神马文学网New York's cultural economy 纽约的文化经济 Art and the city 艺术与都市
来源：百度文库 编辑：神马文学网 时间：2024/04/27 22:01:12
New York's cultural economy 纽约的文化经济
Art and the city 艺术与都市
Sep 6th 2007
From The Economist print edition
WHEN New York agonises over its place in the world, it is usually because it fears losing its position as the world's financial capital. That has certainly been the case in recent months. Yet Elizabeth Currid thinks that policymakers should be fretting less about credit markets and more about culture. The contribution made by art, music and fashion to the city's economy has, she argues, long been overlooked. And unless something is done about it, another crown could slip.
纽约通常因为担心自己丧失全球金融首都的地位而痛苦焦灼，数月以来，确系如此。但是，Elizabeth Currid认为，决策者们应该忧虑的更该是文化产业，而非信贷市场。她声称，艺术、音乐还有时尚对纽约经济的贡献长久以来备受忽视；如果不采取行动，这一项冠领全球的优势恐将陨落。
New York depends on art and culture not only for the quality of life but also for jobs. Culture ranks only slightly behind the securities industry in its share of the workforce. One example: the city is not far behind Los Angeles in film and video production and editing. And its artistic heritage is rich: abstract expressionists, beat writers, rappers, gods of graffiti such as Jean-Michel Basquiat. One attraction is the density of New York's creative life, squeezed into a 20-square-mile (52-square-km) grid where many of the best studios, galleries and music venues are in walking distance of each other.
纽约对艺术和文化的依赖不仅是为了追求生活质量，还源于就业需求。就从业人数来看，文化产业只稍稍落后于安保行业。一个例证是：这座城市在电影和电视制作和剪辑方面与洛杉矶的差距不大，而且其艺术传统深厚，抽象表现主义者、“垮掉的一代”派作家、说唱歌手以及让•米歇尔•巴斯奎特（Jean-Michel Basquiat）这样的涂鸦大师等层出不穷。纽约的魅力之一是该市浓郁的创意生命力，顶级的工作室、画廊和音乐场馆等集聚在20平方英里（约合52平方公里）的弹丸之地，相互毗邻，步行可至。
Drawing on dozens of interviews with figures from the arts—from fashion executives to hip-hop producers—“The Warhol Economy” portrays a city whose cultural output relies more than ever on the social encounters that come from living shoulder to shoulder with your peers. In this business, deals are as likely to be struck on the dance floor as in the boardroom. Collaborations grow out of chance encounters. That is why, according to several studies, culture and media clusters tend to be denser than those of any other industry.
《沃霍尔经济》（The Warhol Economy）一书通过对数十位艺术家——从时装行业的监制者到嘻哈音乐的制作人——的访谈，描绘了这样一个都市：文化产品比以往任何时候都更加依赖于与同伴共同生活而形成的社交接触。在该行业中，舞室内达成交易的几率和会议室不相上下。双方合作不再需要彼此偶遇的运气。一些研究表明，那便是文化与媒体集群会比其它行业更加密集的原因。
Ever since Andy Warhol began pumping films and music as well as silkscreens out of his “Factory”, a midtown studio that turned depressing weirdos into cultural radicals, New York has led the world in blending art forms to create something fresh. It has also pioneered the commercialisation of the subversive. These days, graffiti artists who were once seen as vandals do commissioned work for Adidas, Nike and the North Face. It is good to be talented, even better to be marketable.
自从安迪•沃霍尔（Andy Warhol）将电影、音乐以及丝网版画从他的“工厂”（一间位于市中心、将情绪抑郁的怪人转变成文化激进分子的工作室）中剥离以来，纽约就开始引领全球，将各种艺术形式混杂糅合，以求创新。这座城市首开先河，引导颠覆分子归依商业。如今，曾经被视为破坏者的涂鸦艺术家们受阿迪达斯、耐克和北坡（North Face）等公司的委托进行创作。才华横溢是件好事，而销路大开则锦上添花。
This upsets some purists, but opens up new vistas for artists looking to extend their brand or reinvent themselves. As one band manager tells the author, a rapper can't consider himself successful if he doesn't have his own clothing line or movie. “Cultural gatekeepers” in the media—Ms Currid cites as examples the New York Post's gossip columnists and Vogue's Anna Wintour (the inspiration for the fearsome Miranda Priestley in “The Devil Wears Prada”)—play a crucial role in dictating which of these crossovers succeeds.
这一现状让纯粹主义者心感不安，却为渴望推广自身品牌或重塑自我的艺术家开辟了新的视野。正如一位品牌经理告诉作者的一样，说唱歌手如果没有自己的服装品牌或电影就不能自认成功。传媒的“文化看守者”——Currid女士举《纽约邮报》的小道消息专栏作家和《时尚》杂志的安娜•温图尔（Anna Wintour，《穿普拉达的女王》中令人生惧的米兰达的原型）为例——在决定这些跨界人士谁能获得成功方面起了至关重要的作用。
New York's cultural economy has reached a critical juncture, argues Ms Currid, threatened by, of all things, prosperity. The bleak economic conditions of the 1970s allowed artists to flock into dirt-cheap apartments and ushered in the East Village scene of the early 1980s. The boom of the past decade, by contrast, has priced budding Basquiats out of Manhattan, pushing them across the water to Brooklyn and New Jersey. Studio flats meant for artists-in-residence get snapped up by bankers. The closure last year of CBGB, a bar that became a punk and art-rock laboratory in the 1970s (and whose founder, Hilly Kristal, died last month) came to symbolise this squeeze.
Currid女士说，纽约的文化经济目前处于十字路口，繁荣的威胁步步紧逼。20世纪70年代低迷的经济状况让艺术家纷纷涌入租金低廉的公寓，并迎来了80年代初期东村的（East Village）一片荣景。相较而言，过去十年的经济繁荣让巴斯奎特一家难以负担高昂的房租，他们被迫离开曼哈顿，前往哈德孙河对岸的布鲁克林和新泽西州定居。艺术家们居住的单间公寓遭到银行业者的抢购。CBGB酒吧在70年代成为朋克和艺术摇滚实验室，但在去年闭门歇业（其创始人希里•克里斯托（Hilly Kristal）在上月辞世），这标志着艺术人士遭受的压迫。
Ms Currid sees this expulsion of talent as a serious problem. The solution, she argues, lies in a series of well-aimed public-policy measures: tax incentives, zoning that helps nightlife districts, more subsidised housing and studio space for up-and-coming artists, and more.
Currid女士认为，这种对人才的驱逐是一个严重的问题。她表示，解决之道在于施行一系列目标明确的公开政策措施，包括税收激励、维护夜生活区域的分区划定、为前程似锦的艺术人才提供更多的住房补贴和工作空间，以及其它措施等。
Yet is there really any ailment to cure? Manhattan remains as culturally vibrant as ever. The Chelsea neighbourhood has at least 318 art galleries, many more than SoHo, a previous hotspot, had in its heyday. Rising prosperity means more money to spend on paintings and designer shoes. Yes, many artists have moved to other areas, such as Williamsburg, in Brooklyn, but that has merely spread the hipness rather than shifted its centre of gravity.
然而，是否确有需要治愈的病症？和以往一样，曼哈顿仍是充满文化活力的地方。切尔西一带至少驻有318家艺术画廊，比早些年火热的SoHo在全盛时期多出许多。在经济更加繁荣的背景下，人们会花费更多的金钱购买画作和名牌鞋子。是的，许多艺术家搬到了布鲁克林的威廉斯堡等地方，但这仅仅传播了嬉皮的风格，而未曾撼动这种文化的中心地位。
Moreover, as Ms Currid concedes, New York's economic-development officials have a poor record in picking winners. Why would it be any different this time? New York's cultural scene is not without its problems but—as unpalatable as it may be to many fashionistas—resolving them is, for now at least, best left to the market.
此外，Currid也承认，纽约负责经济发展的官员一贯不善于做出正确的选择。这次怎么会有不同呢？纽约的文化产业不是没有自己的问题，但是——时尚跟风者或有不快——至少在目前，这些问题最好留待市场解决。
Art and the city 艺术与都市
Sep 6th 2007
From The Economist print edition
WHEN New York agonises over its place in the world, it is usually because it fears losing its position as the world's financial capital. That has certainly been the case in recent months. Yet Elizabeth Currid thinks that policymakers should be fretting less about credit markets and more about culture. The contribution made by art, music and fashion to the city's economy has, she argues, long been overlooked. And unless something is done about it, another crown could slip.
纽约通常因为担心自己丧失全球金融首都的地位而痛苦焦灼，数月以来，确系如此。但是，Elizabeth Currid认为，决策者们应该忧虑的更该是文化产业，而非信贷市场。她声称，艺术、音乐还有时尚对纽约经济的贡献长久以来备受忽视；如果不采取行动，这一项冠领全球的优势恐将陨落。
New York depends on art and culture not only for the quality of life but also for jobs. Culture ranks only slightly behind the securities industry in its share of the workforce. One example: the city is not far behind Los Angeles in film and video production and editing. And its artistic heritage is rich: abstract expressionists, beat writers, rappers, gods of graffiti such as Jean-Michel Basquiat. One attraction is the density of New York's creative life, squeezed into a 20-square-mile (52-square-km) grid where many of the best studios, galleries and music venues are in walking distance of each other.
纽约对艺术和文化的依赖不仅是为了追求生活质量，还源于就业需求。就从业人数来看，文化产业只稍稍落后于安保行业。一个例证是：这座城市在电影和电视制作和剪辑方面与洛杉矶的差距不大，而且其艺术传统深厚，抽象表现主义者、“垮掉的一代”派作家、说唱歌手以及让•米歇尔•巴斯奎特（Jean-Michel Basquiat）这样的涂鸦大师等层出不穷。纽约的魅力之一是该市浓郁的创意生命力，顶级的工作室、画廊和音乐场馆等集聚在20平方英里（约合52平方公里）的弹丸之地，相互毗邻，步行可至。
Drawing on dozens of interviews with figures from the arts—from fashion executives to hip-hop producers—“The Warhol Economy” portrays a city whose cultural output relies more than ever on the social encounters that come from living shoulder to shoulder with your peers. In this business, deals are as likely to be struck on the dance floor as in the boardroom. Collaborations grow out of chance encounters. That is why, according to several studies, culture and media clusters tend to be denser than those of any other industry.
《沃霍尔经济》（The Warhol Economy）一书通过对数十位艺术家——从时装行业的监制者到嘻哈音乐的制作人——的访谈，描绘了这样一个都市：文化产品比以往任何时候都更加依赖于与同伴共同生活而形成的社交接触。在该行业中，舞室内达成交易的几率和会议室不相上下。双方合作不再需要彼此偶遇的运气。一些研究表明，那便是文化与媒体集群会比其它行业更加密集的原因。
Ever since Andy Warhol began pumping films and music as well as silkscreens out of his “Factory”, a midtown studio that turned depressing weirdos into cultural radicals, New York has led the world in blending art forms to create something fresh. It has also pioneered the commercialisation of the subversive. These days, graffiti artists who were once seen as vandals do commissioned work for Adidas, Nike and the North Face. It is good to be talented, even better to be marketable.
自从安迪•沃霍尔（Andy Warhol）将电影、音乐以及丝网版画从他的“工厂”（一间位于市中心、将情绪抑郁的怪人转变成文化激进分子的工作室）中剥离以来，纽约就开始引领全球，将各种艺术形式混杂糅合，以求创新。这座城市首开先河，引导颠覆分子归依商业。如今，曾经被视为破坏者的涂鸦艺术家们受阿迪达斯、耐克和北坡（North Face）等公司的委托进行创作。才华横溢是件好事，而销路大开则锦上添花。
This upsets some purists, but opens up new vistas for artists looking to extend their brand or reinvent themselves. As one band manager tells the author, a rapper can't consider himself successful if he doesn't have his own clothing line or movie. “Cultural gatekeepers” in the media—Ms Currid cites as examples the New York Post's gossip columnists and Vogue's Anna Wintour (the inspiration for the fearsome Miranda Priestley in “The Devil Wears Prada”)—play a crucial role in dictating which of these crossovers succeeds.
这一现状让纯粹主义者心感不安，却为渴望推广自身品牌或重塑自我的艺术家开辟了新的视野。正如一位品牌经理告诉作者的一样，说唱歌手如果没有自己的服装品牌或电影就不能自认成功。传媒的“文化看守者”——Currid女士举《纽约邮报》的小道消息专栏作家和《时尚》杂志的安娜•温图尔（Anna Wintour，《穿普拉达的女王》中令人生惧的米兰达的原型）为例——在决定这些跨界人士谁能获得成功方面起了至关重要的作用。
New York's cultural economy has reached a critical juncture, argues Ms Currid, threatened by, of all things, prosperity. The bleak economic conditions of the 1970s allowed artists to flock into dirt-cheap apartments and ushered in the East Village scene of the early 1980s. The boom of the past decade, by contrast, has priced budding Basquiats out of Manhattan, pushing them across the water to Brooklyn and New Jersey. Studio flats meant for artists-in-residence get snapped up by bankers. The closure last year of CBGB, a bar that became a punk and art-rock laboratory in the 1970s (and whose founder, Hilly Kristal, died last month) came to symbolise this squeeze.
Currid女士说，纽约的文化经济目前处于十字路口，繁荣的威胁步步紧逼。20世纪70年代低迷的经济状况让艺术家纷纷涌入租金低廉的公寓，并迎来了80年代初期东村的（East Village）一片荣景。相较而言，过去十年的经济繁荣让巴斯奎特一家难以负担高昂的房租，他们被迫离开曼哈顿，前往哈德孙河对岸的布鲁克林和新泽西州定居。艺术家们居住的单间公寓遭到银行业者的抢购。CBGB酒吧在70年代成为朋克和艺术摇滚实验室，但在去年闭门歇业（其创始人希里•克里斯托（Hilly Kristal）在上月辞世），这标志着艺术人士遭受的压迫。
Ms Currid sees this expulsion of talent as a serious problem. The solution, she argues, lies in a series of well-aimed public-policy measures: tax incentives, zoning that helps nightlife districts, more subsidised housing and studio space for up-and-coming artists, and more.
Currid女士认为，这种对人才的驱逐是一个严重的问题。她表示，解决之道在于施行一系列目标明确的公开政策措施，包括税收激励、维护夜生活区域的分区划定、为前程似锦的艺术人才提供更多的住房补贴和工作空间，以及其它措施等。
Yet is there really any ailment to cure? Manhattan remains as culturally vibrant as ever. The Chelsea neighbourhood has at least 318 art galleries, many more than SoHo, a previous hotspot, had in its heyday. Rising prosperity means more money to spend on paintings and designer shoes. Yes, many artists have moved to other areas, such as Williamsburg, in Brooklyn, but that has merely spread the hipness rather than shifted its centre of gravity.
然而，是否确有需要治愈的病症？和以往一样，曼哈顿仍是充满文化活力的地方。切尔西一带至少驻有318家艺术画廊，比早些年火热的SoHo在全盛时期多出许多。在经济更加繁荣的背景下，人们会花费更多的金钱购买画作和名牌鞋子。是的，许多艺术家搬到了布鲁克林的威廉斯堡等地方，但这仅仅传播了嬉皮的风格，而未曾撼动这种文化的中心地位。
Moreover, as Ms Currid concedes, New York's economic-development officials have a poor record in picking winners. Why would it be any different this time? New York's cultural scene is not without its problems but—as unpalatable as it may be to many fashionistas—resolving them is, for now at least, best left to the market.
此外，Currid也承认，纽约负责经济发展的官员一贯不善于做出正确的选择。这次怎么会有不同呢？纽约的文化产业不是没有自己的问题，但是——时尚跟风者或有不快——至少在目前，这些问题最好留待市场解决。
New York's cultural economy 纽约的文化经济 Art and the city 艺术与都市
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