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	<title>Metropolitics</title>
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		<title>The Happy Few and the Unhappy Many: Endangered Artists in Global Cities</title>
		<link>https://metropolitics.org/The-Happy-Few-and-the-Unhappy-Many.html</link>
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		<dc:date>2017-06-15T07:00:00Z</dc:date>
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		<dc:language>en</dc:language>
		<dc:creator> Boris Gr&#233;sillon &amp; translated by John Barrett</dc:creator>


		<dc:subject>gentrification</dc:subject>
		<dc:subject>Paris</dc:subject>
		<dc:subject>London</dc:subject>
		<dc:subject>New York</dc:subject>
		<dc:subject>art</dc:subject>
		<dc:subject>downtown</dc:subject>
		<dc:subject>city centre</dc:subject>
		<dc:subject>Tokyo</dc:subject>
		<dc:subject>rental</dc:subject>
		<dc:subject>right to the city</dc:subject>
		<dc:subject>artist</dc:subject>
		<dc:subject>arts</dc:subject>
		<dc:subject>rent</dc:subject>
		<dc:subject>global cities</dc:subject>

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&lt;p&gt;While participating or having participated in reshaping urban spaces, artists seem to be increasingly driven away from city centers due to steep rents and are forced move farther and farther from the heart of metropolises. Will the global contemporary city, like the mythical figure Cronus devouring his own children, exclude its artists? Boris Gr&#233;sillon examines the dynamics at work in four metropolitan centers: New York, London, Tokyo, and Paris. &lt;br class='autobr' /&gt; The global city (Sassen 1991) is predominantly&lt;/p&gt;


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