The instigation and organisation of this project was created through the collaborative work of artists Chris Biddlecombe (Glasgow) and Guðrún Gísladóttir (Copenhagen). Both have a background in the support and development of artist working conditions and rights. The projects on this site promote their shared aims to: gather data to improve understanding of how European artists work; act as a catalyst to instigate genuine reform; encourage change to happen through collective artist bargaining; support cross-border networks and exchange of information between artists and creative managers.
This first collaborative project was established to explore the current situation of how visual artists are contracted and remunerated for their work through out the broader Nordic region. Research was carried out to: collect data about the artist’s situation in different countries; compare working conditions; understand common issues; and discuss methodologies to combat problems.
In 2015, a collective discussion took place in Belgium, organised by Flanders Arts Institute, IETM and deBuren. Participants were policy makers and researchers. At the panel discussion, Pascal Gielen, Professor in Sociology of Art and Cultural Politics at Rijksuniversiteit Groningen, presented the main insights of the research report “The Value of Culture” prepared in collaboration with sociologists, economists, philosophers and psychologists.
During the last two decades many reports on the economic importance of the Creative Industries have been published throughout Europe. This classifying and measuring of the Creative Industries has continually produced many debates and discussions, and some have had productive outcomes.
Fra Dansk Kunstnerråds Nyhedsbrev: I marts stillede Socialistisk Folkeparti et beslutningsforslag i Folketinget om en udredning af kunstnernes økonomiske vilkår.
Mange skabende og udøvende kunstnere er udfordret økonomisk, men den seneste redegørelse for kunstnernes økonomiske vilkår er fra 1997 – og kan derfor med rette betegnes som forældet. Dansk Kunstnerråd er derfor meget positiv overfor, at der netop er blevet stillet et beslutningsforslag til Folketinget om en udredning af kunstneres sociale og økonomiske forhold. Læs beslutningsforslaget.
Arts Council England (ACE) has confirmed the reforms to its investment processes, proposed in February 2016, will become official policy. Even though there are concerns regarding the funding of this investment overhaul, there also appears to be extensive backing across the arts sector.
In Norway, as in many European countries, artists do not receive payment for preparing and setting up an exhibition. This situation needs to change and the campaign #utstillingsavtalen will hopefully contribute to this.
The Guerrilla Girls, formed in New York in 1985, are an anonymous group of feminist, female artists devoted to fighting sexism, racism and inequality within the art world. They have just released the results of their latest investigation into diversity in the art world. The results are part of an exhibition at the Whitechapel Gallery in London from 1st October 2016.
In the UK over the last two years a-n and it’s artist advisory group, AIR, have consulted with artists, major public funders and visual arts organisations to create a set of suggested structures to secure payment for artists who exhibit in publicly funded galleries.
The Paying Artists Campaign was launched two years ago by a-n/AIR with the aim of securing payment for artists when they exhibit in publicly funded galleries.
Over the last 18 months a-n/AIR has consulted a wide range of galleries, museums, exhibition spaces, funders and artists in the UK and learned a great deal about the diversity of the visual arts sector and the variables that affect fee negotiations. The progress and research summaries are available on the Paying Artists website.
The Norwegian report we reported on several months ago, showed that female artists in Norway have consistently lower incomes than male artists. In a recent Arts Professional salary survey, the gender gap in the arts sector is greater than the national average, despite the fact that women are better educated.