Being asked a while back to provide some advice to artists on pay and pricing matters for a new website was the generator of this short text. It begins with summarising some of the issues and ends with a few suggestions for what artists might do to improve their chances of making a living while steadily moving their art practice forward.
Subtitled the relationship of arts policies to artists’ creative practices and their livelihoods, this new research is reflecting on key UK arts policies intended to support the creative practices and livelihoods of artists and will gather new evidence of artists’ perceptions of the contexts and conditions they feel they need, in order to generate a rationale for conducive environments which can better foster the talents of artists in future.
Introduction to fees to artists for exhibiting in public with examples indicating that sustaining such schemes is dependent on widespread and continued acceptance of the principle and rigorous self-regulation within the sector, and on gaining suitable levels of public subsidy to the visual arts. Three financing options are considered in support of equanimity. An afterword considers whether in a political climate of reduced subsidy to the public sector, some new strategies are needed to finance the arts and artists’ contributions.
This listing that includes commentary, evidence and advice provides a selected reading list for artists and those who work with them to explore the issues and concerns about artists and pay as part of negotiating the terms of exchange and collaboration.
This essay for the 2014 Seoul Art Space, Seoul Foundation for Arts and Culture International Symposium briefly covers UK arts policies for support to artists’ development, comments on their impact on artists’ social and economic status and suggests a rethinking of the artists’ intrinsic role in society as a vital part of securing and sustaining contemporary visual arts in the future.
This paper combines arguments first presented by Susan Jones at an engage annual conference in which she questioned the efficacy of our institutionally-driven visual arts ecology with new research and enquiry into future cultural, digital and social environments for the arts. It calls for adoption of a more open, imaginative, lateral, collaborative and responsive approaches to creating cultural value, premised on building relationships and rapport with the different kinds and bandwidths of audiences and with the enablers and the makers of art.
This provocation commissioned by Stoke Airspace for an Artists’ Soup Kitchen addresses and confirms the importance of the role and value of artists within cultural and social change. The four sections are designed to open up a discussion on ‘what now?’ and – more importantly – ‘what next?’ for Airspace and artists and future artists located in Stoke.
In reaction to government arts funding cuts, Leeds Metropolitan University in partnership with Culture Vulture and the Audience Agency, initiated a public debate at which a panel of industry experts debated what arts funding is for and who is most deserving of it. A short provocation by Susan Jones argued for more recognition and resources for artists and individuals to counteract the slow, ponderousness of institutions whether for the arts or otherwise. View the whole event including the audience 'question time' at the end using the link provided.
This audio presentation by Susan Jones at Work and Art, CRATE, UCA Canterbury, March 2015, considers the climate for visual artists’ practice and their artists’ ability to make a living. By referencing evidence and data from arts and cultural sources over the last thirty years and considering insight from future forecasting, it identifies prevailing issues surrounding support to artists within the public sector. It concludes by articulating some of the inherent issues and challenges within the current and future ecology for artists and the contemporary visual arts that need to be addressed by public funders and the sector alike.