Archive för The Swedish Arts Grants Committee

Stand tall, Guerrilla Ladies!

A study from the Arts Grant Committee (2010) showed that women within art generally have lower income than their male colleagues. Men’s part of income also increases with higher income figures.

At the same time, women within the art field are more highly educated than their male colleagues, and in comparison with women in the population as a whole.

Looking at income the following are shown.

Visual art have the lowest salaries and are dominated by women, while music has the next highest median income level – and to 70% consists of men. Theatre seems to be the most gender balanced art form with the highest median income level, but also the art form with highest differences in salary due to gender.

A lot more needs to be done when it comes to equality within art and culture, something that the New York-based group Guerrilla Girls have picked up. The following art piece could be seen at this year’s GIBCA (Göteborg International Biennial for Contemporary Art).

So stand tall, fellow Guerrilla Ladies, and don’t let gender and equal rights slip away unnoticed!

Arts Grant Committee, Artists’ Income from a Gender Equality Perspective (Part 2, 2010) 

 

 

6 december, 2013

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Artists and the Arts Industries

In the freshly published anthology Artists and the Arts Industries, the Swedish Arts Grants Committee puts the artistic perspective in centre of the discussion on cultural and creative industries (CCI).

Five people; researchers, independent analysts, professors, and an artist, were asked to contribute a text reflecting on the artistic practice and CCI and the result has become an interesting anthology putting the light on different and perhaps unexpected aspects of the discussion.

Yudhishthir Raj Isar, independent cultural analyst and Professor of Cultural Policy Studies at The American University of Paris, puts a critical view on the whole paradigm with the conclusion that economy is not everything and that it’s necessary to include reflection on cultural economy and non-market forms of cultural activity.

Kate Oakley, writer and political analyst specializing in the fields of culture and creativity (UK), is focussing her text on innovation, which is as she calls it ”not the New, New thing”. The arts have a complex relationship to innovation, being both on one hand avant-garde and cutting-edge, and on the other saver of tradition. Talk of innovation within culture and art needs to be nuanced, reflected, and with a critical perspective.

Angela McRobbie, Professor of Communication at Goldsmiths, University of London, is discussing key concepts of urban development and gentrification in the light of the policy-development of CCI in the UK since middle of 90s and onward, and comparing development in three different cities: Glasgow, Berlin, and London. Her reasoning is around employability, livelihood and how artists and young people within the field will be able to earn a living and sustain life within these fields.

Ylva Gislén, Visiting Professor at Malmö Faculty of Fine and Performing Arts and cultural writer, also put a focus on the artistic livelihood and puts this in relation to Hannah Arendt’s reasoning putting a qualitative distinction between different types of human activity in the book The Human Condition; the distinction between labour, work, and action.

Klas Östergren, author with his first book published in 1975, writes an insightful and personal story of his daily work and artistic practice of writing books, his relation to audience, and how he at one point when things were going well decided to write the complete opposite of what the market expected.

Perhaps common for all of these reflections are how pessimistic they are in their views of the role of the artist in CCI. It should be understood in the light of the economic crisis, but it’s more than that. It’s a disappointment. A question shining through is the somewhat disillusioned question of: Who today believes in art as something other than contributing to economic growth, innovation, and job creation?

The anthology can be ordered from The Swedish Arts Grants Committee and is written in both Swedish and English.

Also read related post on work here, here, and here.

7 maj, 2012

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Income level for artists in Sweden

Artists (in the wide meaning of the word) have lower income compared to the Swedish population as a whole. Half of all artists in Sweden have a monthly income lower than 1400 euro (15.000 SEK). The Swedish Arts Grants Committee recently published one of the most extensive surveys done on the income level for artists. The study, done by Statistics Sweden on behalf of The Swedish Arts Grants Committee, concerns the income year of 2004 and 2005 and comprises 21.500 artists. The study gives several interesting facts. One is that compared to the level of education in other occupations, artists in general earn 9200 euro (100.000 SEK) less per year. This also concerns artists with higher education. No matter artistic field; actor, author, dancer, musician, composer, filmmaker, photographer, visual artist, or handicraft artist the figures are the same. The study also showed that 44% had their own business, compared to 10% of the rest of the population.

The National Endowment for the Arts in USA published a study of the situation for artists across the US last summer. The figures showed were very similar. The artists were highly educated, but had low income compared to the population with equal education. Another fact showed was that many artists are self-employed and less likely than others in the workforce to have a fulltime job.

Download the study from the Swedish Arts Grants Committee: kn_inkomster_inlaga.pdf (in Swedish) and have a look at the situation for artists in USA here.

17 januari, 2009

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Lotta Lekvall
Director of Nätverkstan, a Cultural Organisation in Sweden. Nätverkstan provides services …

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