Characteristics of Performing Artists: A Baseline Profile of Sectoral Crossovers

Galligan, Ann M.; Alper, Neil O.

doi:10.1080/10632929809599550

Cited by 8 publications

(5 citation statements)

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“…New York, Los Angeles and San Francisco all host larger concentrations of the former two sub-groups, while San Diego, with low median artistic incomes, hosts much higher concentrations of visual artists and musicians than the former two. We found no correlation between median income and shares of artists working for for-profit employers across the metro set, even though Galligan and Alper (1998) found that artists working for commercial employers made more money (but suffered higher unemployment rates) than artists working in the non-profit sector. We also observed no correlation between the extent of self-employment among artists and their median incomes.…”

Section: Artists' Income Differentials By Regioncontrasting

confidence: 68%

The Artistic Dividend: Urban Artistic Specialisation and Economic Development Implications

2006

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Over the past two decades, urban and regional policy-makers have increasingly looked to the arts and culture as an economic panacea, especially for the older urban core. The arts' regional economic contribution is generally measured by totalling the revenue of larger arts organisations, associated expenditures by patrons and multiplier effects. This approach underestimates the contributions of creative artists to a regional economy, because of high rates of self-employment and direct export activity, because artists' work enhances the design, production and marketing of products and services in other sectors and because artists induce innovation on the part of suppliers. Artists create import-substituting entertainment options for regional consumers and spend large shares of their own incomes on local arts output. The paper takes a labour-centred view of the arts economy, hypothesising that many artists choose a locale in which to work, often without regard to particular employers but in response to a nurturing artistic and patron community, amenities and affordable cost of living. Because evidence on such economic impacts and location calculus is impossible to document directly, the distribution of artists across the largest US metropolitan areas is used as a proxy, using data from the PUMS for 1980, 1990 and 2000. It is found that artists sort themselves out among American cities in irregular fashion, not closely related to either size or growth rates. The paper further explores variations in the definition of artist, the relationship between artistic occupation and industry, and differentials in artists' self-employment rates and earnings across cities. It is concluded that artists comprise a relatively footloose group that can serve as a target of regional and local economic development policy; the components of such a policy are outlined.

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Section: Artists' Income Differentials By Regioncontrasting

confidence: 68%

The Artistic Dividend: Urban Artistic Specialisation and Economic Development Implications

2006

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“…Galligan and Alper observed that "the workplace reality of most performing artists, musicians in particular, involves freelance activity as well as employment in commercial and not-for-profit sectors" [10] (p. 176). Markusen et al [14] also pointed out that working in hybrid forms opened many opportunities for artists.…”

Section: Economic Hybrid Practicementioning

confidence: 99%

“…The blurring of boundaries between possible career forms both within and across organizations and their fields was noted and explored by the authors of [10], who studied performing artists engaged in economic "sectoral crossovers". Calling for a shift from a perspective that compared artists to the general workforce, they directly responded to the American Assembly's call for a different lens-one that is focused on the possibilities of a "more dynamic relationship among the economic classifications of artists in various sectors of the workforce", both nonprofit and commercial [10] (p. 156).…”

Section: Portfolio Of Hybrid Practicesmentioning

confidence: 99%

“…Calling for a shift from a perspective that compared artists to the general workforce, they directly responded to the American Assembly's call for a different lens-one that is focused on the possibilities of a "more dynamic relationship among the economic classifications of artists in various sectors of the workforce", both nonprofit and commercial [10] (p. 156). These "sectoral crossovers" soon came to be recognized as one form of "hybrid practice"-the economic hybrid practice.…”

Section: Portfolio Of Hybrid Practicesmentioning

confidence: 99%

“…These work-lives, shaped by artists' pragmatic economic choices, are often characterized as freelancing, hybrid practices, and/or portfolio/protean (i.e., variable) careers [1,[3][4][5][6][7][8][9][10][11][12][13][14][15]. However, the practices denoted by these terms are markedly differently to the structuration processes usually associated with the trajectory of a professional career.…”

Section: Introduction: Professional Without Many Of the Characteristimentioning

confidence: 99%

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Professional Self-Structuration in the Arts: Sustaining Creative Careers in the 21st Century

Wyszomirski

WoongJo

2017

Sustainability

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Abstract:In this paper, we investigate the ongoing, self-motivated activity called freelancing or self-employment, and explore ideas about the entrepreneurial competencies needed to conduct a sustainable work life in the arts. We present the findings of a comparative concept analysis of three concept clusters concerning working in the arts and creative sector: Portfolio of jobs, Portfolio of hybrid practices, and the Portfolio/Protean career. We relate these concept clusters to ideas about arts entrepreneurship and professionalism in the arts in order to investigate our research questions: How do cultural workers/artists in today's social context create economically and creatively sustainable careers? What can we learn from their experiences about broader questions of the cultural value of art, the ongoing trend toward professionalization, and the changing roles of the worker and the entrepreneur in 21st-century economic life? To begin to answer these questions, we undertake a conceptual literature review and use conceptual mapping as a primary tool. We draw on a critical analysis of research, practice, and policy, as well as numerous discussions and interviews with creative professionals and the authors' own experiences with educating students who aim to become cultural workers in the creative sector. Based on our findings, we developed the Integrated Model for Self-Structuring Portfolio Professions. This model demonstrates how incomes and work practices tend to be clustered into portfolios that are self-structured by individual creative workers, acting as the entrepreneurs in their own career management and sustainability.

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The labor market returns of being an artist: evidence from the United States, 2006–2021

Makridis

2023

J Cult Econ

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Characteristics of Performing Artists: A Baseline Profile of Sectoral Crossovers

Cited by 8 publications

References 0 publications

The Artistic Dividend: Urban Artistic Specialisation and Economic Development Implications

The Artistic Dividend: Urban Artistic Specialisation and Economic Development Implications

Professional Self-Structuration in the Arts: Sustaining Creative Careers in the 21st Century

The labor market returns of being an artist: evidence from the United States, 2006–2021

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