Suchergebnisse

This book analyses the challenges and opportunities faced by art-based social enterprises (ASEs) engaging young creatives in education and training and supporting their pathways to the creative industries. In doing so, it addresses the complex intersecting issues of marginality and entrepreneurship, particularly in relation to young creatives from socially, economically and culturally diverse backgrounds. Drawing on extensive fieldwork and interviews with twelve key organisations, and three in-depth case studies in Australia, the book offers a detailed analysis of using enterprise to engage with the structural challenges of marginality. Grace McQuilten is an art historian, curator and writer, and Associate Professor in the School of Art at RMIT University, Australia. She has worked extensively in social enterprise and community development alongside her academic career.. Amy Spiers is an artist, curator, writer and researcher. She is a Vice Chancellor⁰́₉s Postdoctorate Fellow at the School of Art at RMIT University, Australia, where she is engaged in research that explores the critical capacities of public and socially engaged art, and its potential to prompt discussion about difficult histories and social inequalities that are overlooked or smoothed over. Kim Humphery is Convenor of the Research Training Unit in the School of Global, Urban and Social Studies at RMIT University, Australia. She is best known for her work in the history and sociology of consumption, and has published extensively on ethical consumption and enterprise. Peter Kelly is Professor in the School of Education at Deakin University, Australia. He is a sociologist of youth, education and work who has published extensively on young people, globalization, education and work.

Purpose
The purpose of this paper is to consider the social turn in contemporary capitalism and contemporary art through the lens of art-based social enterprises (ASEs) that aim to create positive social benefits for young people experiencing forms of marginalisation, and which trade creative products or services to help fulfil that mission. A growth in ASEs demonstrates a growing interest in how the arts can support social and economic development, and the ways new economic models can generate employment for individuals excluded from the labour market; extend opportunities for more people to participate in art markets; and challenge dominant market models of cultural production and consumption.


Design/methodology/approach
This paper considers a number of challenges and complexities faced by ASEs that embrace a co-dependence of three goals, which are often in tension and competition – artistic practice, social purpose and economic activity. It does so by analysing interviews from staff working with 12 ASE organisation's across Australia.


Findings
While the external forces that shape ASEs – including government policy, markets, investors and philanthropy – are interested in the "self-sufficient" economic potential of ASEs, those working in ASEs tend to prioritise social values and ethical business over large financial returns and are often ambivalent about their roles as entrepreneurs. This ambivalence is symptomatic of a position that is simultaneously critical and affirmative, of the conditions of contemporary capitalism and neoliberalism.


Originality/value
This paper addresses a gap in social enterprise literature presenting empirical research focussing on the lived experience of those managing and leading ASEs in Australia.

AbstractWe review a body of literature that addresses the incomes of visual artists and their participation in the labour market. It is clear that the level and composition of visual artists' incomes varies widely, as does their engagement in different forms of employment. The lack of a consistent definition of an artist and a lack of consistency in income sources included in current data collection presents challenges for researchers. The focus of our research is on the economic status of visual artists in Australia, and we identify a number of considerations that might inform policy responses to their financial position.

AbstractIn this paper, we assess the impact of the COVID‐19 pandemic on the Australian visual arts sector. We base our analysis on the responses of over 1500 visual artists and arts workers to a survey conducted by the National Association for the Visual Arts (NAVA), the national peak body for the visual and media arts, craft and design sector in September 2021. NAVA employed this online survey to study the relationship between the pandemic and both the incomes and mental health of artists and arts workers. Using regression analysis, we find that there has been a significant impact for both artists and arts workers, with the severity of the impacts varying by gender, age and the availability of state‐based and Australian Government support programmes. Reduced hours and loss of contracted work and commissions due to the pandemic were both related to declines in income and mental health outcomes for artists and for arts workers. Housing stress was associated with a higher likelihood of a significant or extreme mental health impact for artists and arts workers. In addition, artists' incomes and mental health outcomes were impacted when faced with a reduced ability to sell, although some artists were able to increase their online profiles.