The Living and Working Conditions of Artists in the Republic of Ireland and Northern Ireland:
Republic of Ireland Version (2010)
Authors, Clare McAndrew & Cathie McKimm & Hibernian Consulting & Insight Statistical Consulting,
The Arts Council/Arts Council of Northern Ireland, 2010.
Republic of Ireland Version (2010)
Authors, Clare McAndrew & Cathie McKimm & Hibernian Consulting & Insight Statistical Consulting,
The Arts Council/Arts Council of Northern Ireland, 2010.
Based on the survey responses, just over half of the professional artists surveyed (52%) are women. The gender gap is largest in the visual arts group where more than three out of five artists are women. Men constitute narrower majorities of artists in the performing arts & film and in relation to the writers group (p6).
The average (mean) income of professional ROI artists from their work as artists was under €15,000 in 2008, with 50% of artists earning €8,000 or less from their work as artists. When income from all sources (including social welfare) is taken into account, the average (mean) income for an ROI artist in 2008 was just over €25,000, with 50% of artists earning €19,832 or less (p.11).
Income from working as an artist is considerably higher (more than double) for male than for female artists. While the sample sizes are lower for the results by gender (which can lead to less precise results), the data suggests that this gap is highest for artists in the visual arts and writers groups. It is also higher for artists working on a self-employed basis or a combination PAYE/self-employed basis compared to those working on a PAYE basis as artists. Women artists have slightly higher average incomes from other sources and this partially closes the gap for total personal incomes, with the gap narrowing further at the level of household income. These figures do not take account of any differences in hours worked between male and female artists (p.11).
In the EU-27, the Eurostat (2007) data shows a higher proportion of female workers in the cultural sector than in the wider labour force. Female participation in the cultural sector is around 46%, and higher in some countries, e.g. Portugal (57%), UK (48%) and Sweden (47%) (p.32).
While most studies show that artists earn less than the other similarly qualified workers, another established theme is that female artists often earn less than male artists (p.32).
Just over half of professional artists in both ROI and NI are women. This contrasts with the wider labour force where men make up 56% (ROI) and 55% (NI) of the labour force. Analysis of the data shows that the distribution of male and female respondents by age group was similar (53% of male artists in ROI aged under 44 as were 50% of female artists; 59% of male artists in NI aged under 44, as were 61% of female artists) suggesting that both male and female artists tend to stay working as artists (or stop doing so) over time in similar proportions. This may in part reflect the flexibility of arts work, which allows those who wish to work part-time (generally women in the wider labour force) to do so. (From comments in the survey, it may also be due to some women artists deciding not to have children given the financial volatility of arts work, and their desire to concentrate fully on their work as artists) [Gender figures for wider labour force sourced from: ROI – Central Statistics Office, Quarterly National Household Survey (July-September 2009). NI – Department of Enterprise, Trade and Investment (Northern Ireland Labour Market Structure, September-November 2009)] (p.74).
The estimated population of professional artists for ROI represents a more than three-fold increase in the 30 years since the 1979 Arts Council study on living and working conditions. [In Artist Population/Demographic: Key Findings (Section 5.4)]
While not intended to be comprehensive estimates of the populations of artists in ROI and NI, the estimated survey populations indicate that professional artists now constitute a sizeable cohort of workers in the labour force in ROI and NI. [In Artist Population/Demographic: Key Findings (Section 5.4)]
Reflecting international research findings from Australia and New York, the
findings suggest that artists tend to be older than ‘all workers’ in the labour force.
This reflects the fact that artists spend longer in education than most workers and are also more likely to continue working past the point where other workers retire. This is particularly true for writers, but is also true for other artists. [In Artist Population/Demographic: Key Findings (Section 5.4)]
The survey indicates that just over half of the professional artists in both ROI and NI are women. The gender gap is largest for the visual arts where more than three out of five artists are women. Men constitute narrower majorities of the groupings of artists in the performing arts & film and in relation to the writers group. [In Artist Population/Demographic: Key Findings (Section 5.4)]
More than half of all artists do not have responsibility for dependents. Data in relation to responsibility for children aged under 18 suggests artists may be less likely to have children than other workers. [In Artist Population/Demographic: Key Findings (Section 5.4)]
Artists in ROI are more likely than the wider population to live in Dublin and the same is true for NI artists in relation to Belfast. In general, about two-thirds of artists live in cities and towns, with the remainder living in semi-rural or rural areas. Artists in the visual arts group are (relatively) more likely to live in rural areas and artists in the performing arts & film are the most likely to live in urban areas (pp. 80-81).
63% of ROI male artists ‘always’ or ‘often’ work more than 40 hours in a week, between arts and non-arts work, compared to 51% of female artists. The NI equivalent figures are 61% and 52%. Also, 42% of ROI male artists ‘always’ or ‘often’ work more than 55 hours per week, compared to 32% of female artists. Equivalent figures for NI are 37% (males) and 28% (females). The data therefore suggests that more male artists work long hours than female artists, including arts and paid non-arts work.
21% of ROI male respondents had registered as unemployed in the previous year, compared to 24% of female artists. The situation in NI was reversed, with 19% of male artists and 11% of female artists having been so Registered (p.112).
The sharp impact of the economic recession is seen in that 39% of ROI artists expected ‘significantly lower’ incomes as artists in 2009 (p.94). For NI, over two out of five artists (41%) believed their incomes would fall in the year to April 2010, compared to 22% who believed that incomes would increase. More than one out of five NI artists (22%) believed that their income as an artist would be ‘significantly lower’ in the year to April 2010 (p.94).
Expected Fall in Income in 2009 due to Economic Recession (section 8.2.5)
Figure 8.1 underscores the volatility of artists’ incomes. Indeed, the fact that 39% of ROI artists and 22% of NI artists expected ‘substantial falls’ in their incomes as artists in 2009 (or 2009/10) suggests that artists were being disproportionately affected by the economic downturn, perhaps due to lower consumer spending on the visual arts, or crafts, or on attending plays, concerts or other arts events, with these not seen as ‘essential’ items of expenditure. This suggests a particular challenge for artists in managing their work over an economic cycle and also shows up the importance for many of having work other than as an artist. It reflects findings from the US National Endowment for the Arts, which suggested that US artists were particularly affected by the severe US economic downturn in 2008. Analysis of data for the three artform groupings shows that incomes of artists in the visual arts group seem to have been hardest hit in 2009, with 65% in ROI believing their income would fall from the previous year and 49% (or one in two ROI visual artists) expecting a significant 2009 fall in income. In NI, 44% in this group expected their income to fall in 2009/10, with one in four (24%) expecting a significant fall (p.128).
Taking account of all sources of income, ROI female artists had an average (mean) income of 66% of male artists for 2008, with a median figure at 72%. Equivalent NI figures were 62% and 64% for 2008/09 taking all income sources into account. The median figures here (72% and 64%) compare to an equivalent figure for the US of 65% as per an NEA (2008) study.
In part reflecting the gender breakdown of the different artform groups, most self-employed artists are female in ROI and NI (54% and 56% respectively) and most artists working on a PAYE basis are male (54% in ROI and 60% in NI) (p.155).
When asked about factors that have held back their career development as artists, the single most important factor cited in both ROI and NI was the lack of financial return from their creative work. The next three main factors also relate to finance and the nature of artists’ work patterns and work environment: lack of work opportunities, lack of time for creative work due to other responsibilities, and lack of access to funding and other financial supports. There is a different balance between male and female artists as regards the single most important factor that has held back their professional development. Men are (relatively) more likely to name a lack of work opportunities and lack of access to funding as the most important factor with women (relatively) more likely to cite the lack of financial returns from working as an artist or a lack of time for creative work due to other pressures and responsibilities. When listing all of the factors that have held back their professional development as artists, women are much more likely to cite gender discrimination (one in six women artists cites this as against one in one hundred men).
The average (mean) income of professional ROI artists from their work as artists was under €15,000 in 2008, with 50% of artists earning €8,000 or less from their work as artists. When income from all sources (including social welfare) is taken into account, the average (mean) income for an ROI artist in 2008 was just over €25,000, with 50% of artists earning €19,832 or less (p.11).
Income from working as an artist is considerably higher (more than double) for male than for female artists. While the sample sizes are lower for the results by gender (which can lead to less precise results), the data suggests that this gap is highest for artists in the visual arts and writers groups. It is also higher for artists working on a self-employed basis or a combination PAYE/self-employed basis compared to those working on a PAYE basis as artists. Women artists have slightly higher average incomes from other sources and this partially closes the gap for total personal incomes, with the gap narrowing further at the level of household income. These figures do not take account of any differences in hours worked between male and female artists (p.11).
In the EU-27, the Eurostat (2007) data shows a higher proportion of female workers in the cultural sector than in the wider labour force. Female participation in the cultural sector is around 46%, and higher in some countries, e.g. Portugal (57%), UK (48%) and Sweden (47%) (p.32).
While most studies show that artists earn less than the other similarly qualified workers, another established theme is that female artists often earn less than male artists (p.32).
Just over half of professional artists in both ROI and NI are women. This contrasts with the wider labour force where men make up 56% (ROI) and 55% (NI) of the labour force. Analysis of the data shows that the distribution of male and female respondents by age group was similar (53% of male artists in ROI aged under 44 as were 50% of female artists; 59% of male artists in NI aged under 44, as were 61% of female artists) suggesting that both male and female artists tend to stay working as artists (or stop doing so) over time in similar proportions. This may in part reflect the flexibility of arts work, which allows those who wish to work part-time (generally women in the wider labour force) to do so. (From comments in the survey, it may also be due to some women artists deciding not to have children given the financial volatility of arts work, and their desire to concentrate fully on their work as artists) [Gender figures for wider labour force sourced from: ROI – Central Statistics Office, Quarterly National Household Survey (July-September 2009). NI – Department of Enterprise, Trade and Investment (Northern Ireland Labour Market Structure, September-November 2009)] (p.74).
The estimated population of professional artists for ROI represents a more than three-fold increase in the 30 years since the 1979 Arts Council study on living and working conditions. [In Artist Population/Demographic: Key Findings (Section 5.4)]
While not intended to be comprehensive estimates of the populations of artists in ROI and NI, the estimated survey populations indicate that professional artists now constitute a sizeable cohort of workers in the labour force in ROI and NI. [In Artist Population/Demographic: Key Findings (Section 5.4)]
Reflecting international research findings from Australia and New York, the
findings suggest that artists tend to be older than ‘all workers’ in the labour force.
This reflects the fact that artists spend longer in education than most workers and are also more likely to continue working past the point where other workers retire. This is particularly true for writers, but is also true for other artists. [In Artist Population/Demographic: Key Findings (Section 5.4)]
The survey indicates that just over half of the professional artists in both ROI and NI are women. The gender gap is largest for the visual arts where more than three out of five artists are women. Men constitute narrower majorities of the groupings of artists in the performing arts & film and in relation to the writers group. [In Artist Population/Demographic: Key Findings (Section 5.4)]
More than half of all artists do not have responsibility for dependents. Data in relation to responsibility for children aged under 18 suggests artists may be less likely to have children than other workers. [In Artist Population/Demographic: Key Findings (Section 5.4)]
Artists in ROI are more likely than the wider population to live in Dublin and the same is true for NI artists in relation to Belfast. In general, about two-thirds of artists live in cities and towns, with the remainder living in semi-rural or rural areas. Artists in the visual arts group are (relatively) more likely to live in rural areas and artists in the performing arts & film are the most likely to live in urban areas (pp. 80-81).
63% of ROI male artists ‘always’ or ‘often’ work more than 40 hours in a week, between arts and non-arts work, compared to 51% of female artists. The NI equivalent figures are 61% and 52%. Also, 42% of ROI male artists ‘always’ or ‘often’ work more than 55 hours per week, compared to 32% of female artists. Equivalent figures for NI are 37% (males) and 28% (females). The data therefore suggests that more male artists work long hours than female artists, including arts and paid non-arts work.
21% of ROI male respondents had registered as unemployed in the previous year, compared to 24% of female artists. The situation in NI was reversed, with 19% of male artists and 11% of female artists having been so Registered (p.112).
The sharp impact of the economic recession is seen in that 39% of ROI artists expected ‘significantly lower’ incomes as artists in 2009 (p.94). For NI, over two out of five artists (41%) believed their incomes would fall in the year to April 2010, compared to 22% who believed that incomes would increase. More than one out of five NI artists (22%) believed that their income as an artist would be ‘significantly lower’ in the year to April 2010 (p.94).
Expected Fall in Income in 2009 due to Economic Recession (section 8.2.5)
Figure 8.1 underscores the volatility of artists’ incomes. Indeed, the fact that 39% of ROI artists and 22% of NI artists expected ‘substantial falls’ in their incomes as artists in 2009 (or 2009/10) suggests that artists were being disproportionately affected by the economic downturn, perhaps due to lower consumer spending on the visual arts, or crafts, or on attending plays, concerts or other arts events, with these not seen as ‘essential’ items of expenditure. This suggests a particular challenge for artists in managing their work over an economic cycle and also shows up the importance for many of having work other than as an artist. It reflects findings from the US National Endowment for the Arts, which suggested that US artists were particularly affected by the severe US economic downturn in 2008. Analysis of data for the three artform groupings shows that incomes of artists in the visual arts group seem to have been hardest hit in 2009, with 65% in ROI believing their income would fall from the previous year and 49% (or one in two ROI visual artists) expecting a significant 2009 fall in income. In NI, 44% in this group expected their income to fall in 2009/10, with one in four (24%) expecting a significant fall (p.128).
Taking account of all sources of income, ROI female artists had an average (mean) income of 66% of male artists for 2008, with a median figure at 72%. Equivalent NI figures were 62% and 64% for 2008/09 taking all income sources into account. The median figures here (72% and 64%) compare to an equivalent figure for the US of 65% as per an NEA (2008) study.
In part reflecting the gender breakdown of the different artform groups, most self-employed artists are female in ROI and NI (54% and 56% respectively) and most artists working on a PAYE basis are male (54% in ROI and 60% in NI) (p.155).
When asked about factors that have held back their career development as artists, the single most important factor cited in both ROI and NI was the lack of financial return from their creative work. The next three main factors also relate to finance and the nature of artists’ work patterns and work environment: lack of work opportunities, lack of time for creative work due to other responsibilities, and lack of access to funding and other financial supports. There is a different balance between male and female artists as regards the single most important factor that has held back their professional development. Men are (relatively) more likely to name a lack of work opportunities and lack of access to funding as the most important factor with women (relatively) more likely to cite the lack of financial returns from working as an artist or a lack of time for creative work due to other pressures and responsibilities. When listing all of the factors that have held back their professional development as artists, women are much more likely to cite gender discrimination (one in six women artists cites this as against one in one hundred men).