The strain between the growth of arts districts and the needs of local artists has become increasingly obvious as Washington, D.C. faces rising housing costs and significant gentrification.

The D.C. Cultural Plan, released in 2019, found that the city’s cultural economy contributes $30 billion annually and supports 150,000 jobs. Additionally, the plan found that the arts generate more than $1.1 billion annually in tax revenue, showing the importance of maintaining spaces for creative individuals.

Yet, as property values in art-centered neighborhoods like Shaw, NoMa, and the H Street Corridor continue to climb, artists say it harder to sustain themselves in these areas.

There are several designated arts districts across D.C., each with its own role in the cultural ecosystem. These include areas like NoMa, the H Street Corridor, the Downtown Arts District, and Brookland. Being distinguished as an arts district provides various benefits, such as access to affordable studio spaces, public art installations, and grants for creative businesses.

For local communities, these districts attract tourists, stimulate local economies, and serve as creative hotspots where residents, businesses, and artists interact. However, with gentrification driving up rent and real estate prices, many artists are finding it increasingly difficult to sustain in these areas.

The city’s Office of Planning oversees these districts, with regulations that include zoning laws designed to protect arts spaces and encourage artistic activities, alongside offering tax incentives and grants for artists.

While arts districts promise an infrastructure for creative individuals to thrive, many artists say they are being excluded from these newly revitalized areas as commercialization becomes the focus.

Erik Holden, a gallery director and artist at Foundry Gallery in Washington, D.C.’s Shaw neighborhood, said he was concerned about the intensifying challenges for lesser-known artists to gain notoriety.

“I do feel that being in this area, artists don’t get the opportunity to really showcase themselves unless they’re popular,” Holden said. “So, the more popular you are, the more you get to showcase yourself. But that doesn’t necessarily equate to being a good artist.”

He said that the rising cost of living in D.C. has edged local artists out of the neighborhoods that once supported their work. Holden, who advocates for more flexible rental policies and community-driven planning, said that developers need to consult with artists to create sustainable spaces for creativity.

“If these spaces had more flexible pricing, they could operate on a schedule—maybe open on Monday, Wednesday, and Friday—allowing people to come in and see artists working in their studio spaces,” Holden said. “There’s other ways that you can generate money without squeezing it out of the artists, but that’s also a conversation that needs to be had with these developers, the same people that own these spaces.”

Similarly, musician Alanna Love, known for her work in neo-soul, jazz, and R&B, said she was concerned about the dwindling number of affordable performance venues in D.C. Although she remains grounded in her artistic mission, she said she is wary of the commercialization of the local music scene.

“I want more intimate, small, like you’re in my face kind of venues, okay? You don’t have a lot of that anymore. So, I would say I don’t want to perform as much, but I wouldn’t say it’s affected my creativity at all,” Love said. She focused on the commercialization of events like Broccoli City, which she said now prioritize profit over supporting local talent.

Love said the decrease in smaller venues reflects a broader issue: the city’s arts community is becoming too focused on large-scale events and mass-market appeal.

“If you’re going to be having festivals and having all these big events, then you need to allow your local artists to be the ones that shine,” Love said, calling for increased government support for music education and independent spaces.

Love also said that urban planners and developers should work closely with artists to ensure that the spaces created in arts districts are accessible and foster authentic creativity rather than exclusion.

Kat Thompson, an artist, photographer, and educator from Northern Virginia, said that a teacher at two universities she has seen firsthand how rising costs are affecting young artists.

“It’s hard to find studio spaces here, especially ones that are affordable and ones that do come with facilities that work for my practice,” Thompson said. She said that without the proper resources, the next generation of creators would be forced to leave the city in search of more affordable options.

Thompson also said that there is a need for more inclusive urban planning, highlighting that the future of D.C.’s artistic community relies on creating accessible and affordable spaces for all creators.

Ashley Jaye Williams, a 2024 NOMA BID mural artist, said that art districts provide invaluable opportunities to connect with a wide range of professionals, yet the increasing cost of living in D.C. often forces artists to relocate to more affordable cities. She said the high cost of living here is making it difficult for artists to stay beyond simply attending school or working in D.C. momentarily and then leaving.

Williams also said that artists struggle to gain notoriety and support despite contributing significantly to the cultural landscape of the city. Williams said there is a need for innovative approaches to public spaces that prioritize inclusivity and artistic expression.

She said that there should be more local government investment in the arts, particularly by funding educational programs and creating more accessible public art spaces.