Creative artists, career patterns and career theory: insights from the Australian context

Abstract

Despite the challenges associated with the pursuit of a career as an artist, such as job insecurity and an oversupply of labour, many individuals continue to seek a career in this field. Australian artists also face additional challenges, such as geographic isolation from the major art centres of the world, resulting in perceptions of the need to migrate to large cities. This paper explores the push and pull factors influencing the career paths and geographic locations of a group of 20 creative arts graduates from one regional Australian higher education institution. The findings reveal that a range of complex factors, not just the lure of large cities, influences artists’ career decisions. In addition, the findings propose that the complex and highly uncertain nature of a career as an artist is best understood from multiple career theory perspectives.

Sustainability of Artists in Precarious Times; How Arts Producers and Individual Artists Have Adapted during a Pandemic

“…These may include grants, commissions, and prizes which can impact an artist's life considerably but getting them is usually a highly competitive process. It is also noted that the career paths of artists are quite distinctive compared to those of the mainstream population in that they are driven by diverse needs that provoke different decisions over their lives [10,11,16,19]. While artists pursue a 'career' for example, the concept of a 'career' is different from that of mainstream occupations as it does not necessarily involve making a lot of money as a measure of success [11,16].…”

Developing self-efficacy and career optimism through participation in communities of practice within Australian creative industries

“…Networking, along with persistence and intrinsic motivation, is a critical element in career success within creative work (Daniel, 2016; Daniel, Fleischmann, & Welters, 2017; Ng & Feldman, 2014). Networking is vital as a referral source of ongoing work for revenue generation (Daniel et al., 2017), while peers and social networks can become role models and sources of affirmation and support (Komives, Osteen, Owen, Mainella, & Longerbeam, 2005).…”

“…Moreover, the average artist’s income is 21% lower than that of similarly qualified workers in other economic sectors (Throsby & Petetskaya, 2017). Creative workers are typically employed on a casual, short-term, or contractual basis, and often undertake significant periods of volunteer work (Cunningham, Higgs, Freebody, & Anderson, 2010; Daniel, 2016; Throsby & Petetskaya, 2017). Furthermore, compared to the broader economy, the creative industries have higher proportions of sole traders and small-to-medium enterprises (SGS Economics and Planning, 2013).…”

Positive Organisational Arts-Based Youth Scholarship: Redressing Discourse on Danger, Disquiet, and Distress during COVID-19

“…Given the precarious nature of this work, their rates of depression, anxiety, substance use, and suicidal ideation typically surpass national averages [ 33 , 34 , 35 , 36 , 37 , 38 , 39 , 40 , 41 , 42 ]. Many oscillate between variable periods of temporary-employment and unemployment [ 43 , 44 , 45 ]. Additionally, those engaged in the night-time-economy can be exposed to risky behaviours [ 46 , 47 , 48 , 49 ]; they also have reduced access to services, given their unconventional business hours.…”