Who is an artist? Heterogeneity and professionalism among visual artists

Baldin, Andrea; Bille, Trine

doi:10.1007/s10824-020-09400-5

Cited by 20 publications

(12 citation statements)

References 17 publications

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“…Other industries, such as the gaming, film, and music industries, are global winner-take-all markets, in which a small proportion of large firms reap astronomically high returns on investment while other producers barely make ends meet (De Vany & Lee, 2001;Elberse, 2013). The labor markets in CCI face enduring challenges (Abbing, 2002;Baldin & Bille, 2021;Menger, 1999). Entry barriers to all roles within the CCI are generally low, whereas the risks for newcomers and incumbents alike can be high (Caves, 2000).…”

Section: Cultural and Creative Industriesmentioning

confidence: 99%

New forms of finance and funding in the cultural and creative industries. Introduction to the special issue

Loots

Betzler²,

Bille

et al. 2022

J Cult Econ

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This Special Issue seeks to address the perennial question of support options for the cultural and creative industries (exacerbated due to the impact of COVID-19) by bringing together articles that examine and explain various dynamics in CCI financing and funding. The articles in the Issue are diverse in their approaches, methods and data. They range from conceptual, qualitative, and case studies, to analyses based on survey data and granular 'big data'. The articles mainly address digital fundraising technologies and investment practices. Strikingly absent in this collection of studies are modes of funding in which governments and public providers occupy center stage. Innovation in financing and funding appears to be more the result of new modalities (i.e., technology-driven) than of fundamental shifts in thoughts about how the cultural economy could be approached and how the CCI should be financially sustained. The articles in the Issue suggest the emergence of a new funding paradigm, which steps away from a clear demarcation between public and private in terms of interests and financing modes. This new paradigm embraces collaborative funding mechanisms such as crowdfunding, incubator and accelerator finance, and other pooled investments, as well as digital fundraising technologies that facilitate new modes of asset finance and tokenized funding. Future research themes are being suggested: the merging of project funding with structural budgets, the emergence of new business models and improved labor market conditions due to technology-driven aids, shifts in transaction costs, and issues related to regulation and legislation.

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Section: Cultural and Creative Industriesmentioning

confidence: 99%

New forms of finance and funding in the cultural and creative industries. Introduction to the special issue

Loots

Betzler²,

Bille

et al. 2022

J Cult Econ

Self Cite

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“…The first challenge is that of defining an artist for the purpose of an empirical study. As Baldin and Bille (2021) show, this is no simple task; the choice made as to definitions is likely to be influenced by the purpose of research, and inevitably, assumptions as to who is an artist, and what is art. Twenty years earlier Abbing (2002) posed the same question as he speculated on the relationship between subsidies to the arts, the number of practicing artists, and artists’ average incomes: ‘the main problem is however, how to count the artists’ (p. 132).…”

Section: Defining the Population—who Is A Visual Artist?mentioning

confidence: 99%

“…Rates ofSelf-Employment-2006-2021 Censuses Data retrieved using Census TableBuilder, see: http://www.abs.gov.au/websitedbs/censushome.nsf/home/ tablebuilder?opendocument&navpos=240…”

mentioning

confidence: 99%

The Incomes of Visual Artists: Which Artists, What Income?

MacNeill

Lye

McQuilten³

et al. 2022

Australian Economic Review

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We review a body of literature that addresses the incomes of visual artists and their participation in the labour market. It is clear that the level and composition of visual artists’ incomes varies widely, as does their engagement in different forms of employment. The lack of a consistent definition of an artist and a lack of consistency in income sources included in current data collection presents challenges for researchers. The focus of our research is on the economic status of visual artists in Australia, and we identify a number of considerations that might inform policy responses to their financial position.

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“…Å definere hvem som er profesjonelle kunstnere, er blant annet nødvendig i politisk sammenheng, for å avgrense hvem som skal omfattes av de kunstnerpolitiske tiltakene som iverksettes (se Heian mfl., 2008). I artikkelen «Who is an artist?» (Baldin & Bille, 2021) skriver forfatterne at begrepet «profesjonell» har to betydninger i dagligtalen: Det kan omfatte arbeid som helt eller delvis utgjør ens levebrød, eller det kan omfatte arbeid som holder en tilfredsstillende standard innenfor en profesjon -altså et økonomisk eller et kvalitativt kriterium. Ut ifra dette er «en profesjonell kunstner» en som oppfyller et av disse to kriteriene.…”

Section: Kunstnere Som Yrkesgruppeunclassified

Fortellinger om kunstnerliv

Mangset¹,

Heian²,

Kleppe³

2022

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I 1999 intervjuet vi 23 studenter som gjennomførte en høyere kunstutdanning i Norge. Studentene fortalte hvorfor de hadde startet på en kunstnerkarriere, og hvilke tanker og drømmer de hadde om framtiden. 20 år seinere kontaktet vi de samme personene på nytt. De fleste var nå i midten av 40-åra og hadde ganske ulike historier å fortelle. Denne boka tar utgangspunkt i de tidligere kunststudentenes fortellinger om barndom, oppvekst og ungdomstid, utdanningsløp, yrkesetablering og videre yrkesliv. Hvilke valg har de tatt i ulike faser av livet og karrieren, og hvor har disse valgene ført dem? Hva har de lykkes med, og hvilke hindringer og utfordringer har de støtt på underveis? I boka analyserer vi fortellingene til de tidligere kunststudentene i lys av forhold som er særskilte for kunstneryrkene og de markedene de jobber innenfor, men også i lys av en større samfunnskontekst. Boka egner seg for forskere, studenter og andre som interesserer seg for kunstnerisk arbeid. Vi håper også at den kan være til nytte for kunststudenter og framtidige kunstnere som ønsker å vite mer om kunstnerarbeidslivet.

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Who is an artist? Heterogeneity and professionalism among visual artists

Cited by 20 publications

References 17 publications

New forms of finance and funding in the cultural and creative industries. Introduction to the special issue

New forms of finance and funding in the cultural and creative industries. Introduction to the special issue

The Incomes of Visual Artists: Which Artists, What Income?

Fortellinger om kunstnerliv

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