Reasons for the inflow of the artists in the Lower East Side in the 1980s are various, one of which lies in the essential nature of the artists. First and foremost, given the unstable career patterns of the artists, it is tempting to understand that their payments are also precarious. Despite some of them obtain the sponsorship from the commerce and state, the overall artists’ income is still quite low (Ley, 2003, p. 2528). In addition, since the artists have the aesthetic experiences and sensibilities to change ugliness to beauty, it is commonplace to argue that the artists in the city have high cultural capital but low economic capital (Ley, 1996, p301).
Moreover, the urban artists place more stress on the ethnic and cultural diversities of the working-class neighbourhoods than the appreciation of old city areas, which enables them to keep their bohemian and artistic lifestyle (Caulfield, 1994, p.166). Furthermore, as Zukin (1988, p.4) observes, the artists prefer the loft living habits in these industrial buildings, thus giving themselves enough lighting and more working spaces.
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To be specific, those buildings offering suitable conditions for artistic work such as cheap rent, generous space, good lighting, high celling are welcomed by the artists for pursuing arts and aesthetics (Zukin, 1982, p.177). Also, artists have strong tendency to move to the marginal city spaces where have aesthetic, monetary appeal and high social tolerance (Cole, 1987, p.393; Lloyd, 2002, p.520). Without doubt, all these factors and conditions play a vital part in deciding the location choices for urban