08/04/2024
THIS!!!!
WALLACEBURG ARTS: Exposure is a four-letter word
By Dan White
Published Aug 02, 2024 • 6 minute read
Recently an arts opportunity came up locally and it seemed like a great opportunity until the details were clear.
An organization was soliciting applications for local artists to submit work for a project. The catch was the artists would pay for submitting their work for consideration and would not be paid if they won the opportunity. They would get “exposure.”
Exposure for artists really is a four-letter word. Experienced artists recognize that they can die of exposure!
I don’t think the organization set out to undermine or abuse artists. They are simply unaware, and believe that their venture is a good thing for artists.
It is a common misconception and this column will be attempting to educate the value of financially supporting local and living artists.
To create this column, I contacted several artist friends. I wanted a wide spectrum of experience, knowledge, opinions and arts disciplines.
Many of their responses are the bulk of the information on the subject of exposure vs valuing the work of artists.
Exposure in arts
Janet Jarrell, co-chair of the Alliance of Arts Councils of Ontario and executive director for the Quinte Arts Council stated: “The presence of art and artists significantly enhances mental health and well-being, providing solace and inspiration. Just like any other profession, their work deserves fair compensation. By ensuring artists are paid a living wage, we acknowledge the value of their contributions and help sustain a vibrant, creative community. Supporting artists is investing in the future of our communities.”
And this is a sentiment echoed by almost all artists who responded.
Eva Marie Clarke, arts advocate: “Materials and time are expensive. Paying in exposure just undervalues the vital role the arts play in society. We pay for streaming and dinners out (culinary arts) or for an ad or … so many things that would not exist without the input of artists of every stripe.”
Laurie Langford, visual artist: “If people pick up a piece of my art at an auction for a low price … then see my work at a commercial gallery they often refuse to pay the normal rate. (“Hey, I got a piece of her work for 35 bucks at an auction! I like her stuff but I’m not paying $225 for another one!”)
“This “sticker shock” is often the result of giving it away for free. An art auction brings revenue for the organization, can be a great bargain for the bidder but, in the long run, it is often not beneficial for the artist.”
Chris Ford, visual artists, gallery owner: “It is common practice for groups of all sorts to ask artists to donate their work (and I stress work), for fundraisers. It is almost expected that artwork is free, so should be given. Not so! Paper, matting, framing, paints, all cost money. How about the countless hours of trial and error, getting the artist to the professional point they may be at? Are plumbers given the same lack of respect?”
Brian Austin Jr., executive director of Sarnia Imperial Theatre: “It is essential to recognize the value of artists’ work by compensating them fairly. Paying professional artists not only demonstrates that we value their talent but also support their ability to continue creating and contributing to our cultural landscape.
“Fair payment ensures that artists can sustain themselves and continue to develop their chosen professional craft, ultimately enriching our community.”
Gavin Warren, musician: “(It) is extremely hard for non-artists to know because the reality is that a “performance” is just the tip of the iceberg for the creative process. For music at least, the unseen work can involve making time in your schedule, deciding the music, finding arrangements, organizing collaborators, studying the repertoire, practicing the music, planning rehearsals, having working equipment and making sure your mind/body is in top shape, among many other forms of preparation.”
Jane Galbraith, musician: “As professionals, lawyers, doctors and teachers occasionally donate their time to causes. However, all professionals put years into their educations, at their own expense. Why wouldn’t they expect payment for their expertise? It should be likewise with artists, whatever their art may be.”
Sarah Robbins, artist: “Today … people ask artists daily to work for ‘exposure.’ Unfortunately, exposure doesn’t help me buy groceries or pay my rent. Being an artist today is a trade – much like a mechanic or a carpenter – especially for us who works commercially. It is a skill that has taken us time to learn. And yet you wouldn’t ask them to work for free or to pay a fee just for the chance of a job.”
As you can see, artists of all disciplines have felt the sting of exposure. So, how do you understand what is fair for an artist?
Austin: “When in doubt about remuneration, seeking guidance from other venues or presenting networks or arts councils is an excellent suggestion. Each of these groups can provide informed recommendations and help ensure that artists are treated fairly.”
Donating
As you may be aware, some artists almost exclusively donate their time. What is different with them?
Generally, they are developing, mastering or plying their craft for a large ensemble; that may be a community concert band, theatre company or dance troupe.
In fact, these artists often pay a nominal fee to be involved and then perform for free. Why?
Austin: “The distinction between amateur and professional artists is significant. While many amateur artists are content to participate as a hobby, their efforts go towards sustaining local community arts organizations. Professional artists rely on their work for their livelihood. It is important to find a balance that supports both groups. Community theatre groups, like ours, depend on volunteers for a number of roles.”
Clarke: “Fringe (professional, semi-professional) has incubated young talent while allowing people who have no intention of carving out a career in the arts to have that amazing creative outlet.
“A healthy arts ecosystem must make room for all.
“However, that same ecosystem must also support the professional appropriately.”
Pamela Smith-Wilkins, visual artist, gallery owner: “Volunteering your talents is a respectful gesture that helps others and is offered as a gift of time and talents.”
Warren: “Art is strongest when anyone of any background can contribute to a discipline. Through the power of meritocracy (a political system in which economic goods or political power are vested in individual people based on ability and talent, rather than wealth, social class or race), the quality of hobbyist work augments and raises the expectations of the quality of work by professionals. The bottom line is these community groups provide accessibility of a given discipline to almost everyone. If they did not exist, it would ironically be harder for people to care about your discipline.”
Robbins: “I have taken a few free gigs in the beginning to build my portfolio and learn, however I believe if someone is looking for quality work, then they should be willing to pay for it. Stop expecting artists to put in several hours of free work – time they could be using to make actual money – just for the chance of getting work.”
Langford: “When an organization aligns with their beliefs, a fundraiser is a way for the artist to make a donation to that organization.”
As Eva points out, simply asking the artists what is fair and respecting the investment of their time and talent when contemplating any arts related project sustains a healthy arts ecosystem and a more vibrant, healthy community.
