Sustainability

How to make a living as an artist? How to survive as an arts organisation?

As we continue struggle out of the crisis, we must give ourselves a chance; not for survival, but for success.  

To start with, let's reassess our professional strategies and business models. How do we use our potential and our resources? How do we contribute to the sustainability of the environment we work and live in? What does sustainability in the arts mean and how to achieve it? And what role can the arts play in that wider issue: helping to save the planet, the environment we live and work in?

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Los emprendedores creativos y gestores culturales en distintas geografías y sectores de las industrias creativas hacen frente al reto de obtener financiación para desarrollar sus proyectos. El Crowdfunding o financiación colectiva ofrece una alternativa viable a la financiación tanto para emprendedores como para ONGs.
For the Goethe-Institut as the initiator of cultural programmes, sustainability and resource management in cultural work is an important issue. With its collection of strategies and tools, the Inspirador is a useful collection of ideas for sustainable cultural management.
Salient Censorhip - report cover
This publication is a dossier with contextual information concerning censorship of art, and the official encouragement of self-censorship, on the Master of Fine Art Programme at Glasgow School of Art during 2017 and 2018.
Like a lot of freelance artists, what I get paid ranges from a lot to nothing, according to the commissioner’s resources, what I’ve been asked to do, and my own wish to do it. So my choices about what work to take on hover between interest and need, but at least I get to choose. But what about the non-professional artists, the people who participate in art projects? What choices do they have?
How can we make it possible to extend the performing arts beyond their conventional live existence? How can we allow our performances to be seen and experienced by a broader public, not restricted by the place and time in which they were conceived and presented? How can we build the heritage and history of live arts? What are the various means of archiving our art form, and how does each of these affect the content and meaning of the piece, if at all?
This IETM Porto workshop tried to articulate the challenges that art professionals in different countries face when making and touring their work, with the aim of identifying key factors for creating greater equity and mutual understanding. The workshop also looked at the different ways art markets function across countries, different opportunities, constraints, regulations that come along, and the concept of an art market itself.
The artistic making process...
Last Sunday my ten-year-old nephew asked me an impossible question: 'Uncle Caspar, what is art?' 'Jeez... that's a really big question.' 'But you make art, right?'
A new study, drawing on 1.5 million images of cultural spaces in London and New York, finds that cultural capital is a key contributor to urban economic growth.
The Artistic creation outside the urban areas session at IETM Porto added new examples of artistic creation and community arts in the rural areas to those that were presented at IETM Brussels 2017, in the "Meanwhile in the Countryside" session. Thus it confirmed the outcome of the IETM Brussels 2017 session: the point is not to bring culture to the countryside, because it is already there; and that one undertaking artistic work in rural areas has to openly listen and interact with the local people, and be receptive to their stories, creating art together with them, not for them.
Clustering has been successfully used by industrialists for centuries as a strategy to generate economic growth. Made popular by influential Harvard academic Michael Porter in 1990, and originally described by economist Alfred Marshall in 1890, industrial clusters are concentrations of interrelated organisations, firms, professionals and practitioners collaborating and competing in related industries.

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