Sociology and Anthropology 6(2): 221-236, 2018
DOI: 10.13189/sa.2018.060204
http://www.hrpub.org
Art and Resilience: The Artist's Survival in the Spanish
Art Market — Analysis from a Global Survey
Marta Pérez-Ibáñez1,*, Isidro López-Aparicio2
1
School of Communication and Arts, Nebrija University, Spain
2
Faculty of Fine Arts, University of Granada, Spain
Copyright©2018 by authors, all rights reserved. Authors agree that this article remains permanently open access under
the terms of the Creative Commons Attribution License 4.0 International License
Abstract
This article aims to diagnose certain
characteristics of the resilient personality in the Spanish
artists who developed their artistic careers in the years
before the economic crisis that began in 2008 and who
have suffered the resulting loss in their activity and their
economy. Along with sources of positive psychology that
analyze resilience as an individual's personal and social
ability to effectively overcome situations of crisis, this
paper is based on the research developed by the authors in
recent years from data provided by more than 1,100 visual
and plastic artists in Spain, a wide survey about the
economic situation of this sector nowadays and the
evolution since the beginning of the economic crisis. It also
seeks to determine whether there is a resilient artist profile,
which through personal, social and professional tools, has
reoriented his career and maintains his artistic activity as
the main source of income. The methodology used, both
analytic and descriptive, allows determining not only what
characteristics of the resilient personality may be detected
in this group of artists, but also which tools they use to
survive the crisis in the current art market.
Keywords
Artists, Resilience, Crisis, Economy,
Precariousness, Art Market, Positive Psychology
The pessimist complains about the wind; the optimist
expects it to change; the realist adjusts the sails
William Arthur Ward
1. Introduction
The critical economic situation that the art system and
the art market are going through since the beginning of the
global crisis in 2008 and the precariousness of the artists’
work and their needs to adapt to these new conditions give
us a new dimension that must be evaluated. Away from the
highlights of the millions of dollars’ sales in blue chip
galleries and auction houses, away from the glamour of art
fairs and museum exhibitions, the largest majority of the
artists in the world, have suffered the closure of their
reference galleries due to the financial recession, and have
therefore lost most of their source of income. Along with
the change of business models in many of the new opening
galleries, the relationship between artists and the art market
is showing signs of a profound evolution, where the whole
of the artistic activity of creators in undergoing a deep
change of paradigm in order for them to survive, to
overcome the crisis and to keep making a living as an artist.
They are mostly self-employed workers with a high degree
of unemployment, with incomes that are barely around the
minimum inter-professional wage, with serious difficulties
to meet the usual expenses and with less capacity than the
national average to face a mortgage or to look after
dependent people, with few years of contribution to the
Social Security System and with the consequent insecurity
before the future benefits of retirement. In order to adapt
their careers to the new circumstances, artists have had to
be flexible and adaptable, distinguishing what was and
what was not within their control, changing their attitudes
and establishing new professional relations (Neenan, 2017
[47]). This problem, far from being local or restricted to
countries like Spain, is global and affects artists all over the
world. The precariousness of the artists’ life in our society,
which has been a largely studied issue (Abbing [2];
Bağcıoğlu [5]; Bille, Løyland & Holm [8]; Bille & Jensen
[9]; Bass, Milosevic & Eesley [7]; Dekel [14]; Filler, 1986;
Gill & Pratt [21]; Klamer [33]; Lena & Lindemann [36];
McAndrews [39]; Michael [43]; Robinson & Montgomery
[50]; Steiner & Schneider [57]; Throsby [58, 59]; Wassall
& Alper [60]), offers now the challenge of finding out
which resources, social, professional or psychological,
what degree of resilience, are the artists using to confront
this difficult situation.
The concept of resilience has been the subject of study
for psychology for a long time, but in recent years the
number of studies aimed at analyzing this particularity of
character in the professional activity of people has grown
significantly. Most research on resilience is circumscribed
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Art and Resilience: The Artist's Survival in the Spanish Art Market — Analysis from a Global Survey
to the field of positive psychology 1 , on which Martin
Seligman has focused his studies to analyzing in an
empirical way the psychological and emotional impulses
related to the self-protection and the resistance of the
individual to situations of crisis (Seligman, 2005;
Seligman, 2006) 2 . The publication of the Handbook of
adult resilience notes the individual and psychological
component of resilience both in research and in practice,
over and above the social or circumstantial component
(Reich, Zautra and Hall [48]), to which it is also
undoubtedly debtor. This social component has also been
extensively studied (Saleebey [51]; Guo and Tsui [24]),
combining it with the individual character or personality
with a tendency towards resilience. Thus, the combination
of certain factors or individual, family or social
circumstances would facilitate the construction of
mechanisms of defense against adversity, factors such as a
good relationship with family members (Richaud [49]), a
character conducive to social interaction or the ability to
overcome conflict situations (Greene and Greene [23]). We
have also taken into account studies such as that of Steiner
and Schneider [56] in which they argue that, despite the
adversities involved in artistic work, such as low wages and
salaries, above-average unemployment, low demand for
artistic production and difficulties to contribute enough and
guarantee future benefits, however, it produces a high
professional and personal satisfaction. Some authors have
expressed (Abbing [2]; Adler [3]; Menger [41]; Rengers,
2002; Filer [16]; Galenson [20]) that artists feel
psychologically rewarded by considering their activity
highly attractive and satisfying. The influence lies on
different factors such as the variety of work they perform,
high level of personal autonomy in the use of the
self-initiative, the opportunity it operate with different
skills and constantly update them, the capacity for learning
and updating, the low level of routine, the high degree of
recognition and social cohesion within the sector, etc.
These are circumstances that allow artists, in general, to be
more satisfied with their work and professional activity
than other workers in different sectors, which supports our
thesis that associated with artistic activity, there is a
psychological component that allows the creator to
positively assimilate his work, even in spite of the
difficulties involved. In our study we will see how these
1 Positive psychology as a scientific discipline, circumscribed within the
scope of academic psychology and, in a way, opposed to clinical
psychology or psychopathology, seems to us the most adequate way to
study resilience in artists, since it allows us to deepen those attitudes and
individual abilities that help or influence the development of life optimally,
counteracting adversity and seeking physical, psychological and social
well-being (Seligman, 2011). Considering resilience, the ability to
overcome and grow in the face of adversity, as one of the factors that study
positive psychology, we wanted to start from the authors who have
delimited this concept and its applications in the social and professional
sphere as a starting point for our study, which we will review throughout
this paper and that will lead us to the final conclusions.
2 One of the sources consulted for our study, A Handbook of Positive
Psychology (Snyder and Lopez [56]), often refers to Seligman's studies of
resilience as a reference in this field.
factors are decisive for deciphering how certain visual and
plastic artists in Spain are being able to cope with the
present precarious situation, especially in those
circumstances in which the artist is supported by the family,
social and professional environment in which it develops
its activity, a factor that is essential in many occasions.
Starting from the research on the economic activity of
artists in Spain (Pérez-Ibáñez & López-Aparicio, 2017),
we will extract the results that, on this group in particular,
will allow us to identify such attitudes and concretize
whether there is indeed a profile of a resilient artist.
Taking into account the definition of the term
“resilience”, it seemed to us that it suits well the way in
which certain artists who, having experienced a very
different economic situation in the years prior to 2008 3, the
beginning of the current economic crisis which our country
suffers, have managed to redirect their artistic activity,
whether in terms of production itself, communication
channels, strategies to approach the market or the
relationships established with the art system. In short,
artists who have overcome the obstacle, have rebuilt their
career and are managing to continue with their artistic
activity as their main source of income, at a time when the
sale of works of art in Spain has significantly decreased,
many art galleries have closed and, those that are still
active or those that have recently opened, recognize that
this business model has been altered in a sensitive way.
This ability of artists to gain new markets, to make
themselves known directly without the intermediary figure
of the art dealer, to establish their own communication
networks for their artwork and to keep their brand image
active are, in our opinion, symptoms of a very significant
resilience, an important ability to overcome adversity and
to move forward. The latest Eurostat report (Eurostat [15]
60-63) focuses on the fact that, in relation to general
employment data in European countries with respect to the
crisis that began in 2008, jobs related to cultural activities
and industries have shown greater resilience, showing a
decline between 2011 and 2012 and a recovery that is also
noticeable since then, a recovery that has remained stable
so far, even more than the general employment data in
Europe. Of course, as we will see in this paper and in the
study from which it is derived, not all artists demonstrate
such capacities, and we will even find cases in which the
towel has been "thrown in" by the difficulty of maintaining
the artistic activity at the same level as other profitable
professional activities. But the existence of resilient artists
has motivated us to study the characteristics of this ability
and how our creators develop it. For this, we will review
some of the theoretical references on the study of resilience
3 We agree with other sources to put the cutoff point on the beginning of
the current economic crisis in 2008, the date of the fall of the financial
services firm Lehman Brothers. Among others, Dr. Clare McAndrew in
her 2012 study on the Spanish art market (page 11), refers to "two years of
market contraction, from 2007 to 2009". Therefore, we assume this
reference and put in our analysis the year 2008 as a turning point from
which the overall market situation changes drastically in Spain.
Sociology and Anthropology 6(2): 221-236, 2018
in psychology, like those bay Seligman, Saleebey, Guo,
Tsuy, Greene, Barney, Hunter, Menezes, Moran, Bonanno,
Hobfol, Kobasa, Maddi, Cicchetti, Cheeseman, Fletcher &
Sarkar and others, Meagan Shand's (2014) study of
resilience in art, we will comment on the activity of CERF
+ in promoting and supporting the resilience of artists and
compare it with the situation in Spain.
It is important to emphasize, however, that when we
refer to the resilience of Spanish artists we are mentioning
mainly the artists who have known the situation prior to the
current economic crisis, that is, those artists who have been
subdued to that "force that deformed them "and who have
come out well and strengthened, understanding that force
as the drastic reduction in the economic performance of
their artistic activity, and understanding their resilience as
the capacity with which they have been able to recover in
their professional activity, to look for new channels of
work and sale, and continue to maintain such activity, as
we have already mentioned, as their main source of income.
The young generation of artists "born" professionally
during the crisis, a profile that is also the subject of our
study as that represents the future of Spanish creators, new
strategies, objectives and results, have known the current
economic situation in our country and in this sector as they
are currently experiencing it. We can say that they have not
known a different situation, have not suffered a drastic
impairment in their economic activity, and have not seen
their galleries closed or lost their place in the art market.
As Shand also points out in his extensive study on artist
resilience (2014), certain resources and abilities that allow
the artist to overcome critical moments and to maintain
themselves over time are assets that the artist acquires with
the practice and performance of their activity, and may not
be learned or acquired in an immediate way (Barney [6]),
even if these assets can be considered inherent to their own
character from childhood and existing in the individual
from that age (Hunter [29]), or even inherited
generationally (Fonagy [18]; Anthony and Cohler [4]), so it
is premature for us to attribute such a level of resilience to
young artists. In short, their economic situation is
developing from the current economic context, adapting to
the available circumstances and resources, and taking
advantage of the current situation to be able to survive in
this activity. We can not, therefore, identify them with that
other profile of artist that has survived the crisis thanks to
their resilience, and must demonstrate this ability in other
areas, and perhaps in other situations. Although, as
Montero and Oreja [45] point out, young artists use
strategies of promotion and commercial distribution
different from established artists, adapted to their incipient
relationship with market agents, we will be interested to
know, throughout our study, how they develop such
activities.
In the performance of their activity, each artist has a
series of resources that they control, combine and use to
carry out their artistic production throughout their career
223
and to differentiate their value from other artists (Kay [30]).
These resources, which may be the artist's own or come
from third parties related to him (Grant et al [22]), are
combined and related according to the artist's own abilities,
skills and attitudes, experience and technical skills,
according to the time they have been carrying out this
activity, but also to their relations with art market agents.
The role played by gallerists and artists in information,
communication, relationship with buyers and, ultimately,
the satisfaction of the demand for art during the period
prior to the crisis of 2008 was studied by Meyer and Even
[42], leaving a record of the alternative marketing formulas
used by artists as a way to promote their work, and the
success that these formulas obtained in the market
(Karttunen [31, 32]). At the present time, as we see in this
study, the alteration of the results of certain strategies that
have been successful in past decades obliges each other to
modify in an equivalent way both the resources used and
the objectives of their strategies, which implies the need to
use resilience mechanics that allow each other to stay afloat
and continue to grow.
In the three reports presented so far by Dr. McAndrew
[37-39] about the recent evolution of the Spanish art
market, we can see not only the decline in the art trade in
general in our country, from the beginning of the crisis and
in particular between 2012 and 2014, but specifically the
decrease in number of registered art galleries 4. If, as we can
see, the primary market in Spain generates 70% of the total
sales of the art market in Spain (McAndrew [38] 27), the
economy of the artists must be based, necessarily, on the
sales of their works carried out by the galleries, main
channel of promotion and distribution of works of art
directly coming from the artists. Therefore, the closure of
many of them in the years after the beginning of the crisis
(Soledad Lorenzo, Oliva Arauna, Astarte, Distrito 4, Paula
Alonso, Egam, Salvador Díaz, Inés Barrenechea, Astarte,
Tolmo, La Nave, Espacio Líquido , Sandunga, Alex Telese,
Durán, Alfama, Puchol ...) implies not only the consequent
impairment in the income of artists, but also an important
touch of alarm in the task of promoting and spreading the
artist’s work and career, a task associated with the activity
of the gallery itself. One fact that does not appear in the Dr.
McAndrew’s reports but which is easily verified in the
context of the market is that most of the galleries that have
disappeared since the beginning of the crisis belonged to a
concrete gallery profile, within the most classical
contemporary art, supplying to a model of collector
interested by that type of art, galleries whose activity
within that style allowed the survival of the artists who
created this type of art. The massive closure of galleries of
this profile in such a short period of time, together with the
closure of many other important contemporary art galleries,
4 While the 2012 report declares an approximate number of 3,500
registered art galleries (p.23), in the next report of 2014 the number of
galleries registered is slightly more than 2,950 (p.27), a much lower figure
than the data reflected two years earlier.
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Art and Resilience: The Artist's Survival in the Spanish Art Market — Analysis from a Global Survey
has caused an absolute cataclysm in the economy of the
artists who depended on the sales of their works in those
galleries. It has, in short, caused that the artists associated
to them have had to reorganize their careers to continue
maintaining the artistic activity as their main source of
income. Hence our interest in knowing what attitudes and
aptitudes, tools and features, both personal and
professional, under what circumstances and with what
results, have marked this necessary exercise of resilience
between our artists.
2. The Concept of Resilience Associated
to the Artistic Professional Activity
We know that the first studies on resilience date back to
the years after World War II (Grinker and Spiegel, 1945,
quoted in Hobfoll [26], 308), and are focused on the
analysis of people, namely soldiers exposed to the rigors of
the conflict, which had suffered highly traumatic
experiences, and allowed to observe how some of them,
instead of succumbing to such situations, had managed to
come out well and strengthened. In fact, resilience in
soldiers and front line corps is still under study nowadays
(Cohrs, Christie, White & Das [13]). But it would not be
until the 1970s when the resilient personality became a
field of study for psychology. Kobasa and Maddi [34]
propose how, in a situation of stress between the individual
and the environment, certain characteristics of the subject's
personality can generate resistance and increase the
capacity for protection. The relationship between resilience
and illness is especially significant since, as Kobasa and
Maddi indicate in studying how the character of people
affects the possibility of contracting certain ailments after
suffering stressful situations, the way in which these
particularities of the character contribute to maintain such
people healthy would allow a better understanding of the
essence of human well-being. Thus, a resilient character
would cushion the harmful effects of a conflict situation
and protect the individual against disease. Regarding
whether resilience can be considered a lasting or even
permanent faculty in the individual, there are several
theories. On the one hand (Bonanno et al. [10]), it is
considered that people who show resilience develop a
certain capacity of endurance that confers a resistant
character per se. However, other theorists (Hobfoll et al.
[27]) have found that resilience tends to decrease in people
who are subdued to continuous stress, such as persistent
warfare or recurrent terrorist attacks (Cohrs, Christie,
White & Das [13]). Therefore, we find that resilience can
have different levels and characteristics, depending on the
individuals themselves, their abilities and predisposition,
and also depending on the conditions of frequency,
intensity and duration of the conflict situations that are seen
submitted (Herrman et al. [25], Cheeseman [11]).
As Esther Menezes and Consuelo Morán point out in a
recent study on this subject (Menezes and Morán [40]),
there are many characteristics that define a resilient
character, characteristics that sometimes come from one's
own personality, or even from physical factors, and that in
other cases are adopted depending on the difficult
situations through which the individual is going through. In
this context, it is interesting to recall Fonagy's theory
(Fonagy et al. [18]) about the influence of environmental
factors on the individual's innate personal characteristics
that make him / her resilient, in the process of generational
transmission of this characteristic. The study conducted by
Morán (44) with a spectrum of 868 people consulted,
served to define the resilient personality traits according to
their importance:
1. Emotional Stability
2. Self-esteem
3. Extroversion
4. Self-control
5. High self-efficacy expectations
Thus, features such as self-control and high expectations
of self-efficacy would be associated with others
complementary to these and purely professional ones,
described by Fonagy [18], such as planning ability,
problem solving skills or conflict management, factors that
individuals will develop throughout their lives, both
personally and professionally. In fact, and as we are
showing, given that resilience is considered as a process of
development through which the individual passes in order
to recover from the conflict situation and regain its
operability and functional capacity (Cicchetti [12]), we can
clearly find a relationship between the resilient personality
and the professional activity, adapting characteristics of the
first in the performance of the second. Thus, we can
associate, as in the case at hand, attitudes and personality
traits of those artists that we can consider resilient in the
development of their activity and in their relationships with
the sector, with galleries and other agents of the market,
especially in those circumstances in which such relations
are particularly difficult.
The proliferation of artistic collectives and co-creation
projects in recent years in Spain suggests that there is a
need to combine efforts in order to optimize resources and
results and to develop new behaviors that facilitate
subsistence. The traditional saying of "united we are
stronger" could thus be applied to the artistic activity in our
country. Equal reflection deserves the artists' connection
with professional artists' associations, a fact that leads us to
reflect not only on the role that artists' associations must
play in favor of the sector, as a hinge between creators and
other actors in the art system, but on how their role is
appreciated by the artists themselves 5. There is in Spain a
5 We are aware of the fact that in Spain the dependence on trade unions or
associations, as well as other organizations for the protection of labor
rights, relays on the resolution of certain situations or problems that
require a more specific or professional solution than the worker himself
can solve, so that the permanence in these entities depends, in many cases,
Sociology and Anthropology 6(2): 221-236, 2018
certain lack of a historical tradition of professional
associations, compared to other countries in which it is
much more common 6 , especially in the artistic sector,
where this structure is stronger and provides artists with
consistent support in situations of risk. To give an example,
in the USA there are organizations whose objective is to
offer artists tools to support different risk situations. Aware
of the precariousness and weakness of the creators sector,
either at the individual level or through local professional
or sectoral associations, in the face of certain problems that
may hinder or impede their activity, the Craft Emergency
Relief + Artists Association 'Emergency Resources' was
born in 2006 together with SouthArts and ArtsReady the
Coalition for Artists' Preparedness and Emergency
Response [46], a coalition born from birth to provide artists
with an organized support network for artists and
associations that bring them together. From major
catastrophes, pandemics or terrorist attacks to smaller,
more sector-specific problems such as loss of work,
material or documentation, legal assistance needs in cases
of theft, forgery, intellectual property assault, claims
against public protests towards controversial exhibitions or
performances or, of course, the loss of subsidies,
sponsorships, scholarships or financial aid, the drastic
decline in artwork sales, or the need for business or
marketing advice to redirect the artist's career in the market,
are some of the areas in which the Coalition works to
support creators, both individually and collectively, to be
more resilient and better able to cope with unexpected
problems. This Coalition, maintained with state funds and
private sponsorships of a very different nature, has been
applied in recent years in the creation of a support network
for artists and organizations that offers them planning and
preparation guides for crisis situations, specific training, a
team of professional assistants in different fields, logistical
support at technical, material or intermediary level. Faced
with a contingency, the artist feels in this way assisted and
finds it much easier to overcome, relocate and move
forward. In Spain, however, the lack of a structure at the
national level that supports and encourages it, makes the
fabric of Spanish associations weak and depends almost
exclusively on the workers and partners themselves and
their management.
on the solution of the problem or the need for advice. The lack of a clear
awareness that an association is formed by its own associates, and that the
mere permanence is already a way of strengthening its structure in support
of its members, may be one of the reasons for this detachment.
6 The article by Lola L. Muñoz in the online magazine Los Replicantes,
entitled "Trade unions in Spain: low affiliation, low representativeness",
points to the decline in membership levels and the loss in representation
percentages of the two major unions in Spain during the last years, and the
great difference with respect to other countries of our European
environment. "Denmark, Finland, Sweden and Norway have the highest
membership rates in the European Union. Compared with 16% of the
Spanish case, 80% of Danish workers are union members, 74% are
Finnish, 78% are Swedes and 53% are Norwegians. In the Nordic
countries, the system is far more different from the Spanish one: the
agreements negotiated by the unions only affect their affiliates (retrieved
from
http://www.losreplicantes.com/articulos/sindicatos-baja-afiliacion-poca-r
epresentatividad/)
225
3. Methodology and Results
The main purpose of our study is to know the
circumstances in which the artist, as creator and as part of a
society in a state of permanent change and in a sector
forced to adapt to new often unstable structures, develops
his / her professional activity. The systematic observation 7
that we have been able to carry out from within the system
(Neuman, 1994; Grinell, 1997), the analysis of the role that
each actor of this sector plays in the framework of relations
that sustains the artistic activity in our country, and the
evolution of which we have been aware during the last
decade, have allowed us to appreciate how, in the current
socio-economic situation that our country is experiencing,
the artist adopts a new role that in turn is linked to all agents
of the system to which it belongs, and which it conditions
at the same time, so that it adopts a different dimension that
needs to be analyzed. In order to achieve this objective, we
designed a plan of action that served as a guide through the
different phases it consisted on. As we will see further on,
the review of the existing literature and the studies on this
sector carried out in other countries during the last years
gave us a first contact with the general situation of creators
in our time, an overview that would have to be endorsed
with a detailed study of the artistic creation sector in our
country and at the present time, through a rigorous research
process based on data provided by the artists themselves in
a survey, a fundamental source for this research (Yapu
[61]).
The lack of a census that provides concrete data on the
number of plastic and visual artists with professional
activity in Spain makes it difficult to quantify the
population of our study. The analysis of the existing
literature (McAndrew [37-39], Eurostat [15], AAVC [1]) 8,
combined with an in-depth study of those records that in
our country include artists for their tax activity (Tax
Agency, Social Security, National Employment Institute),
as well as the databases of the numerous professional
7 The observation of the Spanish art system reality and, in particular, the
evolution and dynamics of the art market and its relation with artists as
generators of the whole process, has been in the genesis of our study for
more than twenty years, intrinsically linked to our professional
development. The methodology followed in that first phase, even before
we knew that it would be the beginning of our research, sought to collect
and analyze data that allowed us to understand reality at any time, to
explain it in the space-time context and to venture its evolution in the short
term. We developed the first years of our study on this observation
structure (Creswell, 1997), looking for that the subjective reality, born
from the individual and sectoral experience of our study group, which
helped us to pose the questions that we would elucidate in our research
and to discover the objective reality of this sector.
8 The different sections of the International Standard Classification of
Occupations 2008, organized by the International Labor Organization, the
National Employment System CO-SISPE, the State Employment Service
SEPE (former National Employment Institute INEM), the National
Classification of Economic Activities or CNAE of the National Institute
of Statistics and the Tax of Economic Activities IAE registered by the
Ministry of Finance and the Tax Agency, usually group plastic and visual
artists with other professionals from the cultural industries, writers, actors,
interpreters, etc. Therefore, the data that these instances have contributed
to our research between February and June 2017 may not be accurate in
quantifying plastic and visual artists, but they have been taken into
account for our estimation
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Art and Resilience: The Artist's Survival in the Spanish Art Market — Analysis from a Global Survey
associations of artists existing in all our territory, has led us
to determine that the total number of plastic and visual
artists active in our country can be located around the
25,000 artists. If we consider this data as the size of our
population, and based on the Arkin and Colton (1962) table,
using a 95% confidence level with a maximum error of 3%,
the size of our sample should be not less than 1,064
individuals.
In order to obtain the data, after having defined the
research questions that we hoped to solve in our study, and
once the corresponding hypotheses were presented, an
exhaustive survey was made up of 42 questions divided
into three large groups, "About the artist "," On the
economics of the artist "and" On the relationship of the
artist with the market ". After a period of test and
evaluation of the survey with different professionals of the
sector, we began the period of data collection that would
comprise the months of May to September of 2016, period
in which it was expected to obtain the previously described
sample. However, the final sample exceeded this amount,
reaching to collect data of 1,164 artists. Of these, 5.3%
were excluded from this study, either due to incoherence or
errors in the data provided, or because their surveys were
not fully completed. The remaining 94.7%, a total of 1,105
individuals, resulted in the final sample on which our study
was based. In this way, taking into account the table of
Arkin and Colton mentioned above, we guaranteed a level
of confidence of 95% with a maximum error of 3% and,
therefore, a high degree of precision.
Regarding the degree of internal control that we would
apply as a research strategy (Castro and Gutiérrez, 2016:
79), we opted for a selective research design based on the
different decisions that would be taken in the process, some
of them already mentioned: operation of variables,
establishment of the sample, conditions and period of
collection of data, etc. The selective modality exerts an
average control over the situation, tends to study the data
and phenomena under their natural presentation and not to
intentionally manipulate the levels of the independent
variable, studying the subjects according to how they react
to the different variables. The selective design allowed us
to describe the reality of our study sector from the data
obtained, identify regularities in those data and venture
predictions or causal relationships where one or more
variables could be considered antecedents of others, as we
will see that in fact occurred.
The results from the data contributed by the artists in this
survey should allow us to diagnose if the characteristics of
a resilient personality that we have analyzed previously can
be applied to that profile of artist and to what extent, and if
we can indeed speak of resilience when we refer to the
attitudes and way of working of Spanish artists who have
suffered a certain impairment in their economy and career
as a result of the current economic crisis.
Among all the artists who participated in our survey, we
selected those whose age exceeds 40 years, a total of 588
artists who, therefore, were more likely to have develop
their artistic activity since before 2008 and therefore
suffered the effects of the crisis in its economy (figure 1:
Age). We have detected that this age group is of special
importance in our study, reaching 52% of the artists
surveyed, more than half, therefore. Hence the results that
emerge from their responses are especially significant.
We see from the graphs that the proportion between men
and women is very similar (figure 2: Gender), and that the
distribution by regions in Spain also responds to the
population in each one of them, finding more answers in
more populated communities such as Madrid, Andalusia or
Catalonia, but also representing smaller communities or
with a lower population index such as La Rioja, Navarra or
Extremadura (figure 3: Geographical distribution of artists
in Spain).
Figure 1. Age
Sociology and Anthropology 6(2): 221-236, 2018
227
Figure 2. Gender
Figure 3. Geographical distribution of artists in Spain
With regard to the number of years dedicated to the artistic activity (figure 4: Number of years dedicated to artistic
activities), we have found 6.3% of artists who have been working for less than 5 years, which has surprised us, since we
are referring to artists over 40 years of age. Our intention in segmenting the artists of this age group was to focus on those
individuals with a longer trajectory, but we consider that this data should also be present in our study. On the other hand,
only 20.9% of the artists interviewed over 40 years of age have more than 35 years of artistic activity. This information,
however, takes on special significance when compared to the ones we will see further on.
Figure 4. Number of years dedicated to artistic activities
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Art and Resilience: The Artist's Survival in the Spanish Art Market — Analysis from a Global Survey
The answer on how many of the years devoted to his artistic activity they have contributed to the Spanish Social
Security System (figure 5: Number of years contributing to the Social Security System) gives us the guideline of whether
this activity can be considered as a source of income, that is, as a professional activity. 88.5% of artists over the age of 40
have contributed less than 15 years to Social Security for this activity: again, the precariousness and lack of regularity in
the income for the artistic, along with the high quotas to pay, cause that, at times, the artist does not declare his / her
activity as a source of income, since it cannot be considered as such. As for the fiscal situation of artists (figure 6:
Professional tax status), the figures are similar to the results, with one-third of self-employed individuals and almost a
third of unemployed, and 12.7% of individuals retired. It is interesting to take into account two aspects: first of all, artists
who are described as self-employed state that they do not quote the Social Security contribution on an ongoing basis, but
only on the occasions when they obtain income from their activity, which limits the regularity of this contribution,
concerning future retirement benefits. On the other hand, after the last reform of 2013, the minimum amount of 35 years
and nine months quoted, which is what is needed today in Spain to guarantee a retirement pension, will gradually increase
until reaching 38 years in 2027. Taking into account that among our respondents, only 10.9% are able to quote as
self-employed every month, and that 26.6% are only allowed to quote when they have income, we understand the reason
for this small link with Social Security in our country, which makes difficult to secure future benefits. Therefore, of all the
artists who have participated in our study, a minimum number of individuals will be entitled to the benefit for retirement.
Therefore, the group of artists who have responded to our survey and whose ages are currently over 60 will have serious
difficulties in being able to retire as artists.
Figure 5. Number of years contributing to the Social Security System
Figure 6. Professional tax status
One of the elements that, as we have mentioned before, characterize resilience as a capacity to overcome adversity is
the combination of psychological aspects of the individual with social and professional aspects that can influence his
career. Therefore, among the questions of our survey, we were interested in knowing the response of our group of artists
regarding their participation in professional associations. We have previously mentioned the role of associations of artists
in our country in the defense of their rights, in information and training on tools necessary for the good development of
Sociology and Anthropology 6(2): 221-236, 2018
229
their career, etc. Therefore, within the group of artists over 40 years of age in our study (figure 7: Participation in
professional associations), the average number of artists currently associated was significantly higher than the global
average, 45.2% compared to 39.9% overall, and 24.1% been associated in the past compared to 20.2% overall, which also
gave us evidence of how this sector is aware of the need and the usefulness of participating in these professional groups, a
new tool to promote the resilience of our artists.
Figure 7. Participation in professional associations
The percentage of income from artistic activities within the total income of artists in our group is also quite peculiar
(figure 8: Approximate income from artistic activities). More than three-quarters, 77.4%, state that these revenues do not
exceed 40% of their total income, that is, they must fill these gaps with other lucrative activities unrelated to the
performance of their artistic work. Nevertheless, the economic precariousness of the artists is also evident in this age
group (figure 9: Approximate income level [all activities included]): an alarming 38.2% of the artists surveyed do not
reach 8,000.00 € per year, that is, they stand for below the inter-professional minimum wage in Spain 9.
Figure 8. Approximate income from artistic activities
9 According to Royal Decree 1171/2015, of 29 December, the minimum wage is set for 2016 at € 655.20 per month, which is equivalent to € 7,862.40
per year in 12 payments or € 9,172.80 per year in 14 payments. The corresponding regulations can be consulted on the website of the National Institute
of Social Security (retrieved from http://www.seg-social.es/Internet_1/Normativa/128005)
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Art and Resilience: The Artist's Survival in the Spanish Art Market — Analysis from a Global Survey
Figure 9. Approximate income level (all activities included)
An important fact that determines the degree of professionalism of the artists is the participation in exhibitions, a fact
that places the creator in the artistic scene, and lets both the public and critique get to know his/her work, whether recent or
anthological. We are interested in knowing specifically how this exhibition activity has been developing during the last
two years, taking into account the different formats that these exhibitions can have, from shows in the artist's own atelier
or in alternative spaces, public places, galleries, museums, etc. Among the different questions in our study related to this
activity, we were interested in knowing mainly what percentage of artists over 40 years of age maintained their exhibiting
activity. Faced with this question, the vast majority, 82.7%, answered yes (figure 10: Artists who have exhibited during
the last two years). However, on the question of whether such exhibitions had served to sell the exhibited works (figure 11:
Artists who have sold artworks during the last two years), only 55.6% said yes. Once again, we find that the fact of
exhibiting is not always linked to the fact of selling the work of art, which affects the difficulty to make the work of the
artist profitable as a source of income from his /her professional activity.
Figure 10.
Figure 11.
Artists who have exhibited during the last two years
Artists who have sold artworks during the last two years
Sociology and Anthropology 6(2): 221-236, 2018
231
At this point, it was necessary to know two basic questions in the exhibition activity of the artist since the beginning of
the crisis: first, its linkage to commercial galleries, taking into account that this type of exhibition space is the most
suitable for commercialization of the work; second, to what extent the artist's link with his /her reference galleries
continued to maintain the ability to generate income. Therefore (figure 12: Artists with a stable relationship with art
galleries since 2008), we were surprised to see that 65% of the artists surveyed answered negatively, that is, either they
had never maintained stable relationships with galleries or dealers, or these relationships had ceased since 2008. The
remaining 35%, those artists who did maintain stable relationships with art galleries, were asked how they considered
their current situation, in relation to the income received from the sale of their art through their reference galleries (figure
13: ¿How do you consider your current selling situation in art galleries, in relation with the period before 2008?). Apart
from the 22.5% that considered it the same, 68.3% stated that it was worse to a greater or lesser extent. Only 9.2% of the
artists surveyed stated that their sales situation related to their galleries had improved in recent years compared to the
pre-crisis period.
Figure 12.
Figure 13.
Artists with a stable relationship with art galleries since 2008
How do you consider your current selling situation in art galleries, in relation with the period before 2008?
The incorporation of the artists to the new technologies
for communication matters during the last years is evident,
according to the data contributed in our study. The use of
the different channels that the network offers is being used
by our creators in all their magnitude, and it is difficult to
find artists who do not manage them with some fluency.
Many of the artists surveyed state that they personally
maintain specific channels appropriate to the media they
work with, such as YouTube, Vimeo, SoundCloud or
SonicPlug for video artists, for example, which means that,
on many occasions, these channels associated with blogs
and social networks, all free of charge, have taken the place
of web pages that were generalized in the 90s and which,
although low, have a cost and require maintenance.
It is, therefore, in the very person of the artist where the
tasks of defining and communicating his digital identity
and dissemination of his artistic career lie. As we have seen,
tasks that even the generalization of digital culture and the
use of transmedia networks fell into galleries and dealers,
are now managed directly by the creators.
If we re-segment the artists surveyed in our study into
two large groups, younger than 40 and mature artists
(figure 14: Online communication channels management:
comparative between artists older and younger than 40),
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Art and Resilience: The Artist's Survival in the Spanish Art Market — Analysis from a Global Survey
and compared their use of networks, we also see certain
differences that characterize younger artists. These access
social networks more frequently, manage transmedia
channels more often, as well as their own websites and
blogs. On the contrary, the more mature artists are those
who more habitually outsource their presence in the
network and put themselves in the hands of professionals
or people of confidence. However, it should be noted that
among older artists, the need to access the digital world as a
channel not only for communication but also for sale has
become widespread. In contrast to the younger population,
the generation of artists that are the object of our study has
become increasingly used to the use of new technologies,
appreciating the usefulness that the use of digital channels
for the circulation and sale of their works can provide in a
moment in which the sale of the work of art by channels
hitherto traditional has decreased significantly, as we will
see later on.
One of the significant changes in the Spanish market
originated by the crisis of 2008, the closure of many
Figure 14.
galleries in the following years and the loss of the main
source of income for many artists, is the search for other
marketing channels for their work. In our survey, the
question about the different sales channels of artists over
40 years of age also yielded interesting data (figure 15:
Source of income from artwork sales). Although the sale
through galleries continues to have importance, we see
how the direct sale by the artist increases, either to
collectors or institutions or through fairs of independent
artists, fairs in which the figure of the gallery owner or the
art dealer does not participate. In addition, as we saw
before, internet sales are consolidated, a channel that does
not require intermediation when it is managed directly by
the artist. The increasing access of artists to new
technologies and electronic sales resources allow them to
market their work and thus maintain an alternative and
growing source of income, while consolidating the
presence of the artist in the networks and their ability to
establish new channels of diffusion and sale, connections
with new galleries and with other agents of the art system.
Online communication channels management: comparative between artists older and younger than 40
Figure 15.
Source of income from artwork sales
Sociology and Anthropology 6(2): 221-236, 2018
Figure 16.
233
How do you consider your current situation, in relation with the art market?
Finally, and as a colophon to understand the reality of
the situation of Spanish artists in this age group, we wanted
to know their subjective assessment of their situation,
establishing six possible responses based not only on how
they considered their relationship with the market, but also
on their expectations for the future. For this, they were
asked a question that offered these six variants (figure 16:
¿How do you consider your current situation, in relation
with the art market?). The results of this question in the
group of artists over 40, although very close to the overall
results, show certain particularities that demonstrate how
this group of artists is not only taking concrete steps to
develop their career despite the current crisis of the market,
but are more satisfied than average with the results they
achieve. In short, it reaffirms us in the capacity of resilience
of this group of artists.
Just as in the overall results, only 3% of the respondents
over 40 declared themselves to have a good relationship
with the market, being this their main source of income,
and also 6.4% of the artists also maintained a good
relationship with the market, but obtained its income from
another alternative source outside the artistic activity.
However, the group of artists who considered their
situation regular and satisfactory, with sporadic
relationships with galleries and / or dealers and managing
them the rest of their commercial activity, is slightly higher
than the global average, 9% compared to 8.3 % overall.
Likewise, the group of artists who declared that they did
not have any commercial relationship with galleries but did
manage their commercial activity satisfactorily was also
somewhat above the global average, 19.4% compared to
18.3% overall. Finally, artists dissatisfied with their
relationship with galleries were below average, 20.2%
compared to 21.4% overall, and artists with no relation to
galleries but who wanted to have them was also five tenths
lower in our group, 42.1% compared to 42.6%.
Therefore, in this last group of answers we already find
some data that tell us not only about the capacity of
reorientation of their career in the group of artists who have
endured the crisis, and the confidence that these artists
continue to maintain in the art market, although it is evident
the difficult situation that the trade of the artwork is
currently going through in our country, but also of the
confidence in their own capacity to look for effective
alternatives in new channels of diffusion and sale of their
work and, mainly, to maintain control over their career.
4. Conclusions
Throughout the research about the economic activity of
artists in Spain, our main objective was to approach the
situation in which Spanish artists live and work today
based on their own testimony, which has been verified with
specific data, and we have also been able to know and
understand each profile of artist in our country with all the
nuances that define it and characterize it, its needs and
demands, as well as its aspirations and objectives at a
professional level. Thanks to the commitment of the artists
consulted to inform us of their situation, the conclusions we
have reached draw an image that we believe to be real and
concrete in this sector in Spain today.
The labor circumstances of the artists who participated
in our study make it clear that their activity poses more
inconveniences than advantages: mostly self-employed
workers with a high degree of unemployment, with
incomes that often barely reach the inter-professional
minimum wage, with serious difficulties to face the usual
expenses and with less capacity than the national average
to face a mortgage or to look after dependent people, with
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Art and Resilience: The Artist's Survival in the Spanish Art Market — Analysis from a Global Survey
few years of contribution to the Social Security System and
with the consequent insecurity towards future retirement
benefits. As it has been verified throughout our research,
the data that we have known have offered us a very truthful
portrait of the artist as an autonomous worker in a really
precarious situation that is not unique to the visual artists,
since they share this precariousness with many other
creators of the cultural industries, and that possibly will
take its toll on the cultural development of our country.
Unlike any other professional, who engages in his /her
activity while receiving a retribution for it or changes his
/her work according to their needs and circumstances, the
artist continues to create, perhaps out of necessity, because
the creative drive is stronger than the economic needs. The
exhibition activity has not been abandoned even in the
most delicate moments of the crisis, even when the
reference galleries have disappeared and the artists have
had to find alternative spaces or their own ateliers to show
their work, participating in shared projects, reducing the
costs to the maximum, seeking financing in crowdfunding
projects, in co-creation, showing a generosity and a desire
to share their activity with society worthy of the highest
recognition.
Hence, we believe that the data that our research reveals
will allow us, in fact, to diagnose those characteristics of
the resilient personality in Spanish artists, especially those
individuals who developed their artistic career in the years
prior to the economic crisis of 2008 and who, using social
and professional tools, and relying on his own ability to
excel, have been able to reorient their careers and maintain
their artistic activity as a source of income. If resilience
may be defined as a process of disruption by life events, by
professional adversities and challenges, and the
development of self-mastering strengths to grow stronger
through the disruption, we find that certain Spanish artists
prove to have those strengths. The elements that, in our
opinion and based on the results obtained in our study,
allow us to characterize the profile of this resilient artist are
the following:
Psychological: the appreciation of the artists
surveyed in our study and belonging to the group of
over 40 years, based on the data they have provided,
show evidence of a greater degree of satisfaction
with their work and the development of their career
in relation to the global average. This fact can be
related to the idea, manifested as we have seen in the
existent literature, which artists generally develop a
higher degree of satisfaction for their professional
activity, in spite of the professional difficulties that
they have to cope with. In addition to the influence
of exogenous elements, we can consider, according
to the information provided by the own artists of our
group, that the artistic activity itself, the artistic
vocation, favors a positive character before the
professional development and a greater capacity of
resistance to face difficulties.
Social: the development of collaborative art projects,
co-creation, work in artistic collectives and groups,
together with participation in professional
associations and the joint struggle to defend the
activity of artists, are factors that positively
influence the improvement of difficult situations
through collaboration among professionals. As we
have also seen, social recognition and support
among artists, whose work is often eminently
autonomous, favor the capacity to overcome
professional crises and stimulate the feeling of
belonging to the artistic collective.
Professional: facing the art market crisis in Spain,
artists with an established career who have seen
their income decrease have in many cases opted to
reorient their strategies. Most of them have opened
up new ways of dissemination and communication,
and new forms of access to market agents, have
entered the new technologies with determination
and good judgement, controlling their brand image
successfully. The appreciation of this group of
artists regarding their relations with the market is
more positive than the average of our study, which
leads us to think that they have indeed developed a
high capacity to assume this important change in
their careers.
Therefore, the results of our research allow us to reaffirm
ourselves in our initial hypothesis. The sample of artists
who contributed to our survey, 588 out of the more than
1,100 participants in this study, is a significant sample, and
the data provided offer, as we have seen, very relevant
conclusions. In turn, it sets out a solid and necessary
framework for, starting from here, delving into other
aspects that influence their resilience in maintaining their
artistic activity as a modus vivendi.
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