from bootstrapping former drug-house as a fiddle shop. operations when and if Marks sold a KEY TAKEAWAYS painting. They subsequently won grants Anticipating local skepticism, the team from Consulat Général de France à La Artist initiator envisions initially promoted its concept to cities and Nouvelle-Orléans, South Arts, and the a small, rural town with visitors from afar. The tourism offices for Louisiana Cultural Economy Foundation, St. Landry and St. Martin Parishes became a private foundation resulting from the Cajun, French, German, early advocates. Visitors do come: the Cultural Economy Initiative. Spanish, and Native French Consulate in New Orleans uses American roots remade the Frederick School as a rural venue for With a powerful vision and persistence, as an arts magnet. presenters from French-speaking countries an artist and his allies have demonstrated around the world. But organizers relied on how cultural development can benefit Drawing on local assets, early support from sources closer to home their region. Property values have regional partnerships with for crucial momentum. Through profit climbed, bucking national trends. Some local businesses and county sharing, local private businesses hosting 40-70 people, from schoolchildren tourism office advocacy, Frederick School satellite classes and events to grandparents, come from as far as town leaders’ skepticism have a vested interest in the strategy’s Canada, Haiti, and Africa to gather slowly overcome. success. As townspeople saw more people monthly at NuNu’s, break bread, and pumping gas, buying groceries, and eating at speak French. Whereas local communities City leaders and artists restaurants, the Mayor, Town Council, and previously felt cut off from one another, win Cultural District Chamber of Commerce became supporters. they now embrace a spirit of regionalism. designation from the state Quoting Mt. Auburn and Associates’ study Marks reflects, “Everything we do is an of Louisiana’s Cultural on the Louisiana cultural economy, Marks amalgamation of all of these different Economy Initiative, convinced town aldermen to sell the folks. We provide a platform for what bringing tax breaks and town’s old water processing center, out of people do best.” Future plans include historical preservation commission for 20 years, to an out-of-town converting the old jailhouse into a “bed, tax credits. sculptor for his live/work studio.39 bread, and water” guesthouse, expanding artist housing, increasing Frederick School In-migrating artists, rising The Arnaudville creative placemakers offerings on environmental sustainability, property values, and greater attracted resources from state and and exploring synergies between art and local patronage and visitors philanthropic sectors as well. In 2008, environmental stewardship. Creative Mayor Kathy Richard and the Council leadership awakened Arnaudville to its from far afield stimulate the sought and won a Louisiana cultural own assets. local economy. district designation from the state’s creative placemaking: case studies 37 Building Community, Boosting Ridership TriMet’s Interstate MAX Public Art Program, Portland, Oregon Photos © Chris Fussell/TriMet, 2004 Photos © Chris Fussell/TriMet, Second Growth by Wayne Chabre Mosaic tile community workshop

For TriMet’s managers, building new light rail lines involves both opportunity and responsibility, goals they have met with skillful integration of public art. A key element in the livability movement, mass transit encourages high-density growth using existing infrastructure, reducing new outlays on sprawling freeways and sewer systems.

Avoiding the anonymity of past urban most racially and ethnically diverse areas, of Remembrance memorializes the 3,700 renewal projects, TriMet’s station artwork home to Native Americans and successive Japanese Americans interned during showcases neighborhood history and waves of immigrants. At a stop in the World War II at the Portland Metropolitan reflects diverse social fabrics, instilling Albina neighborhood, the commercial Exposition Center site. Its five large pride of place and boosting ridership. heart of the African American community timber gates, or torii, suspend wind- before hospital expansion and other clanging metal tags like those worn by Along the Interstate MAX (Metropolitan urban renewal projects, artist Wayne internees, and stainless steel engravings Area Express) line in North Portland, Chabre’s Second Growth, a 12-foot tall of newspapers headlines like “Portland to artists worked closely with community bronze trumpet vine, bursts out of the be First Jap-Free City” encircle gate legs. members to celebrate neighborhoods’ concrete, recalling the area’s once vibrant distinctive cultures and overcome jazz scene. Nightlife and local arts have A model of civic participation, nearly 75 mistrust fueled by past public works. again begun to animate the district. At the community members helped establish the The line links downtown with Portland’s Expo Center stop, Valerie Otani’s Voices Interstate MAX art program’s initial vision, creative placemaking: case studies 38

select artists, provide background on the In its efforts to incorporate community- neighborhood’s culture and history, and relevant art, TriMet has earned the trust of review artwork. Initially, North Portland partnering units of government and its own residents viewed the light rail project with engineering and construction staff. It now suspicion, and assumed they would have knows many mistakes to avoid. TriMet gives to fight to get artworks. As TriMet fielded its Arts Advisory Committee a great deal of calls, forwarded by City Hall, they realized autonomy, including asking local, regional, the art program presented an opportunity and federal governments, who contribute to engage deeply with residents and funding, not to intrude in the process. KEY TAKEAWAYS provide them with a platform to shape and Though initially skeptical, TriMet engineers claim this new infrastructure. TriMet and and construction crews observed that Ethnic community community advisors prioritized local artists the public art team played by the rules, challengers of a new (over 40 participated) and developed respecting budgets and deadlines. With mentorship opportunities and smaller limited budgets, TriMet seeks public art public transit line become projects to incorporate those with little with low maintenance costs. Over time, it partners in design of or no public art experience, many of them has learned to plan for both commissioning stations and hiring of artists of color. Area youth and residents fees and installation costs. artists whose public works participated in storytelling, writing, reflect the neighborhoods’ painting murals, and making mosaics. One strong mark of Portland’s transit art histories and character. To balance broad participation with success is its widespread public acceptance. expertise, arts and design professionals TriMet has yet to face complaints that art is Public sector transit populated a volunteer Art Advisory an unnecessary expense. Instead residents staffers make the case Committee, ensuring that selected artists’ along all the transit lines want to ensure to their superiors and work would withstand wear and tear and that they, too, get their fair share of it. the federal Department aesthetic tests of time. TriMet’s Public Art Manager Mary Priester of Transportation that reflects that public art should be rooted in transit planning funds TriMet funded the Interstate MAX public place. Art, in turn, gives places character should be spent on art program using its percent for art policy and humanity. When done “right,” every community engagement to assemble $1.2 million from the $350 project is different. TriMet artists facilitate in station design and on million total project costs, largely funded by a collaborative process, marrying their the Federal Transit Administration (FTA). visions to a place’s history and social fabric. commissioned artistic But before the mid 1990s, neither the As the Interstate MAX public art program work sensitive to place, FTA, nor TriMet, had established policies illustrates, art rooted in community can innovations that have allowing transit dollars to cover artwork. help repair, rather than augment, regional become federal policy. For an earlier TriMet line, TriMet made the inequities. It can help communities heal case to the FTA for arts inclusion. Shortly from past wrongs and renew their public Unique and powerful public thereafter, a federal directive strongly spaces around unique identity. art at transit stops increases encouraged all regional transit agencies to transit ridership, an include artists in their projects.40 TriMet environmental gain, while formalized its percent for art policy in 1997, strengthening community allocating 1.5% of eligible construction costs. identity and addressing historic inequities. creative placemaking: case studies 39

Chasing Artists, Not Smokestacks Paducah, Kentucky Artist Relocation Program

Paducah, population 26,000, seems an unlikely locale for an The City, with the help of a visionary artist haven. Why have artists from as far as Hawaii and China artist resident and a civically minded local bank, offered artists an unusually enticing chosen to uproot and make Paducah home? carrot: homeownership in renovated historic buildings. In the process, Paducah leveraged $30 million of private investment and triggered a complete turnaround for Lowertown, its oldest neighborhood once plagued by drug dealers, prostitution, and disinvestment.

In Paducah’s Artist Relocation Program, artists apply to acquire and rehab City- owned properties. Proposals follow site visits and include cost and time estimates for rehabilitation and business plans. For qualifying artists, Paducah Bank provides low-interest loans for as much as 300% of the appraised value to cover purchase and renovation costs. The artists rehabilitate their properties, many setting up studios or galleries on the ground floor and living space above. As owners, artists earn equity and can’t be evicted by landlords.

An artist’s idea started the turnaround. Ten years ago most residents wouldn’t even drive through Lowertown, a neighborhood four blocks from downtown and the Ohio River. Over 60% owned by absentee landlords, Lowertown’s historic building stock had fallen into severe disrepair. Few townspeople wanted to invest in properties that could cost $200,000 to fix up, because the renovated homes would sell for only $80,000. Artist Mark Barone was an exception. Having rehabilitated two homes

Photos © Paducah Artist Renaissance Alliance in Lowertown, he saw how its large spaces could accommodate artist live/work set-ups. In 1999, he envisioned the neighborhood’s potential as an artist district. Barone’s idea caught Mayor Albert Jones’ attention, and in creative placemaking: case studies 40

2000 Jones drafted Barone to coordinate leveraged a 10-to-1 return on public the Artist Relocation Program. With only a investment, thanks to Paducah Bank’s $45,000 marketing budget and a $29,000 unusual risk tolerance for artists. Within 25 salary, Barone went to work promoting the square blocks, 70 artists rehabilitated 80 program to media outlets across the country. Lowertown properties and constructed 20 new buildings. Long-time residents who The City undertook concerted efforts once avoided Lowertown now buy homes on several fronts. The Artist Relocation there, start small businesses, and patronize Program dovetailed with Lowertown’s artists. Even in a sour real estate climate, KEY TAKEAWAYS neighborhood land-use planning renovated Lowertown homes now sell for process. This allowed Paducah’s Planning a competitive $250,000 or more. Eleven An artist who had rehabbed Department to change the City’s zoning different awards programs have recognized two homes envisioned ordinances to permit both residential and Paducah as a national standout. commercial uses. They also designated turning around the Lowertown as a historic district and Lowertown’s transformation did not come Lowertown district by required that renovations follow design without friction. Townspeople, already wary offering artists City-owned guidelines. By collecting on liens, and of artist transplants, perceived incentive properties to refurbish. through auction and foreclosure, the City programs as unjust giveaways, even though stepped-up efforts to acquire neglected many artists contributed sizable down The City of Paducah properties. To discourage predatory payments and all are required to pay changes its zoning landlord practices, the City enforced health mortgages. Tenants and property owners regulations, acquires and safety codes. With transportation viewed tough rental license requirements properties, and markets enhancement grants totaling $3 million the and code inspections as intrusive. The the program, teaming with City invested in comprehensive lighting and City’s efforts to promote homeownership a local bank that provides sidewalk improvements for Lowertown. displaced some low-income renters, low-interest loans. although the City increased the pool A local bank stepped up to the plate to of properties that accepted Section 8 A decade later, the City fashion attractive financing arrangements vouchers to mitigate this impact, and had leveraged $30 million for incoming artist owners. The City constructed three houses priced for in private investment and extended $2,500 per artist to subsidize the low- and moderate-income families. attracted 70 artists who cost of professional fees and architectural rehabilitated 80 Lowertown services and turned over property titles Paducah’s artist-led renaissance faces properties and constructed for as little as $1. Paducah Bank matched sustainability challenges. The Artist 20 new buildings, a 10-to-1 program-qualifying artists with low-interest Relocation Program is winding down. loans. Starting with a modest $370,000 loan Although the City is still marketing eleven return on investment. for a demonstration project that renovated properties, only four of these have three storefront buildings, Paducah Bank structures on them. A few of the original ramped up its lending to $2 million within artist owners have sold their properties, the program’s first year, quickly recognizing recouping their investments. Over the the investment potential. coming years, the City may have to tailor new programs to keep Lowertown artist Now ten years into the program, Paducah housing affordable and maintain its celebrates its success story. With only commercial arts businesses. modest public sector outlays, the City creative placemaking: case studies 41

Art Shores Up the Walk of Fame Remaking Los Angeles, California’s Hollywood Photo © Carlos Figueroa and CRA/LA, 2009 Photo © Lauran Davis and CRA/LA, 2010 Hollywood and La Brea Gateway by Catherine Hardwicke Hollywood Arts Retention Program graduates

When Hollywood Boulevard’s glamour slipped into seediness, the Community Redevelopment Agency of the City of Los Angles (CRA/LA) turned to art and design to help the 1,100-acre area anchored by the Boulevard reclaim its glory.

Later, when comprehensive revitalization demonstration project, launched in home. A sinuous marble mosaic, Erika efforts spurred a red-hot real-estate the early 1990s, used art and design to Rothenberg’s Road to Hollywood snakes market, a cohort of small arts organizations celebrate the area’s rich entertainment its way through the development, offering received a leg-up in the form of planning heritage. Lights reminiscent of studio stories of how Hollywood workers began support, technical assistance, and grants “barn door” lights shine on the sidewalks. their careers, culminating with a lookout to help them remain in the area. Through Visitors snap pictures under the of the famous Hollywood sign. partnerships that span a public agency, Hollywood La Brea Gateway, a silver non-profit arts groups, and private art-deco style gazebo supported by Many Hollywood developments integrate developers, the Hollywood Project Area sculptures of four grande dames of cultural components, thanks to CRA/ strives to roll out a red carpet for tourists film. CRA/LA’s $15 million rehabilitation LA’s percent for art policy. Developers and movie stars without pulling the rug out painstakingly restored the landmark receiving CRA/LA financing dedicate 1% from under long-time arts tenants. Egyptian Theatre’s 1920s glamour, of development costs to art. They may use providing a new home for the non-profit 60% of the funds for on-site public art, Art and design have always been an arthouse, Cinematheque. Completed in with the remaining 40% pooled in a cultural important part of the comprehensive, 2001, the publicly financed Hollywood trust fund that supports art in projects long-term Hollywood Redevelopment and Highland Center links a metro station CRA/LA develops. Or, developers may Plan, adopted by the Los Angeles City with shopping and the Kodak Theatre, devote their fee to a cultural facility within Council in 1986. A $5 million streetscape the Academy Awards’ new permanent the project area. Some private developers, creative placemaking: case studies 42

like the W Hotel’s Gatehouse Capital in a planned rehabilitation of a historic and Legacy Partners, spend beyond the home. A second cohort of Hollywood required amount to realize visions like arts organizations will soon enter the Pae White’s constellation of iridescent program, and CRA/LA recently replicated medallions, Christian Moeller’s 3-D steel its innovative approach in four other mural of hands, and Jennifer Steinkamp’s communities. series of digital panels, all visible as one exits the metro station. Hollywood’s revitalization has encountered setbacks and challenges. CRA/LA takes KEY TAKEAWAYS But small arts organizations suffered a long view of its work. Its efforts in rapid rent increases as private developers Hollywood fall within a 40-year plan. In the 1980s, Hollywood invested in infill projects. When The Lawsuits held up its work in Hollywood advocates and the Actors’ Gang, a performing arts mainstay, for four years, preventing it from moving lost its space in 2005, Hollywood beyond planning stages until 1990. Community Redevelopment advocates mobilized. Recognizing However, $7 million in construction Agency of the City of Los that arts organizations—some that had mitigation funds and FEMA and insurance Angeles begin a remake of been in the area over 20 years—have payouts from a 1994 earthquake allowed the Hollywood Boulevard defined Hollywood and spurred ancillary it to move ahead with the streetscape area, promoting its unique investment and spending, CRA/LA demonstration project. In the realm of arts and entertainment developed the Arts Retention Program, a public art, CRA/LA has learned over time legacy. partnership with the non-profit LA Stage to prioritize sustainability. Proposals for Alliance, to help small arts groups build technically complex pieces must include a CRA/LA’s multi-million capacity. maintenance plan that details stewardship dollar demonstration and funding. CRA/LA works with private projects— The Arts Retention Program offers arts developers to record covenants, so that a theater restoration, organizations planning support, technical future property owners will preserve works streetscaping, and transit- assistance, and seed grants for facility of art. CRA/LA and the Hollywood Arts oriented developments— upgrades. From 2006 to 2009, twelve arts Council, a non-profit, also actively partner spur private development groups including arts education programs, on public art conservation. and prompt a hot real-estate theaters, and museums went through the rigorous, multi-year program. They exit Drawing on and preserving the area’s market. better equipped to tackle tough market unique arts and entertainment legacy, To avoid displacement pressures; and ten of the arts organizations CRA/LA and its private and non-profit from rising rents, CRA/LA have remained active in Hollywood. The partners have made tremendous strides, program bolsters arts organizations’ reclaiming Hollywood as a major cultural launches an Arts Retention credibility, so that developers considering destination. Public art helps bridge Program to help small arts setting aside space for arts and cultural Hollywood’s mystique with today’s reality. organizations secure long- organizations can be confident in the CRA/LA has proactively partnered non- term leases and provide latter’s stability. Even in the recession- profit arts organizations to help secure planning support, technical cooled market, one developer included their future, so that Hollywood can retain assistance, and seed-grants space for an arts education program these cultural assets. for facility upgrades.

Today cultural workers, residents, and visitors enjoy distinctive public art and landmark cultural facilities, which strengthen Hollywood’s identity. creative placemaking: case studies 43

Art as Healing Fond du Lac Reservation, Minnesota

On Fond du Lac in northern Minnesota, a tribal health and social Believing that art is essential for healing services manager has animated community health and gathering and community identity, he has convinced tribal leaders to spend a percent of places around the reservation with a rich, diverse the building and maintenance costs on collection of Ojibwe visual art. purchasing and commissioning work by living Native artists. The funds come from income for services provided to members and from the federal Bureau of Indian Affairs, Indian Health Services, and State of Minnesota programs. The suffusion of art vibrant with cultural content encourages community members to access services, congregate, and share; while the payments that artists receive help to ensure future creative output.

When Fond du Lac tribal members visit their Min No Aya Win Human Services Center, they enter and wait for appointments in a spacious atrium. An

Photo © Cheryl Walsh Belleville, 2009 Photo © Cheryl Walsh entire wall is packed with hundreds of Karen Savage Blue, Wall Mural, Mash Ka Wiesen Treatment Center, Sawyer, MN. historic photos of their elders, brought in by Band members. As they move through corridors and into examination rooms, offices and conferences space, they are surrounded by artwork created by Ojibwe artists—murals, stencils, sculpture, paintings, and fiber art. In some, their creators use traditional techniques, such as beadwork and bitten birchbark, or materials such as deer hide, feathers, and bone. Other rooms host modernist paintings and sculpture, some humorous, some political, some simply beautiful. Some artists harness traditional techniques to modern themes. Others use contemporary tools Photo © Cheryl Walsh Belleville, 2009 Photo © Cheryl Walsh Belleville, 2009 Photo © Cheryl Walsh to explore historic or mythic content. Karen Savage Blue, Ojibwe painter, Phil Norrgard, Min No Aya Win Clinic. Fond du Lac teacher, member. Artworks by Carl Gawboy and John Losh. The Min No Aya Win complex operates on reservation land west of Cloquet, Minnesota, and includes a human services center in downtown Duluth. Since the early 1990s, American Indians have received health care and social services in a series of attractive new buildings made possible with revenues from the Band’s two casinos. creative placemaking: case studies 44

In planning each new structure, complex by Marcie McIntyre, stenciled borders director Phil Norrgard asked the Tribal by Wendy Savage, and sculptures by Council to commit 1–2% from budgets Jeff Savage. There are paintings by of $2.6, $4, and $6.5 million for the three Norval Morrisseau, Carl Gawboy, Karen central structures to purchase design and Savage Blue, Joe Geeshick, and others, artwork for interiors. In making his pitch, all impeccably framed and presented. Norrgard pointed out that utilitarian walls Together, they comprise the largest and doors cost ten times as much as the collection of contemporary Ojibwe art artwork he advocates. in the upper Midwest, outdoing the KEY TAKEAWAYS region’s collecting museums. In a 2009 But more important, Norrgard convinced study of Native artists’ livelihoods, several A tribal health and social Tribal Council members that art is artists acknowledged the considerable services manager makes the essential to healing: “Art provides a contribution of Min No Aya Win purchases context for healing that can’t be created to their incomes and visibility.41 case for culturally specific any other way.” Fond du Lac members art as an instrument for reach a comfort level with health care Norrgard welcomes artists to drop by healing and community and social services much faster when and often buys directly from them out of identity. interior environments complement their their cars or at exhibits. “We have failed culture. Norrgard believes that in a place the art community by not appreciating To commission and of healing, art is a natural part of the entire and investing more in the work. We have purchase Ojibwe design atmosphere. “It helps create the right done so much to this world to make it not and artwork, the Tribal climate for the other work to take place. beautiful, like homogenizing the visual Council commits 1–2% from People feel better when they see and landscape.” Norrgard pays special attention casino-funded budgets of interact with beautiful things, especially to young artists, hoping to demonstrate $2.6, $4, and $6.5 million when they see that their grandparents, to young people that art has value. for new buildings spread parents, and other community members around the reservation, have brought and attended to things that Convincing Board members to spend supplemented with Bureau are beautiful. It’s not just utilitarian, but precious resources on artwork can of Indian Affairs and honoring that part of life that honors the be a challenge. Despite Min No Aya State of Minnesota health divine. That’s what you hope to do with Win’s pioneering example, few other healing, too. Art has to share that space.” Minnesota tribes have been willing to maintenance monies. devote casino or economic development Surrounded by artwork The devotion of resources and space to funds to artwork in community centers, that expressed traditional artwork pays off in terms of staff morale. hotels, or casinos. Fond du Lac’s example In health and social services, employees demonstrates how a non-arts professional and contemporary Ojibwe are often dealing with serious individual with an articulate philosophy and patience themes, tribal members are disease and dysfunction. High staff can build partnerships with non-arts more apt to seek health care turnover rates persist in many Indian leaders to integrate art and culture and to heal faster, and staff communities. “Art reveals that incredible into community space, leveraging funds morale improves as well. creative potential in all of us and gives us from tribal enterprises and the public hope when situations are discouraging,” sector. The ubiquitous artwork enhances Contemporary Ojibwe reflects Norrgard. community members’ health while artists’ visibility and sustaining artists’ careers. By transforming incomes are significantly Min No Aya Win’s patronage of living community centers into engaged aesthetic amplified by Min No Aya artists boosts their careers. Among experiences, it is a model for placemaking Win complex patronage. the five-building complex’s treasures on reservations and in rural communities. are brightly colored floral beadwork creative placemaking: case studies 45

Marrying Art to Technology 01SJ Biennial, San José, California Photo © Everett Taasevigen, 2008 Photo © Everett Taasevigen, Photo © Media Chief, 2008 Baby Love by Shu Lea Cheang Mashup by Survival Research Labs

Can techie entrepreneurs remake a city as a place that weds technology with art? This is the quest of ZERO1, a San José non-profit art and technology network and producer of the 01SJ Biennial.

Central to ZERO1’s mission is the belief commissioned art projects that explore technology prowess with its growing arts that art is 1) central to collaboration, contemporary thinking using technology. community. Through the Biennial, says experimentation, discovery, and Trans-disciplinary in focus, the festival ZERO1 Executive Director Joel Slayton, invention, and 2) can provoke our critical encompasses visual and performing arts, “we are laying the groundwork for an understanding of the contemporary world. theater, music, and public art installations enduring collaborative community that Jump-started with support from the City offered to the public for free or a nominal shares common strategic goals and of San José, the event now draws up to fee. For three weeks at its 2010 Biennial resources, produces unique presentation 55,000 people, generates millions in local centerpiece, Out of the Garage and into platforms, and insists on an inclusive sales, creates jobs, and leverages funds from the World, artists will lead workshops curatorial process.” foundation and corporate sponsors. One of that engage participants 24/7, showcasing the largest and most prestigious US biennials Silicon Valley’s creativity, entrepreneurship, ZERO1s’ lineage began in the mid-1990s, exploring the art/technology nexus, ZERO1 and innovation. when Andy Cunningham, its founder and is remaking the face of San José for the an icon in Silicon Valley public relations larger world and its own citizens. ZERO1 helps the Valley’s residents see and strategic communications, staged the themselves as denizens of a uniquely Interactive Media Festival. She raised $2 The third 01SJ Biennial, “Build Your Own creative region, not just as Biennial hosts. million from Motorola for the Los Angeles- World,” is slated for September 2010. The City supports the Biennial because based event. The Festival hosted artists On eight separate platforms around the it believes San José’s unique comparative and projects that forecast the future, city, creators will present large and small advantage lies in the marriage of its including Marc Andreessen unveiling creative placemaking: case studies 46

Mosaic (his forerunner to Netscape) as for limited resources, so it turned to the an art project. As a follow-on incubation private sector. Of its current $1.5 million model for artist/techie intersection, Andy annual budget, foundations provide 50- Cunningham assembled a board and 60% and corporate sponsorships most of established the non-profit Ground Zero, the rest. Revenues from token entrance renamed ZERO1 following 9/11. fees amount to less than 10%. But ZERO1 continues to work with the City’s Public Art The idea for an international festival program on mutually beneficial projects, around creativity and innovation gradually bringing ZERO1 programming expertise, KEY TAKEAWAYS emerged, attracting corporate sponsors facility resources, and help in navigating and public interest. The City of San José City regulations. Envisioning the marriage of sought an event that would brand it as technology prowess with the heart of Silicon Valley. The fledgling ZERO1 is a 21st-century model for how ZERO1 wrote a bid, submitted and won non-profit arts organizations might function artistic talent, a San José by the City, to host the 2006 International in a fast-changing world. It is more like a tech entrepreneur initiates a Symposium for Electronic Arts, using it start-up company than an arts presenter. series of festivals and a non- as a launch pad to establish 01SJ as an Its Green Prix, a Biennial platform centered profit organization, ZERO1, international biennial festival. on eco-locomotion—how people can move to organize them. through urban space on everything from The Biennial is an intricate partnership modified skateboards, bicycles, and solar The City of San José between forty Silicon Valley arts cars to self-guiding automobiles—parades provides early crucial organizations and ZERO1. The arts partners to a central place where people can funding, but the Biennial is contribute presentation venues and spend hours examining the entries and increasingly supported by participants. Refusing to act as a flow- talking with their creators. ZERO1 is also corporate sponsorships and through mechanism for funding, ZERO1 entrepreneuring a Center for Corporate philanthropy. doesn’t just turn over dollars that it raises Creativity and Cultural Innovation that will to artists and arts organizations. “All must offer companies access to new ideas from A partnership between have skin in the game, bring something the arts/technology nexus. forty Silicon Valley arts to the table,” says Slayton. ZERO1 brings organizations and ZERO1, them networks, curatorial expertise, and ZERO1 faces financial and partnership- the arts partners contribute international recognition while exposing building challenges. But the biggest presentation venues and their constituents to creative artists from all challenge is how to shift people’s participants while gaining over the world. expectations about the kind of world they networks, curatorial want to live in and the role that art plays ZERO1 is shifting away from financial in building it. ZERO1 hopes the biennial expertise, and international dependency on the public sector. event will prompt visitors to say, “Wow, recognition. The City’s Department of Economic this is Silicon Valley!” Says Slayton, “Right The Biennial now draws Development provided crucial early now, you can’t find this perception, but if support with $250,000 for the 2006 and we can marry these—art, technology, digital 55,000 people and generates 2008 Biennials. As City budgets tightened, culture—this could be one of the nation’s millions in local sales while ZERO1 found itself competing directly most vibrant cities.” creating jobs and nurturing with its cultural organization partners art/technology projects that will grow future cultural industry businesses. creative placemaking: case studies 47

Can arts leaders yoke a vacant downtown lot with workforce development monies to create a pioneering program to provide city youth with marketable skills and job savvy? That’s what happened in Chicago almost two decades ago.

The initiative, gallery37, was the joint summer opportunities to prepare for informal clubs to apprenticeships with brainchild of the City’s First Lady and college and employment. Far-reaching stipends, to rigorous internships. Through the Cultural Affairs Commissioner, who public and community partnerships explain gallery37, After School Matters’ flagship saw how it could also support artists as the initiative’s success and underpin training arts program, youth work with artist youth mentors and teachers. The program offerings at 60 public high schools and mentors, gaining valuable professional subsequently spread to schools and more than 100 community organizations. experience and aptitude in their chosen neighborhoods all over the city, and with a Facilitating access to neighborhood artistic discipline. Program “campuses” name change to After School Matters, into resources, public partners spanning the center around a local high school, a non-arts skill areas. It has partnered across City of Chicago and its schools, libraries, neighboring park, and library. Across all public, private, and non-profit sectors, and park districts provide 63% of the $28M content areas, youth learn the soft-skills including city/parks/schools cooperation. annual budget through in-kind and financial valued by employers: teamwork, timeliness, The initiative has encouraged other City contributions. A pioneering approach, effective communication, and project efforts, such as Cleveland’s ArtWorks youth After School Matters has earned national management skills, and meet professional training program. accolades, including a 1997 Innovations in standards for attendance, dedication, American Government Award. and conduct. School principals value the In After School Matters’ placements that program’s ability to keep youth safe after range from skateboard design to culinary The non-profit After School Matters offers school and stay on track academically. arts to lifeguard training, Chicago teens youth hands-on, project-based learning Over 100 community-based organizations have access to 25,000 after school and through a range of opportunities from host additional offerings. The Chicago Park creative placemaking: case studies 48

District leverages the program to train its fluctuations in funding, entail formidable future workforce, ranging from lifeguards to challenges. Executive Director David Siniski sports coaches. cautions others not to underestimate the tremendous amount of time required to After School Matters’ roots stem from develop and sustain relationships that innovative public sector leadership and range from individual school principals non-traditional federal and philanthropic to upper level administrators of City seed monies. Heeding Mayor Richard departments. Increased demand drove M. Daley’s call in the early ’90s to After School Matters’ expansion from 260 KEY TAKEAWAYS submit ideas for Block 37, a prominent teens in 1991 to 25,000 teens in spring undeveloped parcel in the heart of the 2010, but funding fluctuations also dictate A First Lady and the Cultural City’s business district, First Lady Maggie program contractions. Given Illinois’ recent Affairs Commissioner Daley and Department of Cultural Affairs budget crises, the organization is uncertain Commissioner Lois Weisberg proposed that it will receive funding for the next fiscal animate a key vacant gallery37, an arts-based paid apprenticeship year, which could amount to a $4.5 million Chicago downtown property program for teens. Maggie Daley and cut in program support. Federal support with an arts mentoring and Weisberg saw an opportunity to animate has been modest after the initial JTPA job training program for Block 37 while countering high youth seed funding, though After School Matters youth. unemployment, compensating for cuts secured a $1 million Workforce Investment in youth arts programming, and offering award from the American Recovery and gallery37’s success prompts work and career-enhancing opportunities Reinvestment Act in 2009. a private foundation to for both teens and professional artists. support its expansion city- Launched in 1991 with initial funding from Despite challenges, After School Matters’ wide and into other subject the Federal Job Training Partnership Act success along several dimensions is areas, from 260 teens in 1991 (JTPA), the creative bridging of arts and irrefutable. A 2007 study from the to 25,000 in 2010. workforce development soon expanded University of Chicago’s Chapin Hall citywide. In 1995, when the Mayor assumed Center found beneficial outcomes for After School Matters now responsibility for Chicago’s public schools, participating youth including improved operates across the city, gallery37 moved from summer to year- graduation and attendance rates and pairing students with artist round programming. Affirming the model’s fewer course failures.42 Chicago residents mentors at high schools, success, gallery37 became After School enjoy public dance, music, and theater parks, and libraries, public Matters in the early 2000s. Piggybacking performances, purchase youth-made art partners providing 63% of its on public sector innovation, the Robert at the gallery37 Retail Store, and take $28 million budget. Wood Johnson Foundation recognized pride in neighborhood-based public art the program’s potential to reduce high-risk created by participants. Cities in Ireland gallery37 improves youth behavior in youth and awarded a $5 million and Scotland and as nearby as Cleveland graduation rates, expands grant, extending gallery37’s techniques into have mounted programs based on the the arts and design other content areas such as sports, science, After School Matters model. The City of communications, and technology. Chicago demonstrates to teens that their workforce, offers public communities care about their futures and performances throughout For all of its merits, the partnership model, provide tools to help them succeed. the City, and greets visitors as well as the program’s rapid growth and with airport murals that the celebrate the City’s diverse cultures. creative placemaking: case studies 49 Transforming Neighborhoods and Lives Philadelphia, Pennsylvania’s Mural Arts Program

Through a unique city agency-non-profit hybrid, Philadelphia, once plagued by graffiti, is now the City of Murals. More than 3,000 of them have converted expanses of once-vacant walls into beacons of pride.

Stabilizing abandoned lots, enlivening now sport colorful youth-created graphic community centers, and animating open wraps. Through the process, youth learned spaces, multi-story paintings reflect the about single-stream recycling and now cultures of Philadelphia’s neighborhoods. look on with pride as the trucks service Twelve thousand residents and visitors neighborhoods surrounding their schools. tour the artworks annually. But the 2,500 A 50,000-square-foot mural will soon youth, 400 inmates and ex-offenders, 300 enliven the massive expanse of parking Philadelphia Inquirer professional artists, and 100 communities garages at the Philadelphia International involved each year in arts education, Airport, an initiative of the Deputy Mayor restorative justice programs, and mural for Transportation. The artwork, How Philly creation feel the Mural Arts Program’s Moves, will celebrate the joy of dance. To impacts even more deeply. create it, artist JJ Tiziou photographed 60 professional and amateur dancers and will

Photo by Clem Murray for the Today, Philadelphia’s Mural Arts Program employ both artists and ex-offenders to Ann Northrup and inmate artists at Riverside is a city agency headed by founding install the mural, which will incorporate a Correctional Facility celebrate the dedication artist Jane Golden. A non-profit sister selection of the photographs. To date, the of Going Home, the mural on which they organization, Philadelphia Mural Arts Philadelphia Airport, Philadelphia Parking collaborated. Advocates, works in tandem with the Authority, Bank of America, and US agency, securing service contracts Airways have committed funding. and raising private grant dollars and donations. Half of the Mural Arts A City search for a solution to a growing Program’s $6.5 million annual budget graffiti problem sparked the Mural Arts comes from private grants, donations, Program. In 1984, as part of the City’s and earned income, and half is from the Philadelphia Anti-Graffiti Network, public sector. The City of Philadelphia Mayor Wilson Goode hired muralist Jane contributes the bulk of public funding Golden to work with adjudicated graffiti through staffing and service contracts, writers. Golden recognized their artistic although the Pennsylvania Council for sensibilities. Through mural-making, she the Arts and the National Endowment offered these youth a support structure, for the Arts also provide support. empowering them to create beautiful public works of art. From the start, The program’s crosscutting projects speak neighborhood residents sanctioned and for themselves. Thanks to a partnership shaped mural themes and collaborated with Philadelphia’s Streets Department on design through facilitated community and the Design Center at Philadelphia meetings. During the first ten years, many University, two fleets of recycling trucks mural-involved community residents had creative placemaking: case studies 50

never previously encountered a City however, has also flowed to Mural Arts out agency other than police. Golden used the of recognition that its work serves not just program’s entrée to leverage additional artistic, but also social, placemaking and City support and services for previously economic development objectives. For under-served communities. instance, a new initiative matches artists with behavioral health service providers The City and Golden have expanded to serve individuals struggling with drug and stewarded the Mural Program for 26 addiction, homelessness, developmental successful years. Recognizing the program’s disabilities, or mental illness. These KEY TAKEAWAYS community-bridging and placemaking ventures into new, untested domains roles, Mayor Edward Rendell increased continue to push the program. An artist and mayor launch City support and in 1996 reorganized the the nation’s largest mural Anti-Graffiti network into the Mural Arts Philadelphia’s mural legacy is still evolving, Program with Golden as director. Golden but is already a success commanding arts program, begun as an concurrently established the non-profit international attention. Over 3,000 anti-graffiti effort fueled Philadelphia Mural Arts Advocates. With murals have enlivened Philadelphia’s by neighborhood input increased access to funds, the Mural streets, schools, community organizations, and harnessing ex-graffiti Arts Program dramatically increased the and open spaces, each with its own writers’ skills. number of projects it undertook. artistic merit and community-related distinctiveness. The program employs Private grants, donations, Although the technical learning curve artists with varying levels of experience and earned income cover is mostly behind it, the program still and skills and from a range of ethnic half the program’s $6.5 tackles challenges and new opportunities. backgrounds. In its first 25 years, it has million annual budget, with Paintings created in the early years require provided more than 20,000 underserved City budgets paying for more maintenance than those made after youth with arts education. Its work with staffing and services, and artists learned which materials and surface the criminal justice system provides additional contributions preparation techniques improve durability. inmates and ex-offenders with social and from the Pennsylvania The program sometimes faces scrutiny basic education skills, and gives them an Council for the Arts and from other local arts organizations working opportunity to make amends by restoring the National Endowment in the public art realm. They question their communities. What began as an why one entity should command such a anti-graffiti experiment is now the largest for the Arts. large share of public resources. Beyond mural program in the county, a model for Driven by a philosophy of staffing provided as a City agency, Mural replication, and a catalyst for beneficial yoking artistic with social, Arts earns service contracts through a social change. competitive bid process. City support, placemaking, and economic development objectives, the program enjoys support and staffing contributions from the City’s streets, transportation, criminal justice, and behavioral health agencies.

Each year, 2,500 youth, 400 inmates and ex-offenders, and 300 professional artists work in 100 communities to stabilize abandoned lots, enliven community centers, animate open spaces, and reflect the diverse cultures of city neighborhoods. Photo by Steve Weinik.

Animating Infrastructure Phoenix, Arizona Public Art Program

As a sprawling, new growth desert city, Phoenix has faced acute infrastructure demands over the last 20 years. Its groundbreaking public art program infuses art and design into public facilities and spaces ranging from freeway overpasses to recycling centers and neighborhood parks.

These projects not only make Phoenix a more beautiful and vibrant city, they also expand infrastructure’s very function by revealing processes often hidden from the public eye, celebrating common purpose, history, and community. The City of Phoenix not only benefits from the artistic output, but also from the process of creating public art. Artists and the Office of Cultural Affairs staff act as innovators and conveners, engaging citizens and linking disparate jurisdictions and departments.

Public art along major highways illustrate this pioneering approach. Sculptures line freeway sound walls and underpasses, and five landmark artist-designed pedestrian bridges animate State Route 51. In her Our Shared Environment—six reptile-shaped Photo © Phoenix Office of Cultural Affairs/Bob Rink, 2003 support columns and 18 large relief panels Waterworks by Mags Harries, Lajos Heder, and Steve Martino of human, abstract, and animal images— artist Marilyn Zwak honors the inhabitants of the ancient Hohokam village discovered when freeway site excavation began. Zwak proved to skeptical engineers that stabilized adobe could be integrated into a major highway bridge.

Phoenix’s public art also animates the City’s canals and waterworks. Public art lines the banks of the Salt River Valley canal system, reclaiming a stark, forgotten watercourse as a prized community asset. Water cascading from two diverted aqueducts surround visitors at Arizona Falls’ Waterworks, a cooling station for recreational users on the canal banks. The project relied heavily on a community steering committee and hinged on a master agreement brokered Photo © Tim Lanterman/Phoenix Office of Cultural Affairs, 1998 Photo © Tim Mountain Pass Bridge by Laurie Lundquist, SVR, Inc. & HDR Engineering, Inc. by the City of Phoenix, Salt River Project creative placemaking: case studies 52

(the public utility company managing Public Art Program involves artists in the waterway), the federal Bureau of the earliest stages of design, giving them Reclamation, and the Maricopa County a peer-to-peer voice with engineers, Flood Control District. architects, urban planners, and city staff.

With more than 145 projects completed By embedding artists as core members and 80 in progress, the Phoenix Public of the design team, the City of Phoenix Art Program is one of the most active has moved beyond using public art as municipal public art programs in the a band-aid for urban spaces. Edward KEY TAKEAWAYS country. A generous and sustainable Lebow, Phoenix Public Art Program funding structure—the 1986 ordinance Director, explains that it allows room Civic leaders envision public allocating up to one percent of the City’s for impertinent questions to be asked. art helping to enhance Capital Improvement Program to public By questioning assumptions of how art—reflects a precocious commitment by things should look and function, Phoenix’s quality of life, a wide range of civic leaders to improving artists collaborating with other design commissioning a landmark Phoenix’s quality of life. Phoenix has professionals spark citywide debates citywide public art master invested over $30 million since 1986, with about the nature of public design and plan and percent for art budgets for individual projects ranging public space. These can be heated, as funding stream. from under $10,000 to over $2.5 million. with the public clamor and mass media In 1988, Phoenix adopted the nation’s first coverage of the Wall Cycle to Ocotillo Over 20 years, Phoenix has citywide public art master plan, applying installation of a series of large sculptural invested over $30 million in an arts perspective to city-shaping pots on State Route 51. Yet they expand public art, infusing capital systems ranging from transportation to the public’s understanding of the role and projects with art, and in the water to housing. The ordinance’s flexible function of both art and infrastructure. process sparking a debate structure allows resources to be pooled about the nature and role of by department. In recent years, the Office Amid controversy and accolades, Phoenix infrastructure. of Cultural Affairs has used GIS mapping harnesses public art to convert utilitarian to identify concentrations of capital infrastructure into compelling places, From canals and trails, to improvements and funds, creating more enriching the city as a whole. Articles in pedestrian bridges over opportunities for high-impact, inter- the New York Times, Wall Street Journal, freeways, to recycling departmental public art projects. and Atlantic Monthly have applauded centers, public art helps the Public Art Program’s work. The U.S. make Phoenix more livable Phoenix’s approach stands out for reasons Department of Transportation, National for residents and has earned beyond its marrying art to infrastructure: Endowment for the Arts, and other it has insisted on artist and resident regional and local bodies have honored the City national acclaim. participation from the start. In 1984, Mayor the Public Art Program’s innovative Terry Goddard convened an Ad Hoc efforts with numerous awards. The Public Committee on the Arts with 25 members Art Program’s revised (2006) organizing and an auxiliary of 125 permanent guests. principles, which prioritize creative Residents help shape projects through partnerships and sustainability, show that initial planning meetings, serving on artist Phoenix still leads the nation’s thinking on selection panels, and providing ongoing public art. input during the artistic process. The creative placemaking: case studies 53

Mayors and Artists Spark a Renaissance Providence, Rhode Island

For almost 30 years, Providence mayors have intentionally used arts and culture to build pride of place, attract residents and visitors downtown, and foster economic development. Lynne McCormack, Director for the Providence Department of Art, Culture and Tourism, explains that the mayors “get” how arts and culture contribute to the city.

“Even the one that went to federal prison got it.” In Providence, city leaders champion arts and culture initiatives— festivals, tax incentive fueled arts districts, loans, and technical assistance for arts facilities—because the whole of the city benefits. Although Providence remains a challenged older post-industrial city, with high unemployment and poverty rates, distinctive arts and cultural activities have staunched the City’s population decline and avoided greater distress.

An example of Providence’s make-it- happen approach, WaterFire Providence® has evolved from a one-time event into an ongoing community ritual several times a month, spring to fall. Providence has struggled for almost a century with plant closings, population stagnation, physical Photo © Michael Melford deterioration, and more recently, a WaterFire Providence downtown retail exodus. In the early 1990s, the City moved boldly, uncovering its downtown rivers that had been paved over for decades, but only partly succeeding in creating a new downtown focal point.

Then in 1994, for a First Night celebration, artist Barnaby Evans installed a series of ceremonial bonfires on downtown Providence rivers. The dramatic work of art resonated with the broad public. Mayor Vincent Cianci encouraged Evans to create an ongoing fire installation via WaterFire, a non-profit arts organization. creative placemaking: case studies 54

Supporters of the recurring festival During Providence’s journey from include local businesses, volunteers who the “armpit of New England” to self- donate their time, and the City’s parks proclaimed “creative capital,” government, and police departments, which provide civic, and arts leaders have encountered operational resources. WaterFire® challenges. Providence has been unable draws more the one million people to to tap the expertise of national artist Providence each year, an estimated two- space developers, like Artspace Projects. thirds coming from outside the area.43 Thirty-five percent of Providence’s land is owned by tax-exempt non-profits, so KEY TAKEAWAYS In pioneering arts districts with innovative the City cannot afford giveaways, and tax incentives, Providence led the country. both for-profit and non-profit developers A series of visionary mayors Artists in the district pay no state income are deterred by high acquisitions costs harness arts and culture to tax on art income, and sales tax is waived relative to other markets. Local artists on original artwork purchases. A civically committed to Providence initiate recast Providence as the minded developer, Buff Chase, and Mayor developments and rely heavily on Creative Capital. Cianci initiated the plan in the late 1990s the City for initial below-market loans The WaterFire® Providence as a way to entice artists into rehabilitated that then entice private lenders to invest. downtown buildings. The Rhode Island festival animates downtown General Assembly authorized legislation Designating arts districts is also rivers with floating bonfires, in 1998, expanding the model to districts in challenging. In an early attempt, artists drawing over one million nine other communities across the state. found the neighborhood’s renovated old people to Providence each Maryland and Louisiana have followed office spaces ill suited to their needs. In year, an estimated two-thirds Rhode Island’s lead and adopted similar 2005 the City tried again and succeeded from outside the region. policies.44 in attracting galleries and artists into a west-side neighborhood offering a mix of City staffers, artists, Providence’s sustained activist retail and industrial space appropriate for and private developers approach toward arts-based community loft conversions. Providence also faces work together to reclaim development relies on historic assets and tensions between transparency of process underutilized space for artists. Because urban renewal bypassed and development flexibility. Most action artist spaces, pioneering Providence, the city enjoys the nation’s happens opportunistically rather than innovative arts-friendly tax largest share of National Historic Register through formal, codified procedures. incentives. buildings, many transformed by artists into studios and live-work spaces. Artists facing Arts and culture have fed Providence’s evictions learned that the City’s planning renaissance, thanks in large part to strong, department could provide below-market sustained political will. The current mayor, loans and technical assistance for space David Cicilline, champions the arts’ acquisition. An example is AS220, a non- contributions to revitalization in federal profit community arts space that anchors arenas ranging from Congressional sub- the downtown arts and entertainment committees to the U.S. Conference of district. From 1986-2009 the artists of Mayors. He established the Department of AS220 worked closely with the planning Art, Culture, and Tourism, where staffers department to secure financing and acts as ombudsmen, helping artists acquire three live-work buildings with navigate City bureaucracies and translate exhibition space. City leaders continue unfamiliar business lingo. Gradually, to support artists’ efforts as they see through artist driven initiatives, City urban dead spots become animated leadership and private sector cooperation, streetscapes. Providence is shaping its future. creative placemaking: endnotes 55

Endnotes

1 Andres Rodriguez-Pose, “Between Development and Social Policies: The 15 National Endowment for the Arts, Artists in the Workforce, 1990-2005, 18. Impact of European Structural Funds in Objective 1 Regions,” Regional 16 Markusen and Schrock, “The Artistic Dividend: Urban Artistic Studies 38, no. 1 (2004); Ann Markusen, “Human versus Physical Capital: Specialization and Economic Development Implications,” 1678, Table 8. Government’s Role in Regional Development,” in Jorge Martinez-Vazquez 17 National Center for Educational Statistics, Digest of Education Statistics: and Francois Vaillancourt, eds. Public Policy for Regional Development 2009 (Washington, DC: U.S. Department of Education, Institute of Education (Oxford, UK: Routledge, 2008), 47-65; Ann Markusen, Reining in the Sciences, April 2010), 1678, Table 8, http://nces.ed.gov/pubs2010/2010013_3b.pdf. Competition for Capital (Kalamazoo: W.E. Upjohn Institute for Employment 18 National Endowment for the Arts, Artists in the Workforce, 1990-2005, 7-8. Research Press, 2007). 19 National Endowment for the Arts, Artist Unemployment Rates for 2008 2 Richard Lloyd, Neo-Bohemia: Art and Commerce in the Postindustrial and 2009. An Addendum to NEA Research Note #97, Artists in a Year of City (London: Routledge, 2005); Richard Lloyd, “Neo-Bohemia: Art and Recession: Impact on Jobs in 2008 (Washington, DC: National Endowment Neighborhood Redevelopment in Chicago,” Journal of Urban Affairs 24, for the Arts, January 2010), 1-2. no. 5 (2002); Richard Lloyd, “The Neighborhood in Cultural Production: 20 Material and Symbolic Resources in the New Bohemia,” City and “A giant sucking sound,” Economist, November 7, 2009. Community 3, no. 4 (2004): 343-371. 21 Steven Ruggles, J. Trent Alexander, Katie Genadek, Ronald Goeken, 3 Mark Stern and Susan Seifert, Cultivating “Natural” Cultural Districts Matthew B. Schroeder, and Matthew Sobek. Integrated Public Use (Philadelphia, PA: Social Impact of the Arts Project and The Reinvestment Microdata Series: Version 5.0 [Machine-readable database]. Minneapolis: Fund, September 2007), http://www.sp2.upenn.edu/SIAP/. University of Minnesota, 2010 22 4 Yvonne Scruggs, “HUD’s Stewardship of National Urban Policy: A DeNatale and Wassall, The Creative Economy: A New Definition; Retrospective View,” Cityscape: A Journal of Policy Development and Ann Markusen et al., “Defining the Creative Economy: Industry and Research 1, no. 3 (1995): 33-68. Occupational Approaches,” Economic Development Quarterly 22, no. 1 (2008): 24-45; Ann Markusen and Anne Gadwa, “Spatial Divisions of Labor: 5 Charles Landry, The Creative City: A Toolkit for Urban Innovators Regional Variation in Occupation by Industry Structure, Self-Employment (London: Earthscan, 2003); Charles Landry et al., The Creative City in and Migration,” presented at North American Regional Science Association Britain and Germany (London: Anglo-German Foundation for the Study Meetings, New York, November 2008. of Industrial Society, 1996). 23 William Beyers, “Cultural and Recreational Industries in the United States,” 6 Jane Jacobs, The Death and Life of Great American Cities (New York, NY: presented at North American Regional Science Association Meetings, Toronto, Vintage, 1961). November 2006: Table 1. Data from US personal consumption expenditures. 7 By way of evaluation, the Michigan State Housing Development Authority 24 Amanda Johnson, Minneapolis Zoning Code: Artist Live/Work conducted a survey of community members to track their response to the Recommendations, (Master of Urban and Regional Planning Professional program (Public Policy Associates, 2008), and the MSU-Land Policy Institute Paper, Minneapolis, MN: The Hubert H. Humphrey Institute of Public Affairs, (http://www.landpolicy.msu.edu/) is creating an online Assessment Tool which The University of Minnesota, May 2003). will be ready to launch at the Emerging Cities Summit on August 26, 2010. 25 Manhattan’s experience with artists and arts activities inducing gentrification 8 National Endowment for the Arts, The Arts and Civic Engagement: Involved that eventually displaced the renovators and innovators is well-documented in Arts, Involved in Life, NEA Research Brochure (Washington, DC: National in Sharon Zukin, Loft Living: Culture and Capital in Urban Change. Endowment for the Arts, November 2006), http://www.arts.gov/research/ Baltimore, MD: Johns Hopkins University Press, 1982. However, research research_brochures.php; Bonnie Nichols, Volunteering and Performing by Mark Stern and Susan Siefert finds that in cities like Philadelphia that Arts Attendance: More Evidence from the SPPA, NEA Research Note #94 lack generalized housing market pressures, the presence of artists and art (Washington, DC: National Endowment for the Arts, March 2007), increases area incomes, lowers crime rates, and stabilizes the diversity of arts.endow.gov/research/Notes/94.pdf; National Endowment for the Arts, their host neighborhoods: From Creative Economy to Creative Society, Art-Goers in Their Communities: Patterns of Civic and Social Engagement, Philadelphia: The Reinvestment Fund, 2008, and Cultivating “Natural” NEA Research Note #98 (Washington, DC: National Endowment for the Arts, Cultural Districts. Philadelphia: The Reinvestment Fund, 2007, October 2009), arts.endow.gov/research/Notes/98.pdf. http://www.sp2.upenn.edu/SIAP 9 Ann Markusen and Greg Schrock, “The Artistic Dividend: Urban Artistic 26 Rosalind Greenstein and Yesim Sungu-Eryilmaz, “Community Land Trusts: Specialization and Economic Development Implications.” Urban Studies Leasing Land for Affordable Housing,” Land Lines 17, no. 2 (2005); Rosalind 43, no. 10 (2006): 1661-1686; Richard Florida, The Rise of the Creative Greenstein and Yesim Sungu-Eryilmaz, “Community Land Trusts: Solution Class, New York, NY: Basic Books, 2002. for Permanently Affordable Housing,” Land Lines (January 2007): 8-13. 10 Annalee Saxenian, Regional Advantage: Culture and Competition in Silicon 27 Kay Oehler et al., Network Analysis and the Social Impact of Cultural Valley and Route 128 (Cambridge, MA: Harvard University Press, 1994). Arts Organizations (North Adams, MA: Center for Creative Community 11 Doug DeNatale and Gregory Wassall, The Creative Economy: A New Development, 2007); Stephen Sheppard, “Museums in the Neighborhood: Definition (Boston: New England Foundation for the Arts, 2007). The Local Economic Impact of Museums,” presented at North American 12 Ann Markusen, Greg Schrock, and Martina Cameron, The Artistic Dividend Regional Science Association Meetings, November 2008; Anne Gadwa, Revisited (Minneapolis, MN: University of Minnesota, Project on Regional How Artist Space Matters: Impacts and Insights from Three Case Studies and Industrial Economics, March 2004), 15-16, http://www.hhh.umn.edu/ Drawn from Artspace Project’s Earliest Developments (Minneapolis, MN: projects/prie/aei.html. Metris Arts Consulting, March 2010), http://www.metrisarts.com/. 28 Elizabeth Strom, “Let’s Put on a Show: Performing Arts and Urban Revitalization 13 National Endowment for the Arts, Artists in the Workforce, 1990-2005, in Newark, New Jersey,” Journal of Urban Affairs 21, no. 4 (1999): 423-435; Research Report (Washington, DC: National Endowment for the Arts, 2008), Elizabeth Strom, “Converting Pork into Porcelain: Cultural Institutions and 4-6, 16-20. Downtown Development,” Urban Affairs Review 38, no. 1 (2002): 3-21. 14 DeNatale and Wassall, The Creative Economy: A New Definition. creative placemaking: endnotes 56

29 Ann Markusen and Greg Schrock, “Consumption-Driven Urban 36 Cora Mirikitani, Emily Sevier, and Ann Markusen, Creative Entrepreneur Development,” Urban Geography 30, no. 4 (2009): 1-24; Richard Lloyd Project San José: Final Report and Recommendations (San Francisco: and Terry Nichols Clark, “The City as an Entertainment Machine,” in Center for Cultural Innovation, March 2009). Kevin Fox Gothan, ed. Critical Perspectives on Urban Redevelopment, 37 William Beyers et al., The Economic Impact of Seattle’s Music Industry Research in Urban Sociology 6 (Oxford, UK: JAI Press/Elsevier, 2001), (City of Seattle, Office of Economic Development, 2004); William Beyers, 357-78; Joseph Cortright, “The Economic Importance of Being Different: Christopher Fowler, and Derik Andreoli, The Economic Impact of Music in Regional Variations in Tastes, Increasing Returns, and the Dynamics of Seattle and King County, A report for the Mayor’s Office of Film + Music Development,” Economic Development Quarterly 16 (2002): 3-16. (Seattle: University of Washington, Department of Geography, November 30 Stern and Seifert, Cultivating “Natural” Cultural Districts; Mark J. Stern 2008), www.seattle.gov/music/docs/Seattle_Music_StudyFinal.pdf. and Susan Seifert, “Cultural Clusters: The Implications of Cultural Assets 38 Sue Shellenbarger, “The Next Youth-Magnet Cities,” WSJ.com, September Agglomeration for Neighborhood Revitalization,” Journal of Planning 30, 2009, U.S. edition, sec. Careers, http://online.wsj.com/article/SB10001424 Education and Research 29, no. 3 (March 2010): 262-279; Mark J. Stern and 052748703787204574442912720525316.html?mod=googlenews_wsj. Susan Seifert, From Creative Economy to Creative Society (Philadelphia, 39 Mt. Auburn Associates, Louisiana: Where Culture Means Business (Baton PA: Social Impact of the Arts Project and The Reinvestment Fund, January Rouge, LA: State of Louisiana, Office of the Lt. Governor, Department of 2008), http://www.sp2.upenn.edu/SIAP/. Culture, Recreation and Tourism, Office of Cultural Development, Louisiana 31 Jeremy Nowak, Creativity and Neighborhood Development: Strategies for Division of the Arts, July 2005), http://www.crt.state.la.us/culturaleconomy/ Community Investment (Philadelphia, PA: The Reinvestment Fund (TRF), mtauburn/culturaleconomyreport.htm. December 2007), www.trfund.com. 40 U.S. Department of Transportation, Art in Transit, FTA Circular 9400.1A 32 Tom Borrup, The Creative Community Builder’s Handbook: How to (U.S. Government Printing Office, 1995). Transform Communities Using Local Assets, Art, and Culture (Saint Paul, 41 Ann Markusen and Marcie Rendon, Native Artists: Livelihoods, Resources, MN: Fieldstone Alliance 2006). Space, Gifts (Minneapolis, MN: University of Minnesota, Project on 33 For the most recently published, see Los Angeles County Economic Regional and Industrial Economics, 2009). Development Corporation, Report on The Creative Economy of the Los 42 Robert Goerge et al., After-School Programs and Academic Impact: A Study Angeles Region (Los Angeles: Otis College of Art and Design, 2009). of Chicago’s After School Matters, Issue Brief, Chapin Hall Center for Children 34 Ann Markusen et al., Crossover: How Artists Build Careers across Issue Brief (Chicago, IL: University of Chicago, January 2007), http://www. Commercial, Non-profit and Community Work (Minneapolis, MN: University chapinhall.org/research/brief/after-school-programs-and-academic-impact. of Minnesota, Project on Regional and Industrial Economics, 2006). 43 Borrup, The Creative Community Builder’s Handbook: How to Transform 35 Ann Markusen, Anne Gadwa, and Pat Shifferd, San José Creative Communities Using Local Assets, Art, and Culture, 79. Entrepreneur Project: Artists’ Resource and Space Study (San José, CA: 44 Mt. Auburn Associates, Utilizing Tax Incentives to Cultivate Cultural Center for Cultural Innovation, September 2008). Industries and Spur Arts-Related Development (Baton Rouge, LA: Louisiana Office of the Lt. Governor and the Department of Culture, Recreation and Tourism, February 2, 2007), 11, http://www.mtauburnassociates.com/. creative placemaking: further reading 57