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?

picture from shutterstock
Elena DI FEDERICO
The income gap between men and women is wider in the arts than the average gap across all industries in Australia, research shows. This gap appears to be especially evident for female writers, visual artists and musicians.
Veem Huis voor Performance - Amsterdam
Elena DI FEDERICO
Fair practice refers to a better labour market position for artists and fair business practices on the part of commissioning clients. The Dutch Fair Practice Code was drawn up jointly by makers, employers, trade unions, professional groups and other partners in the creative and cultural sectors, following a report by the Netherlands’ Council for Culture and Social and Economic Council. The draft version of the Code is now available also in English.
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The UIS has released new internationally-comparable cultural employment statistics. The collection includes 195 indicators offering a comprehensive perspective of cultural industries in 73 countries and territories.
Klaus Lefebvre, 2009 La Traviata (Giuseppe Verdi) @Dutch National Opera
Elena DI FEDERICO
A comprehensive survey of the role of women in the arts, culture and media in selected European countries, carried out by the Hertie School of Governance with support from the German government’s Commissioner for Culture and Media. Available in English (see link) and in German .
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This article, examining the ecology of funders’ use of intermediaries and regranting organizations, came about as a direct offshoot of GIA’s Research Initiative on Support for Individual Artists, begun in 2011. As the research team worked to map the pathways that support followed from funder to artist, a complex map of options and routes began to emerge, and intermediaries and regranters were often part of that picture.
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On day 3 of our Flanders Balkan Express meeting, sociologist Pascal Gielen was invited to talk about the role of art and culture in neoliberal and nationalist times. He introduces his talk as ‘the most depressive lecture I will ever give in my life’.
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Culture and Development: Beyond Neoliberal Reason book edited by Igor Stokfiszewski discusses the relationship between cultural practices and socio-economic development through analysing the results of research based on seminars, conferences and studies conducted at the Institute for Advanced Study in Warsaw from 2012 to 2016.
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If Africa is the cradle of civilisation, it is also the birthplace of artistic exploration: this continent produced the rhythms and call-and-response that continue to shape the contemporary music landscape.
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What is the most important role of a cultural nonprofit board member? Is it the donation of their time, their professional skill set (talent), or their giving or securing monetary support (treasure)?
Elena DI FEDERICO
Violent extremism thrives in polarized debates and buils on processes of “othering” and stigmatization. Culture and the arts can play a key role in preventing, countering and reducing the consequences of violent extremism by creating social capital and sense of belonging, by fostering resilience, and ultimately showing that we have more in common than what divides us.

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