Chapter 22 Artistic Labor Markets: Contingent Work, Excess Supply and Occupational Risk Management

Menger, Pierre‐Michel

doi:10.1016/s1574-0676(06)01022-2

Cited by 156 publications

(147 citation statements)

References 47 publications

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“…Art and culture can contribute to attract creative agents. But P-M. Menger (2006) emphasises that artistic activities tend to be spatially concentrated in few locations. Recent studies have analysed the geographical concentration of creative activities and the conditions that promote the attraction of such activities.…”

Section: Abstract : Creative Economy Artistic Clusters Zones D'emplmentioning

confidence: 99%

Artistic creative clusters in France : a statistical approach

Sanchez-Serra¹

2013

tem

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Section: Abstract : Creative Economy Artistic Clusters Zones D'emplmentioning

confidence: 99%

Artistic creative clusters in France : a statistical approach

Sanchez-Serra¹

2013

tem

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“…7 According to Menger (2006), the oversupply of artists is a phenomenon reaching far back in history.…”

Section: Measuring Utilitymentioning

confidence: 99%

The Happy Artist? An Empirical Application of the Work-Preference Model

Steiner

Schneider

2011

SSRN Journal

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The artistic labor market is marked by several adversities, such as low wages, above-average unemployment, and constrained underemployment. Nevertheless, it attracts many young people. The number of students exceeds the available jobs by far. A potential explanation for this puzzle is that artistic work might result in exceptionally high job satisfaction, a conjecture that has been mentioned at various times in the literature. We conduct the first direct empirical investigation of artists' job satisfaction. The analysis is based on panel data from the German Socio-Economic Panel Survey (SOEP). Artists on average are found to be considerably more satisfied with their work than non-artists, a finding that corroborates the conjectures in the literature. Differences in income, working hours, and personality cannot account for the observed difference in job satisfaction. Partially, but not fully, the higher job satisfaction can be attributed to the higher self-employment rate among artists.Suggestive evidence is found that superior "procedural" characteristics of artistic work, such as increased variety and on-the-job learning, contribute to the difference in job satisfaction.JEL Classifications: Z10, J24, J28, J31,

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“…In recent decades, the growth of cultural and creative industries, particularly in broadcasting and audio-visual media, has expanded artistic employment in the US and other developed countries (Menger, 2006). Consequently, there has been an increasing interest in analyzing work and labor in these industries.…”

Section: Introductionmentioning

confidence: 99%

Dealing with reality: Market demands, artistic integrity, and identity work in reality television production

Wei

2012

Poetics

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Cultural industry workers at times compromise the values and tastes that are important parts of their artistic identities to accommodate commercial demands. I argue that workers resolve frustrations that arise from such compromises through identity work, individuals' active construction of their identities in social contexts. Using ethnographic data from fieldwork at a reality television production company, I describe two identity work strategies, distancing and evaluative tweaking, that workers use to maintain their artistic integrity despite producing work that does not meet their standards of quality. The manner through which these strategies emerged during micro social interaction differed between managers and non-managers. Managers used distancing and evaluative tweaking to simultaneously do identity work and regulate their employees' identities when justifying decisions that threatened shared values and tastes. On the other hand, employees distanced themselves from managers while venting to colleagues about managers' decisions that conflicted with their idiosyncratic values and tastes. These dynamics are illustrated through a setting that has received insufficient ethnographic attention, reality television production. Some reality television workers prefer to portray "real" and "authentic" situations. These workers employ identity work strategies to maintain artistic integrity when distorting reality to create the drama and conflict they consider marketable. AbstractCultural industry workers at times compromise the values and tastes that are important parts of their artistic identities to accommodate commercial demands. I argue that workers resolve frustrations that arise from such compromises through identity work, individuals' active construction of their identities in social contexts. Using ethnographic data from fieldwork at a reality television production company, I describe two identity work strategies, distancing and evaluative tweaking, that workers use to maintain their artistic integrity despite producing work that does not meet their standards of quality. The manner through which these strategies emerged during micro social interaction differed between managers and nonmanagers. Managers used distancing and evaluative tweaking to simultaneously do identity work and regulate their employees' identities when justifying decisions that threatened shared values and tastes. On the other hand, employees distanced themselves from managers while venting to colleagues about managers' decisions that conflicted with their idiosyncratic values and tastes. These dynamics are illustrated through a setting that has received insufficient ethnographic attention, reality television production. Some reality television workers prefer to portray "real" and "authentic" situations. These workers employ identity work strategies to maintain artistic integrity when distorting reality to create the drama and conflict they consider marketable.

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Chapter 22 Artistic Labor Markets: Contingent Work, Excess Supply and Occupational Risk Management

Cited by 156 publications

References 47 publications

Artistic creative clusters in France : a statistical approach

Artistic creative clusters in France : a statistical approach

The Happy Artist? An Empirical Application of the Work-Preference Model

Dealing with reality: Market demands, artistic integrity, and identity work in reality television production

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