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Natalie Whitney
Friday, March 19, 2010

Gentrification and Street Art

Gentrification and its result, street art, are occurring before the eyes not only of
Torontonians, but those who reside in Montreal, and worldwide. This process can be
dismaying especially to artistic neighbourhoods such as those of West Queen West in
Toronto, and likewise, St. Laurent & Sainte Catherine in Montreal. Perhaps what is most
striking about this process is the reaction it draws. Some endorse the new apartment
complexes and enjoy the new faces in the neighbourhood, whereas some tend to reject
ideas of change and a more consumerist lifestyle. The change isn’t just in manifested in
new buildings or stores; usually during gentrification, rent and property taxes increase as
wealthier people move into the neighbourhood displacing others. These people need to
find an outlet to express their distaste and one of the most prominent forms of expression
is art. The type of art which applies most directly to gentrification is called street art and
encompasses graffiti, tagging, and other artistic displays.

On the western areas of Queen Street some of the most literal evidence of
gentrification exists. In what was once an underground artistic hub, apartment complexes
spring up with names such as “The Bohemian Embassy” to attract those who find
romance in the counter-culture vibe of the neighbourhood. Instead, most residents of
West Queen West reject these new buildings, and likewise the chain companies such as
Starbucks which now grace the neighbourhood. As aforementioned, one of the most
popular forms of expression on the street is street art. It’s no surprise that the buildings of
Queen West are home to some of the most elaborate graffiti and tagging in Toronto. This
graffiti is used for those who feel alienated from their previous culture, and feel the need
to express their concerns as publically as possible. “It is when the vast majority of people
begin to feel that they have no other outlet to communicate… that street art can act as an
antidote to our visual space being used as a social control mechanism”. (MacPhee) This
quote speaks to the idea that often the canvas used by street artists is as rich in meaning
as the images and words which they paint.

Graffiti and tagging are seen throughout time such as in Paris at the revolt of the
workers and students in 1968, in Nicaragua during the struggle against dictator Anastasia
Somoza, and in Rwanda during the genocide. This graffiti depicted strong social and
political messages of urgency and struggle. Similar to those who fall victim to
gentrification, these people felt they had no other option to express their needs and wants
to their government, so they chose to go against the law in hopes of recognition.

Paris
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Nicaragua

Rawanda

(Photos: http://www.justseeds.org/blog/2009/02/street_art_and_social_movement.html)

Graffiti and tagging alike offer anonymity while still making a name for the artist.
For example, a tag usually is a nickname or interesting word to spraypaint but if the tag is
used around the city, it creates an identity for this person. Tagging is not necessarily
claiming property (although sometimes it’s used to do so) but most of the time it’s used
for expression, rebellion and to create a symbol to associate that person with. In addition
to creating an identity, tagging can also create a community for those who are alienated.
For example, in Montreal, there was a spread of tagging over 6 walls with well over 400
names. This shows that there is a group for these people to rely on who are similar.

In Montreal, a massive change is occurring in the neighbourhood of St. Laurent

and Sainte Catherine. The government is attempting to improve both secondary schools
and cultural spaces in a process of gentrification. However, during this renovation of
cultural spaces, many small stores familiar to this artistic neighbourhood are being torn
down and the residents are forced to move due to the rising cost of living. This
neighbourhood is reacting. The graffiti emerging is artistic, expressive, and a sign of
rebellion. The people who used to use those spaces now “deface” the renovations with
slang, tagging and pictures. Instead of hiding behind conformity and adapting to the new
changes, many choose to boycott big brands and express themselves through art as
publically as possible.

However, there are many different opinions on how to interpret this street art. Is it
a beautiful artistic expression or it is vandalism? Perhaps there is a grey area. Street art
shares some noteworthy similarities with the Broken Window Theory. This theory states
that if a window were to be broken, it would communicate a message to the community
that there was a lack of respect for the neighbourhood. Seeing this, another window
would be broken which could lead to the demise of a neighbourhood. This desmise could
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play a part in the alienation of its residents which could create a state of ghettoization. If
graffiti with crude subject matter and swearing was plastered over a building, this would
likewise send a message to the community about the lack of care and respect which could
lead to more graffiti and general disrespect of buildings and community spaces. However,
if the community came together to create a mural, this street art could work in reverse of
the Broken Window Theory. This would show that the neighbourhood cares about the
look of its buildings which could promote more respect. In addition to this, if the mural
displayed messages about change, this could encourage others to fight for these things. If
these tags or these murals were painted over by the government, this would convey a
message to the community which would be more impactful than the actual mural. This
would show that the government is attempting to silence and suppress the people.
Depending on location and subject matter, graffiti can be a healthy or damaging force in a
community.

Perhaps what is most interesting about gentrification and street art is the role
which street art plays in bringing about gentrification. For example, in New York there is
a region which is referred to as Hell’s Kitchen. Its residents were predominantly “starving
artists” and those who worked blue-collar jobs. These people, usually having an artistic
mindset, began to change their neighbourhood by renovating and adding beautiful street
art and graffiti. Seeing the changes in the neighbourhood, landlords tended to hike rent
costs as the spaces became more desirable which is sometimes referred to as the
bohemian appeal. Soon enough, these “starving artists” who refurbished the
neighbourhood could no longer afford to live there, and their residences were taken up by
wealthier people.

Gentrification brings about some interesting changes not only with expansion and
influx of buildings, but the new faces which are given to these buildings. The buildings
now act as a method to display emotions and messages similar to a human face. In order
to appreciate an important social force, people should look behind the spraypaint to see
the message of the artist. After all, art is meant to be interpreted.
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Works Cited

Berger, Joseph. "Hell's Kitchen, Swept Out and Remodeled ." New York Times. The New
York Times Company, 19 MAR 2006. Web. 20 Mar 2010.
<http://www.nytimes.com/2006/03/19/nyregion/19hell.html>.

MacPhee, Josh. "Street Art and Social Movements." Just Seeds. Just Seeds Artists'
Cooperative, 17 FEB 2009. Web. 20 Mar 2010.
<http://www.justseeds.org/blog/2009/02/street_art_and_social_movement.html>.

Murdie, Robert. "Ethnic Transformation and Gentrification in West-Central Toronto."

Neighbourhood Change Community University Research Alliance. Department of
Geography, York University, APR 2007. Web. 20 Mar 2010.
<http://ceris.metropolis.net/9thMetropolisConference/WorkshopPresentations/B11_Murd
ie.pdf>.