Constructing an artistic identity

Abstract

This article investigates occupational identity construction among contemporary Canadian professional visual artists. Through in-depth, semi-structured interviews I draw on the perceptions and subjective experiences of 80 Toronto visual artists to explore how individuals consciously articulate and act upon an occupational identity that they have carefully and deliberately chosen. I demonstrate how the informal nature of artistic occupational definitional parameters can render the title ‘professional artist’ an empty signifier. Given the limited means of clearly distinguishing between professional and amateur, and the lack of recognition attributed to artistic labour as ‘real’ work, I argue that professional status comes largely from drawing on a repertoire of shared myths and stereotypes to help create an artistic identity and project it to others.

Artists and Multiple Job Holding—Breadwinning Work as Mediating Between Bohemian and Entrepreneurial Identities and Behavior

“…The consequences of the portfolio career are often pervasive insecurity with spells in and out of unemployment, as well as irregular and low income (Flisbäck, 2011;Hausmann, 2010). In order to counter this, artists typically do 'day jobs' (in Sweden often known as having 'breadwinning work') in order to sustain a living (Bain, 2005;Lingo & Tepper, 2013;McRobbie, 2011;Menger, 1999;Throsby, 2010). Taylor and Littleton (2012: p. 120) refer to this as artists leading 'double lives'.…”

“…In studies dedicated to the working conditions of artists, work held alongside the artistic activity is often perceived negatively, as it prevents artists from dedicating themselves to art on a full-time basis (Bain, 2005;Flisbäck, 2006;Foster, 2012;Menger, 2009;Pralong et al, 2012;Throsby, 2010). However, this article will argue that negative narratives of multiple work can be contrasted by positive narratives.…”

The Promise of the Affordable Artist's Studio: Governing Creative Spaces in London

“…These descriptions reflected representations about artistic work practices -as described, for instance by Taylor and Littleton (2008), Røyseng et al, (2007), Bain (2005), or Menger (1999. These descriptions also linked artists to discourses about modernised spaces that provided stability, security and, "a supportive environment in a community of like-minded professionals ... digital facilities including broadband and on-going professional development training and support" (Acme, 2006b p. 11).…”

“…Affordable studio providers recognised that artists' studios embody distinctive cultural and social characteristics in the popular imagination: they are seen to generate creative behaviour and inspire artistic labour (Jones, 1996), they can be romanticised isolated spaces of production (see, for example Bauer, 2008, Jones, 1996, Hughes, 1990, Zakon, 1978 or be central to the working lives and professional identities of creative practitioners (Bain, 2005(Bain, , 2004. Consequently, the affordable studio would need to reflect this diverse array of practical, technical, professional and personal uses.…”

Artistic Entrepreneurship and the Need for Market Orientation in the Context of Rising Significance of the Creative Industries

“…It's not that I don't like that, it's just that I know that once I get distracted with all the complexities of who and when all I will be able to do is staring at a blank page in front of me for the rest of the day." This is also why, according to Bain (2005), over 78% of non-entrepreneur artists that work part-time choose to have the non-art job to be a menial one not requiring their attention or concentration, in order to work on their art at home. She also claims that having two attention consuming jobs (day job and art job) is a significant challenge for artist's identity integrity (p. 14).…”