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The artistic precariat

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  • Alison Bain
  • Heather McLean

Abstract

This article examines how some artists have collectively negotiated precarity in Toronto’s cultural sector during the last 2 decades through two arts experiments: the Waterfront Trail Artists’ Association and Don Blanche. The social scientific scholarly literature on arts funding, precarious employment and community economies provides an entry point for our critique of the creative class theory for its neglect of grassroots struggles to produce and fund spaces of collective artistic experimentation. We argue, that local, non-capitalist and collectivist spaces, where artists can share resources, collaborate and build an alternative community cultural economy, are essential for sustaining the cultural sector because they assist individual creatives to performatively resist neo-liberal tendencies naturalized in the creative city script. Copyright 2012, Oxford University Press.

Suggested Citation

  • Alison Bain & Heather McLean, 2012. "The artistic precariat," Cambridge Journal of Regions, Economy and Society, Cambridge Political Economy Society, vol. 6(1), pages 93-111.
    • Handle: RePEc:oup:cjrecs:v:6:y:2012:i:1:p:93-111
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    File URL: http://hdl.handle.net/10.1093/cjres/rss020
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    Cited by:

    1. Heather E. McLean, 2014. "Cracks in the Creative City: The Contradictions of Community Arts Practice," International Journal of Urban and Regional Research, Wiley Blackwell, vol. 38(6), pages 2156-2173, November.
    2. Heather McLean, 2018. "Regulating and resisting queer creativity: Community-engaged arts practice in the neoliberal city," Urban Studies, Urban Studies Journal Limited, vol. 55(16), pages 3563-3578, December.

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