Scottish Arts Council

Audit of Visual Artists

Scottish Arts Council

Audit of Visual Artists


December 2002

Contents

Pages

Introduction

The brief

Process

Methodology: Distribution and Sample Profile

Main Findings

Practice

Working conditions and artists’ resources

Economic conditions

Satisfaction with practice, professional development and attitudes

Barriers, opportunities and key issues

Summary of audit findings

Report of development sessions

Recommendations

Scottish Arts Council

Audit of Visual Artists

1

Introduction

  1. The Scottish Arts Council commissioned Bonnar Keenlyside in April 2002 to undertake an Audit of Visual Artists to gain up-to-date information on the position of artists in Scotland today.
  2. The study was commissioned to provide evidence on the characteristics of the visual arts sector in Scotland and the contribution made by visual artists to the economy, in order to inform future policy objectives/priorities for funding, and to improve the understanding of artists’ issues by decision makers.
  3. The research project had a two stage process:
  • stage 1: an audit of visual artists in Scotland
  • stage 2: development sessions to further explore the findings of the audit.
  • This document provides a report of both dimensions of the research.

The brief

  1. The Scottish Arts Council commissioned the research to gain up to date information about artists working in Scotland including:
  • demographic spread
  • training
  • definition of practice
  • earnings
  • employment status
  • support from the Scottish Arts Council and other public funds
  • access to facilities
  • promotion
  • continued professional development
  • contribution to the economy.
  • The methodology outlined in the brief included a range of approaches, including the use of a postal and online questionnaire to collect quantitative data, and the use of focus groups to explore more complex issues.

Process

  1. The Scottish Arts Council engaged an advisory group to contribute to the audit. This comprised:
  • David CookWorkshop and Artists Studio Provision Scotland (WASPS) Scotland
  • Laurence FiggisTransmissionGlasgow
  • Rose FrainArtistEdinburgh
  • Sue GriersonArtistPerth
  • Richard Ingleby Ingleby GalleryEdinburgh
  • Charmian Pollok Society of Scottish ArtistsEdinburgh
  • Kirsteen MacDonald Changing RoomStirling
  • Sarah Munro Collective GalleryEdinburgh
  • Andrew Patrizio EdinburghCollege of ArtEdinburgh
  • Guyan Porter Scottish Artists UnionScotland
  • Gordon Rogers Art tmInverness
  • James WalkerArt materials retailerEdinburgh.
  1. The advisory group met in advance of Bonnar Keenlyside’s appointment to consider the key issues to be addressed by the audit.
  2. Bonnar Keenlyside was appointed in April 2002 after a draft of the questionnaire had been prepared in consultation with the advisory group.
  3. The initial draft questionnaire was revised by Bonnar Keenlyside and the Scottish Arts Council and piloted by Bonnar Keenlyside. Ten visual artists were asked to complete the draft questionnaire and comment on the format, style, length and clarity. Their comments were incorporated and the questionnaire was then finalised.
  4. The questionnaire was sent to the 1,800 visual artists on the Scottish Arts Council’s mailing list in May 2002. It was also widely promoted through:
  • Scottish Arts Council News and Opportunities
  • Scottish Arts Council Information Bulletin
  • Scottish Arts Council website
  • AN (Artists Information Company) website.
  1. Societies, galleries and other visual arts organisations were also contacted and asked to promote the audit. Promotional leaflets were handed out at some events, including the Glasgow Art Fair.
  2. The audit was available online from the Scottish Arts Council and AN to download and to be completed interactively on the Bonnar Keenlyside website.
  3. A further reminder was sent to artists on the Scottish Arts Council mailing list and the deadline extended to encourage further responses.
  4. Following analysis of the data, a meeting was held with the advisory group where the findings were presented and the group had an opportunity to discuss the emergent key issues.
  5. The next stage of the project was to hold three development sessions where the key findings of the audit were further discussed.
  6. Participants in the sessions included a cross section of the visual arts sector including artists and representatives of art colleges, private galleries, local authorities and national agencies.
  7. The themes of the sessions were:
  • Trends
  • Professional Practice
  • Making the Case.
  1. The aim of the sessions was to further explore the findings of the audit in some depth and to identify actions and recommendations to address the identified key issues.

Report

  1. This report:
  • details the findings of the audit
  • reports on the key themes discussed at the development sessions
  • concludes by compiling the key findings and themes and making recommendations.

Methodology: Distribution and Sample Profile

  1. The questionnaire was mailed to 1,800 artists on the Scottish Arts Council database in May 2003. It was also sent out by visual arts organisations to their members and promoted through information bulletins and websites. The Scottish Arts Council Help Desk received approximately 350 enquiries about the audit.
  2. There were 527 valid responses at the point of analysis. 67 respondents downloaded the audit or completed it online, 460 respondents returned the mailed out audit form.
  3. Because the actual number of practising visual artists in Scotland is unknown, it is not possible to calculate the response rate or make an assessment of how well the sample matches the population of artists in terms of the demographic profile.

Sample profile


  1. The largest age group is the 25-34 age group comprising 31% of respondents.
  1. Owing to the small numbers of respondents in the under 25 and over 65 age groups, the data has been grouped for analysis purposes with the results shown in the following table.


  1. 60% of respondents are female.
  1. 8% of respondents consider themselves to have a disability.
  2. The sample profile in terms of respondents’ ethnic group is shown on the following table. 93% of the sample is white with 3% of respondents defining their ethnic group as Pakistani, Chinese, Caribbean, African or mixed background. 4% of respondents did not answer this question.


  1. 23% of respondents are the primary carer for dependent children or relatives. Women are more likely (29%) to be the principal carers than men (14%). The age group most likely to have caring responsibilities is the 35-44 age group where 37% are the principal carer.

  1. Respondents are more likely to practice in an urban environment than a rural environment. As the following table shows, over half of respondents work in a city compared to under a third in a rural environment.


  1. There is a split across the age groups in terms of where respondents practice. Respondents in the under-35 age group are most likely to work in an urban environment (72% of the age group) respondents in the 45-54 age group are most likely to practice in a rural environment (50% of the age group). The results are shown in the following table.


  1. Responses were received from all local authority areas in Scotland. 46% of responses were from artists living in Edinburgh and Glasgow.



  1. In order to be able to make meaningful analysis of the data, the local authorities have been grouped together on an area basis. Again, Glasgow and surrounding authorities and Edinburgh and the Lothians predominate.

Distribution and sample profile: summary

  1. There was a good response to the audit, with over 500 completed questionnaires.
  2. The sample includes respondents from all age groups, both genders, different geographic environments and all areas of Scotland. However, there is an emphasis towards respondents who are:
  • female
  • white
  • urban
  • Glasgow and Edinburgh based.

Main Findings

Practice

  1. The section of the audit looking at artists’ practice included:
  • medium
  • activity – exhibition and residency
  • representation
  • promotion
  • training.

Medium

  1. Respondents were asked which medium/media they currently work in. Over 60% of respondents work in painting and drawing.



  1. The responses indicate that there is a large amount of cross-over with artists working in several media, as shown in the table below.
  1. The table shows the cross-over between the different media. For example, it shows that of the 131 artists working in installation, 63 also work in photography, 60 in sculpture and 58 practise painting/drawing.
  1. 50% of those working in painting and drawing work in that medium only.
  2. There is little variation according to gender. The greatest difference is in sculpture, which is practised by 34% of men and 22% of women who responded.
  3. In terms of the differences between the age groups, older artists tend towards the more traditional media of painting/drawing and printmaking; installation and film are more likely to be practised by younger artists. These findings are illustrated in the chart below.


  1. Installation, new media, photography and film are also more likely to be practised by artists working in an urban environment. This may reflect the likelihood of younger respondents to practise in an urban environment, or the availability of facilities in urban areas.
  2. There is also variation according to where respondents live with artists in Edinburgh more likely to work in new media; Grampian artists to practise sculpture and artists from Glasgow to work in installation.

Visual arts practice as profession, activity and source of income

  1. Respondents were asked whether visual arts was their main pursuit in terms of the time they spend, the income they generate from it or their profession.
  2. Over 80% of respondents regard visual arts as their profession. For 70% it is their primary pursuit in terms of the time they spend. However only 40% consider that visual arts is their primary pursuit in terms of the income they generate. These findings are shown in the table below.


  1. Half of the artists who spend the majority of their time on their visual arts practice earn the majority of their income from it.

Location

  1. 96% of respondents spend most time at their visual arts practice in Scotland.

Exhibiting

  1. 94% of respondents have had work publicly exhibited in the past two years.
  2. Over 80% have exhibited in group exhibitions, 46% have had the opportunity of a solo exhibition, 40% have had their work exhibited on a website and 34% have had their work commissioned for a public/private space (non gallery). These results are shown on the table below.


  1. 70% of artists working in new media have exhibited on a website. Printmakers are more likely to have exhibited in a group exhibition (93%), reflecting the practice of printmakers’ workshops. Artists working in new media and video are more likely to have their work broadcast and those working in photography to have their work published. 64% of artists practising sculpture have had their work exhibited as a non gallery commission.
  2. 80% of respondents who derive no income from their practice exhibit in group exhibitions, a third in solo exhibitions and 30% have had their work broadcast.
  3. 32% of respondents have had their work exhibited internationally as the following table shows.


Residencies

  1. 28% of respondents have undertaken a residency in the past two years. 13% have undertaken a residency within a community setting as shown in the table below.
  2. 8% of respondents said they undertook a residency in a context described as ‘other’. These locations included arts studios, workshops and other venues in the UK and internationally.


  1. Artists working in new media are most likely to have undertaken a residency (50%) and those who paint/draw least likely (20%).
  2. Of the 149 respondents who stated where the residency had been undertaken, two thirds have undertaken a residency in Scotland and 30% internationally, as shown in the following table.


Representation

  1. 27% of the artists who responded to the audit are represented by an agent or gallery.
  2. There was some variation according to media practised, with painters being most likely to have such representation as shown in the chart below.


  1. Edinburgh-based artists are more likely (35%) than artists based in Glasgow (20%) to have an agent or gallery representation.
  2. The responses of the 135 respondents who answered the question about where the gallery or agent was based are shown on the following table. Several artists have such representation in more than one location.


  1. Respondents with agent or gallery representation were asked how much commission they are charged. Of those who answered the question (114) 91% are charged a commission of 30% or more. Over half are charged a commission of 40% or more. These findings are shown in the following table.


Opportunities to sell contemporary art

  1. 63% of all respondents believe that there are a lack of opportunities to sell contemporary art in, or from, Scotland.

Promotion

  1. Respondents were asked which of a list of methods they use to promote their work. Respondents were then asked to rank the three most important methods.
  2. 92% of all respondents promote their work. The table below shows the methods used for promotion.

  1. Respondents use a wide variety of methods. Over 40% of respondents use informal networks, private galleries and their own postcard/brochure to promote their work. 36% of respondents are promoting their work through public galleries and membership organisations. 60 respondents (11%) stated that they use other forms of promotion – including word of mouth, artist led initiatives, own personal promotion/contacts and direct mail.


  1. Artists working in new media are more likely to use web-based forms of promotion; artists working in painting and drawing are more likely to be promoted through private galleries; membership organisations were more likely to be used by printmakers to promote their work reflecting the exhibition and promotional opportunities provided by the membership based print studios and associated galleries.
  2. Artists in the over-55 age group are more likely to have their work promoted through private galleries (58%) than the under-35 age group (30%).
  3. Respondents were asked to state which one method was the most important for promoting their work. 20% of all respondents consider private galleries to be the most important method of promoting their work. More than 10% of respondents consider informal networks and public galleries to be the most important for promoting their work.

Training

  1. As the table below shows, 37% of respondents are trained to postgraduate level and 45% to undergraduate level.


  1. Most artists received their training in Scotland. Around 20% of respondents took their undergraduate arts degree elsewhere in the UK.

Practice: summary

  1. Artists are working in a variety of media.
  2. Respondents are highly trained in their visual arts practice.
  3. New media is more likely to be associated with younger artists and urban contexts.
  4. Although respondents are likely to consider visual arts to be their profession and to invest their time in their practice, they are less likely to derive their main income from it.
  1. 94% of respondents have exhibited their work in the last 2 years.
  2. 32% of respondents have exhibited internationally, artists are also undertaking international residencies
  1. Artists who derive no income continue to spend time at their practice, exhibit and promote their work.
  2. Private galleries are an important source of promotion, especially for older, established artists. Informal networks are also one of the main promotional tools used by artists.
  3. Over a quarter of respondents are represented by an agent or gallery.
  4. Nearly two thirds of respondents are dissatisfied with opportunities to sell contemporary art.
  1. Together, this provides a picture of a profession where artists invest their time in, and work proactively at, their practice but find limited opportunities to earn an income.

Working conditions and artists’ resources

  1. The audit asked artists about:
  • access to studio facilities
  • evaluation of studio facilities
  • use of specialist artist resources
  • membership of organisations
  • sources of information.

Studio facilities

  1. 74% of all respondents have access to a dedicated studio space.
  2. The under-35 age group is less likely to have access to a studio (70%) than the over-55 group (83%). This may be related to medium as older artists are more likely to practice painting/drawing and therefore have more requirement for studio space.
  3. There is no significant difference in the access to dedicated studio space for artists in urban and rural environments. 79% of artists practicing in a rural community have access compared to 72% of artists working in an urban environment.
  4. Artists working in the media of paint/drawing (79%) or sculpture (81%) are more likely to have access to a studio than those working in video (58%), new media (62%) or photography (63%).
  1. 63% of the respondents who state that they derive no income from their visual arts practice have access to a dedicated studio space.
  2. The reason for the high level of access to a studio can be explained by the type of studio that respondents have access to. Nearly 40% of all respondents have access to a dedicated studio in their own home. As the following table shows, a quarter of respondents rent their studio.


  1. As the chart below illustrates, younger respondents are more likely to rent a studio and older respondents more likely to have a studio within their home or to own a private studio.


  1. Publicly rented studios are an urban phenomenon: 28% of artists living in an urban environment rent a publicly-subsidised studio compared to 3% in a rural environment. This reflects the location of studio provision.


  1. Of the 127 respondents who do not have access to a dedicated studio, 80 (63%) cite the cost of studios as the main barrier. Lack of availability is only an issue for 15 respondents. Over half of the respondents without access to a studio would like full time access and 36% would like occasional access.

  1. Respondents were asked to evaluate various aspects of their studio facilities. As the following chart shows, while respondents indicate that overall they are satisfied with their studio facilities, some important aspects, namely heat, light, security of tenure and working conditions were rated as poor by a significant minority.
  2. 30% of respondents rate heat in studios as poor. 60% consider their access to be excellent and half consider that value for money is excellent.
  3. The respondents with studios in their home are most satisfied overall with their studio provision.
  4. 93 respondents rent a publicly-subsidised studio. These respondents are satisfied with their access with 60% considering this excellent. They are more dissatisfied than other respondents with heat, 40% consider this aspect of their studio to be poor. They are also less satisfied than other respondents with security of tenure and value for money.

Specialist artist facilities