Delivering ‘human thriving’ in and through the arts, including fair pay for artists, in a pandemic world calls for substantial shifts in how arts policies are made and where they are realised.
Although 77% of visual artists are registered as self-employed (CCS, 2012), this bald statistic belies the nuance of how livelihoods are made up. This short text in the Covid19 portfolio on contextualises artists’ income sources and concludes with a call for arts funders, arts organisations and the Higher Education sector to advocate strongly to ensure visual artists receive the support they deserve during the Covid19 emergency and in future.
Presentation for CAMP (Contemporary Art Membership Plymouth) 13 February 2020
Introduction to fees to artists for exhibiting in public with examples indicating that sustaining such schemes is dependent on widespread and continued acceptance of the principle and rigorous self-regulation within the sector, and on gaining suitable levels of public subsidy to the visual arts. Three financing options are considered in support of equanimity. An afterword considers whether in a political climate of reduced subsidy to the public sector, some new strategies are needed to finance the arts and artists’ contributions.
This listing that includes commentary, evidence and advice provides a selected reading list for artists and those who work with them to explore the issues and concerns about artists and pay as part of negotiating the terms of exchange and collaboration.
This essay for the 2014 Seoul Art Space, Seoul Foundation for Arts and Culture International Symposium briefly covers UK arts policies for support to artists’ development, comments on their impact on artists’ social and economic status and suggests a rethinking of the artists’ intrinsic role in society as a vital part of securing and sustaining contemporary visual arts in the future.
This provocation commissioned by Stoke Airspace for an Artists’ Soup Kitchen addresses and confirms the importance of the role and value of artists within cultural and social change. The four sections are designed to open up a discussion on ‘what now?’ and – more importantly – ‘what next?’ for Airspace and artists and future artists located in Stoke.
This paper used comparative data as a backdrop to a commentary designed to illuminate a discussion on whether there are ‘Too many artists?’, raising a range of issues, questions and (mis)perceptions — in part about the role of artists in life in general and impact of state intervention and arts policy-making in particular.
Even in countries where there are well-developed fee and pay systems, there is evidence to demonstrate that artists’ wages remain unacceptably low. This is a baseline problem that few in the infrastructures for the arts seem willing to tackle and resolve.