Two years in the making, CHF’s Report on the Working Artist (ROWA) is a truly groundbreaking piece of research: the first of its kind demonstrating artists’ pivotal role in our changing economy. In this engaging conversation, CHF’s data analysis team Daniel DiGriz and Lily Dulberg sit down to discuss the methodology and significance of the Report, the documented demand for entrepreneurial training for artists, the gaps in existing research and traditional art education—and how we now have solid and replicable data that supports artists’ ability to make measurable contributions to our economy and the culture at large.
Finding a Pattern: The Bottom Line for Working Artists
- “We’ve got a lot of information out there from many different sources, many reputable organizations, nonprofits, and our business education programs. But there’s so little information on what artists need to drive success, and what actually changes the landscape of their art business.”
- “Most of the data out there does not measure bottom-line outcomes, which it’s kind of funny, right? Because you need to know those things in order to develop new programs and create best practices and to support artists.”
- “Many organizations had information on their websites about the different types of programs they ran, and testimonials and quotes from artists on what they need. But there was no real evidence of what these programs were able to do for the artists. There were no business results, no income results.”
- “With all the data that we’ve collated, and more specifically, with the data that we have done in-house at the Clark Hulings Fund through our Business Accelerator Program and our events, we really came up with a pattern that we can follow for any type of research in the future. And that is, that attitudes change behavior. Behavior produces business results. And business results lead to increased income or revenue.”
- “One of the main things that I think that we should take away from this, that business education moves the needle for artists. It helps them make more income, it helps them develop a more robust network which allows them to increase their sales.”
The Gap: Business Education for Artists
- “The ecosystem of gallerists, artists, and peer networks contribute so heavily to business results—and the success that artists see in their lives and in their businesses. There really aren’t enough art business events out there and there really aren’t enough groups for artists that foster communication around what it’s like to be in an art business.”
- “There’s a gap, and in that gap is business education. And it’s so mind-boggling to think that only 5% of an average sampling of fine arts curriculum involves any sort of entrepreneurial or business education.”
- “We had to establish that there was a gap, that it exists indeed, in order to say, ‘Okay, this is how we can fill the gap, this is how we can create change and this is how artists are already creating change.’ ”
- “…it was really amazing to be able to shed light on how that’s already happening and the research that shows that it’s replicable. Other organizations can do it, and the secret sauce is business training.”
How We Collect and Analyze Data
- “So at the Clark Hulings Fund, we’ve been collecting data from our fellows, from [Art-Business Conference] participants, from artists who are involved with our work in many different ways. We have a whole process behind how we do that: we make sure that everything is categorized so that we can actually analyze the themes, and there are codes for the different themes that come up in what the artists are talking about.”
- “When have our conferences, we have artists coming up to us, giving us...
