In 2008, a bunch of friends and I built out and managed a studio space in Brooklyn. We signed a five-year lease with a three-year option, and hoped for the best. We wanted to make our work and to innovate. This meant taking risks and failing often, and we needed low overhead (low rent) to make this possible.
When I realized that over eight years we would pay our landlord $960,000 for a dilapidated 8,000 square-foot studio space that we had built out with our own money and sweat equity, only to be kicked out and priced out of our neighborhood, not eligible for commercial loans to purchase a building of our own, I became obsessed with affordable, equitable ownership models.
But let’s back up. There are more creative people in our nation than doctors, lawyers and police officers combined — if we organized, we’d be larger than the US military! Even if our bank accounts evaporated overnight, we would still have skills to share with one another. Think about it like this: the next time you think about applying for a grant, take the 40 hours you were about to spend on a grant you likely won’t get, and use it to work on someone else’s project, and let them work on yours. This way, you will get a grant, but it will be one of mutual respect rather than institutional visibility.
Building a Creative Commonwealth
Since co-founding and co-directing OurGoods.org and TradeSchool.coop in 2008 to enable exactly this kind of resource sharing, I’ve seen how sharing economy platforms build resilience and mutual aid (for those of us on the privileged side of the digital divide). I’ve also seen that online platforms are not enough. We need affordable space, so that we can take risks and fail. And where will we meet to swap or share goods and services without spaces? Ensuring affordable space is the only way creative innovation can occur. And so I started thinking: How might we as artists utilize the strengths of a networked information era to cooperatively finance, acquire, and manage space? What can artists do to help ensure affordable space and reduce displacement?
The following suggestions were co-authored by my dear friends Stephen Korns and Susan Jahoda as part of a collaborative project called New York City, To Be Determined.
Why can’t artists stay put? Because short term leases end and rents go up. Why doesn’t Loft Law keep neighborhoods affordable? Because Loft Law buildings don’t require future affordability, so units are sold on the open market, driving real estate prices up for everyone. Why don’t organizers for affordable space see arts graduates as partners? Because arts graduates haven’t demonstrated an ability to organize and contribute to existing movements for affordable space. How might artists stay put? What can artists contribute?
As an artist, you are one in a sea of millions of artists in this country. Being one of so many might seem like competition for your art career (although I would argue it offers more possibilities for resource sharing and collaboration!), but it’s good news for your ability to make social change. You and other artists and educators form a voting bloc. You can join anti-eviction networks and efforts for radical reimagining of land ownership and urban spatial politics. Artists have done this in the past, and artists can do it again.
For example, The New York City Real Estate Cooperative (NYCREIC), is a tangible opportunity for change.
Inspired partially by the Cooper Square Committee’s success in using a community land trust to establish permanently affordable low income housing and commercial space, NYCREIC seeks to leverage relatively small investments (as low as $10) made by a large group of people to secure permanently affordable space for civic, small business, and cultural use. It aims to make long-term, stabilizing, and transformative investments in real estate for the benefit of member-owners and their communities.
Artists will benefit from the NYCREIC and other land trusts, but not because they are set aside as a special interest group from other low income people who share their needs. By building a cooperative, we are educating, empowering and shaping a powerful group of New Yorkers, including artists, who say: Development without displacement is possible.
Ryan Hickey at Picture the Homeless for welcoming us into NYCCLI’s work, to Caron Atlas for consistent reminders about the term “artist,” Paula Segal for refined goals/tactics and her work at 596Acres, Esther Robinson for ongoing dialog and her work at ArtHome, to Aaron Landsman for telling us to make it short, to Caroline’s cooperative house, and to Megan Hustad and Stephanie Knipe for editing and ongoing support.
Image Credit: NYC Real Estate Investment Cooperative slide illustration by Caroline Woolard. Used with permission.
By Robert Ransick
By Alexis Frasz
By Sunil Iyengar
By Hannah Appel
By Alexis Frasz, Angie Kim, and Holly Sidford
By Caroline Woolard
By Douglas Noonan
By Joanna Woronkowicz
By Danielle Jackson
By Umberto Crenca
By Sarah A. Howes
By Carlton Turner
By Ruby Lerner
By Steven J. Tepper
By Adam Huttler
By Yaw Agyeman
By Renata Marinaro
By Tanya Selvaratnam
By Kevin Erickson and Jean Cook
By Jenny Kendler and Elizabeth Corr
By Angie Kim
By Laura Zabel
By Asi Burak
CREATIVZ is a conversation about how artists in the United States live and work and what they need to sustain and strengthen their careers. It's part of a research project from the Center for Cultural Innovation and the National Endowment for the Arts, with additional support from the Doris Duke Charitable Foundation and the Surdna Foundation. Overall research and online strategy by Helicon. Online strategy and production by We Media.
Read more about the project.
Cover photo by Bill Dickinson via Flickr / Creative Commons