tag:theconversation.com,2011:/fr/topics/artists-incomes-30797/articlesArtists' incomes – The Conversation2023-08-31T20:00:11Ztag:theconversation.com,2011:article/2080212023-08-31T20:00:11Z2023-08-31T20:00:11ZUnder-counting, a gendered industry, and precarious work: the challenges facing Creative Australia in supporting visual artists<figure><img src="https://images.theconversation.com/files/540941/original/file-20230803-21-ypizoo.jpg?ixlib=rb-1.1.0&rect=14%2C14%2C4909%2C4843&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">
</span> <span class="attribution"><span class="source">Earl Wilcox/Unsplash</span></span></figcaption></figure><p>When Arts Minister Tony Burke launched the bill introducing Creative Australia, the new organisation at the heart of the Revive Cultural Policy, he did so with <a href="https://parlinfo.aph.gov.au/parlInfo/search/display/display.w3p;query=Id%3A%22chamber%2Fhansardr%2F26698%2F0005%22">a bold statement</a>:</p>
<blockquote>
<p>Creative Australia recognises that artists and creatives throughout our great landscape, from metropolitan cities to the red desert, are workers. In exchange for what they give us, they should have safe workplaces and be remunerated fairly.</p>
</blockquote>
<p>In 2022, we surveyed 702 visual and craft artists and arts workers, making this the largest single scholarly survey of this cohort in Australia to date. We were interested to find out the ways artists combined income from various sources, within and beyond their art practice. </p>
<p><a href="https://www.visualartswork.net.au/">Our new research</a> identifies three key areas that need to be addressed to ensure fair remuneration for all visual and craft artists. We need to acknowledge the likely under-counting of the number of artists in Australia, the gendered nature of this population, and the complex ways artists earn an income.</p>
<hr>
<p>
<em>
<strong>
Read more:
<a href="https://theconversation.com/arts-are-meant-to-be-at-the-heart-of-our-life-what-the-new-national-cultural-policy-could-mean-for-australia-if-it-all-comes-together-198786">'Arts are meant to be at the heart of our life': what the new national cultural policy could mean for Australia – if it all comes together</a>
</strong>
</em>
</p>
<hr>
<h2>Counting the artists</h2>
<p>It is impossible to provide a single estimate of the number of visual and craft artists in Australia as different surveys use different definitions of “artist”.</p>
<p>According to the 2021 ABS census, there are 6,793 <a href="http://www.abs.gov.au/websitedbs/censushome.nsf/home/tablebuilder?opendocument&navpos=240.">visual art and craft professionals in Australia</a>, 64% of whom identified as female. </p>
<p>But the criteria used to count being an artist as a profession in the census require art to be the “<a href="https://www.abs.gov.au/statistics/labour/earnings-and-working-conditions/income-and-work-census/2021#key-questions-in-2021-census">main job</a>” of the respondent in the week before the census. This leads to an under-counting of artists, as most visual art and craft artists support themselves through other work – either related to their artwork, such as in academia or in arts management, or in an entirely different field. As such, they would not be identified in the census as visual or craft artists.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/540942/original/file-20230803-25-d2dnt3.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="A woman weaving." src="https://images.theconversation.com/files/540942/original/file-20230803-25-d2dnt3.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/540942/original/file-20230803-25-d2dnt3.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=338&fit=crop&dpr=1 600w, https://images.theconversation.com/files/540942/original/file-20230803-25-d2dnt3.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=338&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/540942/original/file-20230803-25-d2dnt3.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=338&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/540942/original/file-20230803-25-d2dnt3.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=424&fit=crop&dpr=1 754w, https://images.theconversation.com/files/540942/original/file-20230803-25-d2dnt3.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=424&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/540942/original/file-20230803-25-d2dnt3.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=424&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Many artists are excluded from the census, because art making is not their ‘main work’.</span>
<span class="attribution"><span class="source">ALAN DE LA CRUZ/Unsplash</span></span>
</figcaption>
</figure>
<p>A more accurate estimate is likely provided by the ABS Survey of Cultural Participation. In this survey, <a href="https://www.abs.gov.au/statistics/people/people-and-communities/cultural-and-creative-activities/latest-release">106,000 Australians</a> reported earning some income from a visual art activity, and 94,800 from a craft activity, in the 2021–22 financial year. These figures cannot be totalled as those engaged in both activities were counted separately. Nonetheless, at a minimum the survey identifies an additional 100,000 visual and craft artists not captured within the census definition. </p>
<p>If all artists are to be remunerated fairly, it is critical Creative Australia ensures support mechanisms extend to the around 100,000 visual and craft artists for whom art making is not their primary occupation. </p>
<h2>The gendered nature of the industry</h2>
<p>In our survey, we did not impose any requirements that respondents devote a certain amount of time to their art making, nor earn a particular level of income. Instead, we left it open to respondents to self-identify as an artist. </p>
<p>This inclusive definition produced a much higher proportion of female artists than the census, with 73% identifying as female. This aligns with <a href="https://sheila.org.au/wp-content/uploads/2022/02/2019_COUNTESS_REPORT_FINAL.pdf">other estimates</a> of the gender breakdown of the industry. The ABS Cultural Participation Survey estimated 67% of people who earned income from visual art activity and 79% who derived income from craft activity were female.</p>
<p>In our survey, 3.1% of respondents identified as non-binary, and so we were not able to collect enough data for further analysis of this cohort.</p>
<p>We found a distinctive experience of female artists compared to their male counterparts, suggesting policy responses need to recognise the gendered nature of art making. </p>
<p>Female artists in our survey reported an average annual income of A$8,507 from their arts practice, compared to the annual income reported by male artists of $22,906. </p>
<p>While earning 37% of male artists’ earnings, women spent 76% of the time male artists spend on their practice (29 hours compared with 38 hours per week). </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/540944/original/file-20230803-29-ypizoo.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="A man paints." src="https://images.theconversation.com/files/540944/original/file-20230803-29-ypizoo.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/540944/original/file-20230803-29-ypizoo.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=401&fit=crop&dpr=1 600w, https://images.theconversation.com/files/540944/original/file-20230803-29-ypizoo.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=401&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/540944/original/file-20230803-29-ypizoo.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=401&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/540944/original/file-20230803-29-ypizoo.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=503&fit=crop&dpr=1 754w, https://images.theconversation.com/files/540944/original/file-20230803-29-ypizoo.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=503&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/540944/original/file-20230803-29-ypizoo.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=503&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">On average, male artists earn more than female artists.</span>
<span class="attribution"><span class="source">Antonio Francisco/Unsplash</span></span>
</figcaption>
</figure>
<p>So, male artists earn more from their art practice than female artists, and proportionately even more when accounting for the hours spent on their practice. </p>
<p>Our research suggests the shadow cohort of visual and craft artists who do not show up in census results are predominantly female. The gendered nature of the visual arts and craft sector must be front of mind in the design of remuneration policies for artists undertaken by Creative Australia.</p>
<hr>
<p>
<em>
<strong>
Read more:
<a href="https://theconversation.com/the-gender-pay-gap-is-wider-in-the-arts-than-in-other-industries-87080">The gender pay gap is wider in the arts than in other industries</a>
</strong>
</em>
</p>
<hr>
<h2>How artists earn a living</h2>
<p>For many artists, the practice of visual art and craft making does not readily align with traditional concepts of an employee and is not attached to a single workplace. </p>
<p>In our survey, only 30% of respondents spent 100% of their working time as an artist, with 60% receiving at least some income from non-artistic work within and outside the arts sector.</p>
<p>The life of an artist is more likely to look like a combination of multiple part-time, casual and contract jobs, with occasional grant income and artwork sales. </p>
<p>Many visual art and craft artists conduct their practice from their home and operate as a sole trader. For many, outside work is the only way they can support their art practice. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/540943/original/file-20230803-29-nsdn8q.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="Three people in an office" src="https://images.theconversation.com/files/540943/original/file-20230803-29-nsdn8q.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/540943/original/file-20230803-29-nsdn8q.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=400&fit=crop&dpr=1 600w, https://images.theconversation.com/files/540943/original/file-20230803-29-nsdn8q.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=400&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/540943/original/file-20230803-29-nsdn8q.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=400&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/540943/original/file-20230803-29-nsdn8q.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=503&fit=crop&dpr=1 754w, https://images.theconversation.com/files/540943/original/file-20230803-29-nsdn8q.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=503&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/540943/original/file-20230803-29-nsdn8q.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=503&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Most artists support themselves with a job other than art making.</span>
<span class="attribution"><span class="source">Arlington Research/Unsplash</span></span>
</figcaption>
</figure>
<p>Achieving the goal of remunerating artists fairly is not just about payment for art making. It is also about the other work these artists must undertake to make a living, much of which consists of part-time employment elsewhere in the arts and cultural sector. </p>
<p>Any policy interventions from Creative Australia to support visual and craft artists’ incomes will need to take a sector-wide approach.</p>
<hr>
<p>
<em>
<strong>
Read more:
<a href="https://theconversation.com/male-artists-dominate-galleries-our-research-explored-if-its-because-women-dont-paint-very-well-or-just-discrimination-189221">Male artists dominate galleries. Our research explored if it’s because ‘women don’t paint very well’ – or just discrimination</a>
</strong>
</em>
</p>
<hr>
<img src="https://counter.theconversation.com/content/208021/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Grace McQuilten receives funding from the Australian Research Council for the Linkage Project 'Ambitious & Fair: Strategies for a Sustainable Visual Arts Sector.'</span></em></p><p class="fine-print"><em><span>Chloë Powell receives funding from the Australian Research Council for the Linkage Project 'Ambitious & Fair: Strategies for a Sustainable Visual Arts Sector.'</span></em></p><p class="fine-print"><em><span>Jenny Lye receives funding from the Australian Government through the Australian Research Council for the Linkage Project Ambitious and Fair: strategies for a sustainable arts sector (LP200100054)"</span></em></p><p class="fine-print"><em><span>Kate MacNeill receives funding from the Australian Government through the Australian Research Council for the Linkage Project Ambitious and Fair: strategies for a sustainable arts sector (LP200100054)</span></em></p><p class="fine-print"><em><span>Marnie Badham receives funding from the Australian Research Council for the Linkage Project 'Ambitious & Fair: Strategies for a Sustainable Visual Arts Sector.' She is affiliated with Res Artis. </span></em></p>Any policy interventions from Creative Australia to support visual and craft artists’ incomes will need to take a sector-wide approach.Grace McQuilten, Associate professor, RMIT UniversityChloë Powell, Research Assistant, RMIT UniversityJenny Lye, Associate Professor/Reader in Economics, The University of MelbourneKate MacNeill, Associate Dean, Faculty of Arts, The University of MelbourneMarnie Badham, Associate Professor, School of Art, RMIT UniversityLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/870802017-11-12T19:01:22Z2017-11-12T19:01:22ZThe gender pay gap is wider in the arts than in other industries<figure><img src="https://images.theconversation.com/files/194092/original/file-20171110-13311-iwoicn.jpg?ixlib=rb-1.1.0&rect=0%2C33%2C7360%2C4473&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">The income gap between men and women is wider in the arts than the average gap across all industries in Australia. This is especially so for female writers, visual artists and musicians.</span> <span class="attribution"><span class="source">Dmytro Zinkevych/shutterstock</span></span></figcaption></figure><p>Australian artists now spend more time on their creative practice than in previous years but earn less from it. The situation is particularly gloomy for the average Australian female artist. She is better educated than her male counterpart, she spends about the same time on creative work as he does, yet she earns a much lower income from it – $15,400 versus $22,100 in the 2014-15 financial year. </p>
<p>Indeed, the income gap between men and women is wider in the arts than the average gap across all industries in Australia. This gap appears to be especially evident for female writers, visual artists and musicians.</p>
<p>These data come from <a href="http://www.australiacouncil.gov.au/research/making-art-work/">a major survey of practising professional artists in Australia</a> that we have carried out over the past year. It’s the most recent in a long series of surveys undertaken in the Economics Department at Macquarie University since the early 1980s with funding from the Australia Council. The accumulated results tell us a lot about how the conditions of professional arts practice have changed over the years.</p>
<p>Our survey shows that the average income Australian artists earned from creative work is now just $18,800 a year, which is less in real terms than for any of the previous survey years. This is less than they could earn in other professional occupations that require similar educational qualifications. Their total gross annual income including all sources of income is $48,400.</p>
<p>One of the hazards that professional artists face throughout their career is having to explain why they should be paid for doing what others do for fun – painting, making music, acting, dancing, writing poetry.</p>
<p>People often don’t appreciate that the level of education, training, experience and skill required to become a professional are at least as rigorous in the arts as they are in other professions like medicine and the law. In fact, the great majority of professional artists (90%) have post-school qualifications compared with only 53% for the general labour force. Artists spend about six years in training to obtain their basic qualifications, then almost another four years to receive further ones.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/194098/original/file-20171110-13351-1a8voi7.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/194098/original/file-20171110-13351-1a8voi7.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/194098/original/file-20171110-13351-1a8voi7.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=450&fit=crop&dpr=1 600w, https://images.theconversation.com/files/194098/original/file-20171110-13351-1a8voi7.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=450&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/194098/original/file-20171110-13351-1a8voi7.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=450&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/194098/original/file-20171110-13351-1a8voi7.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=566&fit=crop&dpr=1 754w, https://images.theconversation.com/files/194098/original/file-20171110-13351-1a8voi7.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=566&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/194098/original/file-20171110-13351-1a8voi7.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=566&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">The great majority of artists have post-school qualifications.</span>
<span class="attribution"><span class="source">shutterstock</span></span>
</figcaption>
</figure>
<p>There are just under 50,000 professional artists in Australia. Since the genders are split in roughly equal proportions, the average or “typical” artist could be male or female. She or he is likely to be aged around 49 years, born in Australia, living in one of the capital cities, married or living with a partner, and without dependent children.</p>
<h2>A ‘portfolio’ career</h2>
<p>Artists are multi-talented. At some point in their lives they will have engaged in some other form of original creative work beyond their principal artistic occupation. Indeed the majority of artists today follow a “portfolio” career, working as freelancers under various contractual arrangements, often spanning multiple artforms, and applying their creative skills from time to time in industries far removed from the arts.</p>
<p>Less than a quarter of all artists are able to pursue their original creative practice full-time. We find that 66% of artists would like to spend more time at their creative work. The most important reason why most cannot do so is because working in the arts does not pay well enough, and they need to earn more income elsewhere.</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/194095/original/file-20171110-13299-1daixy1.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/194095/original/file-20171110-13299-1daixy1.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/194095/original/file-20171110-13299-1daixy1.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=400&fit=crop&dpr=1 600w, https://images.theconversation.com/files/194095/original/file-20171110-13299-1daixy1.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=400&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/194095/original/file-20171110-13299-1daixy1.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=400&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/194095/original/file-20171110-13299-1daixy1.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=503&fit=crop&dpr=1 754w, https://images.theconversation.com/files/194095/original/file-20171110-13299-1daixy1.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=503&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/194095/original/file-20171110-13299-1daixy1.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=503&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Less than a quarter of artists are able to pursue their practice full-time.</span>
<span class="attribution"><span class="source">Violetta Nahachevska/shutterstock</span></span>
</figcaption>
</figure>
<p>Why do so many aspirants long to take up a career in a field that offers so little prospect of financial security? Clearly one reason is the non-pecuniary rewards to be derived from art practice – what economists call, rather quaintly, “psychic income”. </p>
<p>The inner drive to make art is what encourages artists to continue. When asked what have been the most important factors that have contributed to advancing their careers, 23% of artists nominate hard work and persistence, and 21% point to their passion, self-motivation and self-belief.</p>
<p>The average artist works a 45-hour week, not including hours spent on unpaid activities such as studying or voluntary work. Yet although creative work absorbs 57% of artists’ working time, it generates less than 40% of their income. More than three-quarters of all artists have to take another job to support their creative practice. </p>
<p>These additional sources of income may be found within the arts sector – visual artists teaching in art school, for example, or dancers or musicians taking private pupils – or employment may have to be sought outside the arts altogether.</p>
<h2>Why the income decline?</h2>
<p>Why have artists’ incomes declined? Could it be due to a sudden increase in their numbers, or perhaps a decrease in support provided to them? Neither explanation is convincing – though total numbers of artists have risen since 2009, the increase is comparable with the growth in the Australian labour force as a whole. And, while it appears that more artists have been applying for financial assistance in recent years, the success rate is similar to before.</p>
<p>Although we cannot answer the above question fully, the data point to the extent to which genuine creative activity is being curtailed by circumstances over which artists have no control. This should continue to be of concern for public policy – if the market does not adequately recognise the contribution that artists make to the cultural life of this country, some financial intervention may be warranted to rectify the inequity.</p>
<p>What of the future? The accumulated results from this series of surveys have helped us over the years to comprehend more clearly why we as a society need to accord artists the respect they deserve as professionals.</p>
<p>An understanding of the conditions of professional arts practice is a prerequisite for the development of more effective measures to support individual artists and to nurture the growth of the arts. At present, such measures are needed more urgently than ever.</p><img src="https://counter.theconversation.com/content/87080/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>David Throsby received funding from the Australia Council for the Arts to carry out this survey. </span></em></p><p class="fine-print"><em><span>Katya Petetskaya received funding from the Australia Council for the Arts to carry out this survey. </span></em></p>The average Australian female artist is better educated than her male counterpart but earns significantly less than him, new research shows. And artists’ incomes are declining in real terms.David Throsby, Distinguished Professor of Economics, Macquarie UniversityKatya Petetskaya, Research Project Director at the Department of Economics, Macquarie UniversityLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/691302016-11-27T19:18:29Z2016-11-27T19:18:29ZWhy music is not lost<p>When radio became popular in the 1920s, many believed this was the end for recording artists and live music. Suddenly, music was being played with no compensation or income streams available. Record companies worried that sales would drop. Venue owners believed people wouldn’t go out and see live music any more. Musicians’ Unions and Performing Rights Associations fought for compensation and a slice of radio advertising revenue. This is a complex story to summarize; but it took nearly 15 years to implement new copyright and royalty models for musicians.</p>
<p>The music industry is currently in a state of flux - due to the internet and digitization - as are many other industries affected by technological and social changes. But as the radio example shows, there is <a href="https://theconversation.com/spotify-saviour-of-the-music-industry-6056">a well documented history</a> of musicians adapting to technological and social changes over the past century.</p>
<p>As long as there is technological innovation, musicians and the industry that supports them will either embrace these changes or feel threatened. Musicians must adjust to these changes and to consumer demands. This means not just changing distribution formats of music, but also musical forms. (12-inch mixes of LPs, for example, came in response to DJs sampling and creating mix tapes in the late 1980s and early 90s).</p>
<figure class="align-right zoomable">
<a href="https://images.theconversation.com/files/147322/original/image-20161124-15359-1dfpa7g.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/147322/original/image-20161124-15359-1dfpa7g.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/147322/original/image-20161124-15359-1dfpa7g.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=904&fit=crop&dpr=1 600w, https://images.theconversation.com/files/147322/original/image-20161124-15359-1dfpa7g.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=904&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/147322/original/image-20161124-15359-1dfpa7g.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=904&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/147322/original/image-20161124-15359-1dfpa7g.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1136&fit=crop&dpr=1 754w, https://images.theconversation.com/files/147322/original/image-20161124-15359-1dfpa7g.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1136&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/147322/original/image-20161124-15359-1dfpa7g.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1136&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Nick Murphy, formerly known as Chet Faker, is signed by independent Australian record label, Future Classic.</span>
<span class="attribution"><a class="source" href="https://www.flickr.com/photos/monophonicgirl/17613067765/">monophonicgirl/Flickr</a>, <a class="license" href="http://creativecommons.org/licenses/by-nc/4.0/">CC BY-NC</a></span>
</figcaption>
</figure>
<p>Social media platforms have enabled musicians and music companies to develop new strategies for distribution that disrupt the more traditional linear supply chains dominated by the major record labels. Under the old, linear model, a series of intermediary steps (contracts, production, publishing, distribution, promotion) eventually led to a retail outlet. But independent music labels - which provide an important platform for new talent and music-making - are disrupting this paradigm with new business models and artist/audience relationships. The 2015 <a href="http://winformusic.org/files/WINTEL%202015.pdf">Worldwide Independent Network</a> report on the global economic and cultural contribution of independent music showed that independent labels have 37.6% of the global market, worth $5.6 billion.</p>
<p>In relation to music distribution, academic <a href="https://eprints.qut.edu.au/67836/">Patrick Wikstrom</a> writes that technological changes consist of three models: ownership, access and context. The “ownership model” has dominated the last century with the sale of recorded music on formats like CDs and records. The “access model” refers to the rise of online subscription-based music streaming services like <a href="https://www.spotify.com/au/">Spotify</a>. A “context model” enables audiences to “do things with music”.</p>
<p>Musicians today must be multi-skilled. The revolution in the 1990s of audio software platforms such as Protools and Cubase enabled creators to be producers of their own music, cutting costs dramatically. In the first decade of this century, the emergence of web 2.0 has propelled the democratization of production tools resulting in the rise of “the Produser” (coined by <a href="https://eprints.qut.edu.au/6623/1/6623.pdf">Axel Bruns</a>) - part producer, part user.</p>
<p>The new digital economy is a shared economy, built increasingly upon user-led content creation. The consumer transforms from passive recipient to active co-creator. Consumers are now informed, connected, empowered and consequently have more market power. Once music has been digitised, it can be changed into any format. But this endless re-working/bundling/re-contextualization of digital music is, of course, not well served by older 19th Century frameworks of copyright protection. </p>
<h2>Many income streams</h2>
<p>Today’s musician relies upon many income streams: live performance, royalties from performance, recordings, synchronisation rights, teaching, licensing, merchandising etc. Streaming, downloading and stem releases (the creation of groups of audio tracks, processing them separately prior to combining them into a final master mix) are for the moment the main consumption models (with a nostalgic resurgence in high quality vinyl).</p>
<p>This fact is reflected in the <a href="http://www.ifpi.org/downloads/Digital-Music-Report-2015.pdf">2015 International Federation of the Phonographic Industry</a> report, which shows that digital sales of music made up 45% of the market. Physical sales (CDs, vinyl) comprised 39%, with performance rights (broadcasting royalties) at 14% and synchronization (rights aligned with uses such as film soundtracks) at 2%.</p>
<p>Beyond digital sales, the other growth trend is in live performance revenues. A recent <a href="http://www.pwc.com/gx/en/industries/entertainment-media/outlook/segment-insights/music.html">Price Waterhouse report</a> predicted revenue from performances would rise by 3% annually through to 2020.</p>
<p>In Australia, combined revenue from all income streams for musicians actually increased last year to a historically high growth rate of more than 12%, according to <a href="http://2016.yir.apraamcos.com.au/">APRA-AMCOS</a>.</p>
<p>Crucially, in Australia, digital revenue (downloads, basic and “premium” streaming services, on-demand video, website use and user-generated services) provided the impetus for growth from <a href="http://2016.yir.apraamcos.com.au/">$47m to $68m from 2015 to 2016</a>). This has provided some correction to earlier industry periods bereft of answers to the spectacular rise of downloads and file-sharing of music mp3s through computer systems.</p>
<p>Obstacles remain. While aggregator services such as YouTube rely heavily on advertising, hundreds of millions of users can freely upload and watch content, producing a significant gap between usage and payment. </p>
<p>This is the <a href="http://www.icmp-ciem.org/news/value-gap-0">“value gap”</a>. The royalties paid back to artists for streaming or YouTube dissemination are minimal – only massive amounts of streams can produce substantial income. For Spotify, royalties are around 0.006 – 0.0085 per dollar; YouTube is 0.001.</p>
<h2>A legislative solution</h2>
<p>But the solution is legislative. There is now a world-wide push to address this value gap so that more of the royalties <a href="http://www.billboard.com/articles/business/7487864/european-commission-youtube-dailymotion-digital-single-market-value-gap">go to the copyright owners</a>. In September this year, the European Commission published a proposal on copyright in the Digital Single Market to address the value gap. Amongst other things, it would oblige companies such as YouTube to work with copyright holders (labels, publishers, individuals) and address the value gap between those who own the rights for music and the creators of it.</p>
<p>Then there is <a href="https://theconversation.com/how-blockchain-could-help-musicians-make-a-living-from-music-52125">Blockchain</a>, currently being trialled by global banks and seen by some in the music industry as a possible future <a href="http://www.the-blockchain.com/docs/Blockchain%20Solution%20for%20the%20Music%20Industry.pdf">solution to copyright</a> problems. </p>
<p>Blockchain is a public decentralised ledger used in digital currencies. Each block is like an individual bank statement and a permanent record of a transaction. It is transparent, open and immutable. For musicians, it has the potential to be a smart contract embedded within a music file that automatically sends licensing, payments and usage agreements to anyone using that file around the world. </p>
<p>Blockchain is in its early days, with problems still to be solved (relating to bandwith and issues of consumer trust), but it could signify the future.</p>
<h2>The CD as calling card</h2>
<p>As with all previous eras, the music industry is highly competitive. It is not enough to be “talented” and hope to be discovered. Survival today requires that musicians embrace these new approaches - either individually or collectively - in order to reach their audiences. </p>
<figure class="align-right zoomable">
<a href="https://images.theconversation.com/files/147323/original/image-20161124-15365-1m3ylza.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/147323/original/image-20161124-15365-1m3ylza.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/147323/original/image-20161124-15365-1m3ylza.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=399&fit=crop&dpr=1 600w, https://images.theconversation.com/files/147323/original/image-20161124-15365-1m3ylza.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=399&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/147323/original/image-20161124-15365-1m3ylza.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=399&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/147323/original/image-20161124-15365-1m3ylza.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=501&fit=crop&dpr=1 754w, https://images.theconversation.com/files/147323/original/image-20161124-15365-1m3ylza.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=501&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/147323/original/image-20161124-15365-1m3ylza.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=501&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">CDs have become more of a calling card and promotional giveaway.</span>
<span class="attribution"><a class="source" href="https://www.flickr.com/photos/spilt-milk/4121364439/">yoppy/Flickr</a>, <a class="license" href="http://creativecommons.org/licenses/by/4.0/">CC BY</a></span>
</figcaption>
</figure>
<p>This is hard work. It requires continual exposure through performance and/or product availability via distribution and social media platforms. These days the CD, like vinyl recordings, has become more like a calling card and promotional free giveaway by artists. The release of new cars and computers without in-built compact disc drives is further evidence of the change in consumer behaviour.</p>
<p>To state the obvious: contemporary music industries are struggling to find new ways to connect with audiences and create value in their products and services. However, history shows these industries are always in flux. These days, there is now music that adjusts to your mood or activity like <a href="https://www.spotify.com/au/running/">Spotify “running”</a> (a playlist tailored to keep energy levels up while exercising); or <a href="http://melodyvr.com/">Melody’s Virtual Reality</a> player, which will allow audiences to watch and stream concerts in 360 degree surround visual and audio from their own lounge room.</p>
<p>The increased complexity of digitization, and related changes to cultural products, business, trade and consumption, require massive innovation. Also needed are innovative new copyright and royalty models before new revenue streams can be realized.</p>
<p><em>The authors are part of an <a href="http://www.arc.gov.au/">Australian Research Council</a> Linkage grant research team investigating <a href="http://www.newcastle.edu.au/research-and-innovation/centre/education-arts/cecar/arc-music-export-research">the economic and cultural value of the Australian music export</a>.</em></p>
<p><em>This is a response to our Friday essay: the loss of music. You can read it <a href="https://theconversation.com/friday-essay-the-loss-of-music-68169">here</a>.</em></p><img src="https://counter.theconversation.com/content/69130/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>The authors are part of an Australian Research Council Linkage grant research team investigating the economic and cultural value of Australian music exports in collaboration with Sounds Australia, an export market development joint initiative of APRA and the Australia Council for the Arts. It is funded by the ARC, APRA and The Australia Council for the Arts.</span></em></p><p class="fine-print"><em><span>Shane Homan receives funding from the Australian Research Council. </span></em></p><p class="fine-print"><em><span>Tracy Redhead receives funding from the Australia Research Council, APRA and the Australia Council for the Arts. </span></em></p>In Australia, musicians’ total income actually went up last year. While the music industry still faces many challenges, there is now a world-wide push to boost artists’ royalties paid by streaming services such as Spotify.Richard Vella, Professor of Music, University of NewcastleShane Homan, Associate Professor, English, Communications and Performance Studies, Monash UniversityTracy Redhead, Senior Researcher Music Export and Technology, University of NewcastleLicensed as Creative Commons – attribution, no derivatives.tag:theconversation.com,2011:article/634102016-08-31T20:07:20Z2016-08-31T20:07:20ZWhere to next for arts philanthropy in Australia?<figure><img src="https://images.theconversation.com/files/136018/original/image-20160831-789-1swbd2f.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=496&fit=clip" /><figcaption><span class="caption">Bangarra Dance Theatre has been very successful at building relationships with donors.</span> <span class="attribution"><span class="source">AAP/Bangarra Dance Theatre, Edward Mulvihill</span></span></figcaption></figure><p>The arts perennially faces the problem of scant public money and competition for the donated dollar. But today, ever more individuals and organisations are in the donation hunt. It is timely to ask what is the state of arts giving in Australia? And can more be done to foster arts philanthropy?</p>
<p>Some of Australia’s flagship arts organisations such as <a href="http://bangarra.com.au/">Bangarra Dance Theatre</a>, the <a href="https://www.queenslandballet.com.au/">Queensland Ballet</a>, <a href="http://www.bsstc.com.au/">Black Swan State Theatre Company</a> and the <a href="https://www.aco.com.au/">Australian Chamber Orchestra</a> are philanthropy success stories, having nurtured long-term relationships to build a loyal support base for their work. Indeed, a recent Australian <a href="http://trove.nla.gov.au/work/193450658?selectedversion=NBD54839510">book on arts giving</a> argues that it is only by understanding the values that attract people to an art form (as these companies have done) that true engagement will happen. </p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/136023/original/image-20160831-815-14vv5qe.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/136023/original/image-20160831-815-14vv5qe.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/136023/original/image-20160831-815-14vv5qe.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=400&fit=crop&dpr=1 600w, https://images.theconversation.com/files/136023/original/image-20160831-815-14vv5qe.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=400&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/136023/original/image-20160831-815-14vv5qe.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=400&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/136023/original/image-20160831-815-14vv5qe.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=503&fit=crop&dpr=1 754w, https://images.theconversation.com/files/136023/original/image-20160831-815-14vv5qe.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=503&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/136023/original/image-20160831-815-14vv5qe.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=503&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">The Australian Chamber Orchestra’s Richard Tognetti pictured earlier this year.</span>
<span class="attribution"><span class="source">AAP/VBPR</span></span>
</figcaption>
</figure>
<p>Philanthropic support for individual artists is more limited, partly because many arts givers will seek a tax deduction for their gift. Yet some arts givers are keen to leave a legacy, and for emerging artists the generosity of past donors such as Sir Ian Potter through <a href="http://www.ianpotterculturaltrust.org.au/">The Ian Potter Cultural Trust</a> (established in 1993); and John Chisholm Marten through the <a href="http://www.martenbequest.com.au/">Marten Bequest Travelling Scholarships</a> (established in 1979), has created great opportunities.</p>
<p>Where, though, is the progress and who or what is enabling it?</p>
<p>In 2011, <a href="https://theconversation.com/philanthropy-and-the-arts-harold-mitchells-review-will-create-a-bigger-funding-pool-5803">Harold Mitchell</a> led a <a href="http://arts.gov.au/sites/default/files/pdfs/Report_of_the_Review_of_Private_Sector_Support_for_the_Arts.pdf">review of private sector support for the arts</a>. One result was the amalgamation of two organisations encouraging private sector philanthropy into <a href="https://www.creativepartnershipsaustralia.org.au/">Creative Partnerships Australia</a>.</p>
<figure class="align-left zoomable">
<a href="https://images.theconversation.com/files/136015/original/image-20160831-799-1d6nf25.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/136015/original/image-20160831-799-1d6nf25.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/136015/original/image-20160831-799-1d6nf25.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=900&fit=crop&dpr=1 600w, https://images.theconversation.com/files/136015/original/image-20160831-799-1d6nf25.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=900&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/136015/original/image-20160831-799-1d6nf25.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=900&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/136015/original/image-20160831-799-1d6nf25.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1131&fit=crop&dpr=1 754w, https://images.theconversation.com/files/136015/original/image-20160831-799-1d6nf25.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1131&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/136015/original/image-20160831-799-1d6nf25.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1131&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Harold Mitchell.</span>
<span class="attribution"><span class="source">AAP/Lukas Coch</span></span>
</figcaption>
</figure>
<p>Its remit is to boost funding and ignite fresh support through matched funding – a leverage process where a donation is guaranteed to be matched from another source. An example is <a href="https://www.creativepartnershipsaustralia.org.au/resources/case-studies/the-fashion-archives-match-success-story">The Fashion Archives project</a>, where two people who wanted to create an online and print archive of past and present fashion style in Queensland raised $8,000. It was matched by an $8,000 Australian government contribution organised through Creative Partnerships.</p>
<p>The notion of “growth through disruption” is also influencing arts philanthropy. One example is Queensland’s <a href="https://www.qld.gov.au/recreation/arts/funding/organisations/business/">Arts Business Innovation Fund</a> (involving groups such as <a href="http://www.arts.qld.gov.au/">Arts Queensland</a>, the <a href="http://www.tfff.org.au/">Tim Fairfax Family Foundation</a> and others), which provides a mix of grants and zero interest loans to arts organisations. Aged care broadcaster <a href="http://www.silvermemories.com.au/">Silver Memories</a>, for instance, provides a 24/7 “nostalgia music” radio service to aged care homes. With $100,000 from the fund, Silver Memories is rolling out its service nationally via satellite and with this larger market, is introducing a small subscription fee for future growth and sustainability. </p>
<h2>Local collaborations</h2>
<p>Collaboration is clearly a watchword. Still, it seems puzzling that Australia has never emulated the successful localism of America’s <a href="http://www.americansforthearts.org/by-topic/united-arts-funds">United Arts Funds</a>, which raise ongoing operating support for local arts groups. </p>
<p>This movement started in 1949 based on the belief that collaborative fundraising and audience marketing for regional arts groups would be more effective than siloed campaigns by each group. Today, these funds focus also on skilled business volunteering to help with governance and business skills for the cultural community (particularly in regional areas), and even shared backroom services such as bookkeeping, payroll and IT support. </p>
<p>A different example of collaboration in the UK is the <a href="http://artsfundraising.org.uk/fab-a-new-arts-fundraising-network-for-bristol-2/http://example.com/">FAB Network</a>, a network of arts development professionals who meet to better present an engaging case for arts funding in the city of Bristol.</p>
<p>(In Australia, the <a href="http://www.frrr.org.au/">Foundation for Rural and Regional Renewal</a> does offer small groups the ability to set up tax deductible donation accounts and collaborates to channel grants to areas of most need in non-urban Australia, including funding arts and culture.)</p>
<figure class="align-center zoomable">
<a href="https://images.theconversation.com/files/136021/original/image-20160831-821-15td8bj.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/136021/original/image-20160831-821-15td8bj.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&fit=clip" srcset="https://images.theconversation.com/files/136021/original/image-20160831-821-15td8bj.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=390&fit=crop&dpr=1 600w, https://images.theconversation.com/files/136021/original/image-20160831-821-15td8bj.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=390&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/136021/original/image-20160831-821-15td8bj.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=390&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/136021/original/image-20160831-821-15td8bj.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=490&fit=crop&dpr=1 754w, https://images.theconversation.com/files/136021/original/image-20160831-821-15td8bj.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=490&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/136021/original/image-20160831-821-15td8bj.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=490&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Queensland Ballet: a philanthropy success story.</span>
<span class="attribution"><span class="source">AAP/Aman Sharma</span></span>
</figcaption>
</figure>
<p>Technology likewise, continues to enable giving in the arts and beyond - for instance, workplace giving is growing. Still, the arts has much room to improve here. According to Lisa Grinham, CEO of <a href="https://good2give.ngo/about-us/">Good2Give</a>, just one per cent of workplace donations from 13,000 participating employees were directed to the arts through their online platform in the last 12 months.</p>
<p>More data on arts-specific giving will help identify the way forward. Together with <a href="http://www.swinburne.edu.au/research/social-impact/">CSI Swinburne</a> and the <a href="https://accpa.com.au/">Centre for Corporate Public Affairs</a>, <a href="https://www.qut.edu.au/business/about/research-centres/australian-centre-for-philanthropy-and-nonprofit-studies">our Australian Centre for Philanthropy and Non-Profit Studies</a> is mapping the landscape of giving and volunteering in Australia through the national research project <a href="https://www.qut.edu.au/research/research-projects/giving-australia-2016">Giving Australia 2016</a>. </p>
<p>While the research is still underway, some early interview and focus group findings have particular relevance for arts philanthropy. Three strong themes emerging are the growing appeal of collective giving; the role of technology in telling the stories of need and facilitating easy giving; and the need for organisations to work with an increasingly diverse pool of donors.</p>
<h2>A social element</h2>
<p>Crowdfunding and giving circles also add a social element to what has traditionally been a private, if not anonymous, activity. The interest in collective philanthropy through <a href="https://ozphilanthropy.com/2016/05/10/giving-circles-gain-momentum/">giving circles</a> and event-based giving links to a sense of diminished community engagement, and an associated desire for people to foster new ways of connecting and belonging.</p>
<figure class="align-right zoomable">
<a href="https://images.theconversation.com/files/136017/original/image-20160831-789-99zxmv.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip"><img alt="" src="https://images.theconversation.com/files/136017/original/image-20160831-789-99zxmv.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=237&fit=clip" srcset="https://images.theconversation.com/files/136017/original/image-20160831-789-99zxmv.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=600&h=900&fit=crop&dpr=1 600w, https://images.theconversation.com/files/136017/original/image-20160831-789-99zxmv.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=600&h=900&fit=crop&dpr=2 1200w, https://images.theconversation.com/files/136017/original/image-20160831-789-99zxmv.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=600&h=900&fit=crop&dpr=3 1800w, https://images.theconversation.com/files/136017/original/image-20160831-789-99zxmv.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=754&h=1131&fit=crop&dpr=1 754w, https://images.theconversation.com/files/136017/original/image-20160831-789-99zxmv.jpg?ixlib=rb-1.1.0&q=30&auto=format&w=754&h=1131&fit=crop&dpr=2 1508w, https://images.theconversation.com/files/136017/original/image-20160831-789-99zxmv.jpg?ixlib=rb-1.1.0&q=15&auto=format&w=754&h=1131&fit=crop&dpr=3 2262w" sizes="(min-width: 1466px) 754px, (max-width: 599px) 100vw, (min-width: 600px) 600px, 237px"></a>
<figcaption>
<span class="caption">Margaret Pomeranz.</span>
<span class="attribution"><span class="source">AAP/Britta Campion</span></span>
</figcaption>
</figure>
<p>The arts maintains a strong presence in crowdfunding campaigns. For instance, Margaret Pomeranz recently kicked off a successful <a href="http://www.nfsa.gov.au/about/media/releases/2016/05/17/margaret-pomeranz-urges-australians-help-restore-proof/">crowdfunding campaign on Pozible</a> to restore the iconic 1991 film <a href="http://www.imdb.com/title/tt0102721/">Proof</a>. The role of websites, social media and networks is emerging as critical to attracting greater arts philanthropy.</p>
<p>Arts organisations are well placed to engage with an ever-widening pool of donors. From younger philanthropists intent on not just giving while living, but also giving while accumulating; to donors from diverse cultural backgrounds and communities; to donors who are also volunteers, mentors, investors and possibly bequestors.</p>
<p>An interesting example of the former is the managing director of investment bank Greenhill Australia, Peter Wilson, who <a href="http://www.theage.com.au/entertainment/theatre/philanthropy-award-winner-peter-wilson-says-people-shouldnt-wait-until-they-are-rich-to-start-giving-20160317-gnlczx">formed a syndicate</a> to fund half the cost of commissioning playwright Angela Betzien to write the play Mortido, which premiered at Belvoir St theatre last year.</p>
<h2>US examples</h2>
<p>Given the typically higher asset base of arts patrons, the arts could be particularly well placed if more charitable giving vehicles were available in Australia similar to the North American scene.</p>
<p>Examples there include retained life estates where, for instance, a donor irrevocably deeds their residence or holiday home to a charity, receiving a tax deduction and retaining the right to live in the property. </p>
<p>Another example is a charitable remainder trust – an irrevocable gift given during the donor’s lifetime, where the donor places some assets in a trust. The charity manages the assets and can pay a percentage of the trust’s value as income.</p>
<p>An Incentives for Giving working group is part of the current <a href="http://www.communitybusinesspartnership.gov.au/">Prime Minister’s Community Business Partnership</a> and will be putting forward strategies for more planned giving options.</p>
<p>Arts givers are some of the most passionate and loyal philanthropists around and their support of a particular art form can be intrinsic to their identity. </p>
<p>Indeed many other causes envy the capacity of arts entities to offer a rich supporter experience, whether that be travelling as an audience group when their favourite performance company goes on tour nationally or internationally, or the “money can’t buy” experiences such as a behind the scenes presentation by a major artist or collector. </p>
<p><em>This is the third article in our Making Art Pay series. You can read the first one - on Mexico’s innovative tax policy for artists <a href="https://theconversation.com/should-artists-pay-their-taxes-in-art-57669">here</a> – and the second, on individual artists’ incomes <a href="https://theconversation.com/dont-give-up-your-day-job-little-has-changed-for-individual-artists-63385">here</a>.</em></p><img src="https://counter.theconversation.com/content/63410/count.gif" alt="The Conversation" width="1" height="1" />
<p class="fine-print"><em><span>Assoc. Prof. Wendy Scaife is Director of the Australian Centre for Philanthropy and Nonprofit Studies and National Project Director of Giving Australia 2016, and her research centre receives funding from the Department of Social Services for this study. Twenty years ago she taught one of the authors of the book mentioned in this article and the other author was Wendy's PhD supervisor. Wendy serves on a research committee for Good2Give and on a grants committee for the Foundation for Rural and Regional Renewal.</span></em></p><p class="fine-print"><em><span>Alexandra Williamson is a PhD student and the recipient of an Australian Postgraduate Award (APA) scholarship through QUT. Alex is also a member of the Giving Australia 2016 research team. The Australian Centre for Philanthropy and Nonprofit Studies (ACPNS) receives funding from the Department of Social Services for this study.</span></em></p>From crowdfunding to giving circles, the arts philanthropy landscape is rapidly changing. But could governments be doing more to emulate overseas policies that foster a culture of giving?Wendy Scaife, Associate professor and director, Australian Centre for Philanthropy and Nonprofit Studies, Queensland University of TechnologyAlexandra Williamson, Research Assistant in the Australian Centre for Philanthropy and Nonprofit Studies, Queensland University of TechnologyLicensed as Creative Commons – attribution, no derivatives.