Modèles durables

Comment gagner sa vie en étant artiste ?

Tout en continuant de nous battre pour sortir de la crise, nous devons nous donner la chance, non pas de survivre, mais de réussir.

Pour commencer, réévaluons nos stratégies professionnelles et les modèles correspondant à nos métiers. Comment utilisons-nous notre potentiel et nos ressources ? Que signifie le terme durabilité pour les arts, et comment l’atteindre ? Quel rôle les arts peuvent-ils jouer face à un problème de plus grande envergure : aider à sauver la planète, l’environnement dans lequel nous vivons et travaillons ?

image from International Arts Manager
The last time you watched a show at the theatre, how much did you pay? Was it worth the price? Pay what you decide (PWYD) theatre turns the question on its head, empowering audiences to choose how much money they want to spend. However..
You must change your art! Heed this imperative! Let it resound through tiered theatres and flat-floored theatres. Let it echo through the corridors of broadcasting companies and teaching departments. Let it ring through parliaments and policy bureaus. Let it buzz on film sets, at festivals and in design studios. Let it reverberate on your type areas and music scores. You must change your art! This era requires it.
Why are there so many common misconceptions surrounding business models? José Rodríguez explains their real purpose and value in the arts.
Sustainable Development Goal (SDG) 5, “achieve gender equality and empower all women and girls,” isn’t a new addition in the realm of development goals. It follows on the heels of Millennium Development Goal (MDG) 3, which sought to “promote gender equality and empower women.”
Victor Mayot
La baisse des subventions publiques, la vision conservatrice du ministère de la Culture et le désir d'indépendance des artistes ont engendré une nouvelle garde d'acteurs culturels. Ils défendent un modèle basé sur l'entrepreneuriat, afin de faire vivre leur vision de la culture. Une démarche créatrice d'activités et d'emplois, poussée par la transition numérique, alors que la France cherche des nouveaux relais de croissance.
The creation and production of knowledge has been a monopole of industrialized economies. Their economic conditions are the guaranty to provide the better conditions to reach a privileged status. Generally, knowledge creation processes tend to have a predominant ethnocentric focus, in which so-called rich country or developed economy perspectives have prevailed. However, there are disciplinary subjects where the production of knowledge can be influenced not only by economic conditions but by cultural aspects as well. Arts management knowledge is a good example to support this proposition...
The article analyses both explicit and implicit policy approaches to regulating digital culture, as both remain relevant in ensuring that cultural content reaches its intended users. This provides the background for the investigation of the results obtained through the comparative policy analysis executed in the project ‘Access to Culture.
David Bowie virtually invented it. Madonna was the mistress of it. Reinvention. Publicly peeling away layers of identity revealing personae of varying degrees of style and substance. It’s what many artists do as a matter of course, a process of regeneration. Similarly, reinvention has been a project of the arts more broadly. Over the last decade-and-a-half, the arts has recreated itself as an industry, a community, an ecology, a profession and a sector, sometimes wearing elements of all these costumes simultaneously in an effort to remain relevant. But it has struggled to apply its...
Emma Wilson
When I was a kid, my mother was invited to join the Junior Women’s Committee of the Art Gallery of Ontario. It was a social group, but they were very helpful to the AGO, most notably because they started and ran an excellent program whereby members could rent paintings from the collection. I can’t imagine such a group running such a program these days, but I’ve been thinking about volunteers and volunteerism in the arts and how often it does not work so well.
chashama Inc.
Most artists earn very little. Nevertheless, there is no shortage of aspiring young artists. Do they give to the arts willingly or unknowingly? Governments and other institutions also give to the arts, to raise the low incomes. But their support is ineffective: subsidies only increase the artists' poverty. The economy of the arts is exceptional.