Valuing small to medium arts venues


Gallery and art space and consumption



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Gallery and art space and consumption


A satellite account is a standard developed by the United Nations to measure economic sectors and industries not defined in national accounts (UNWTO, 2002). As there is no official satellite account for galleries and art spaces, this study follows methodology developed by IPM. IPM has used their model of value creation to build satellite accounts for a number of industries including, live music, volunteering and the valuation of the Salamanca Arts Centre (Muller 2012).

Attendance of art galleries involves a variety of related purchases, categorised here as:



    • Accommodation and related expenses

    • Food and beverages

    • Fuel, motor vehicle and travel expenses

    • Memberships and subscriptions

    • Merchandise (including programs, memorabilia)

    • Tickets / entry fees

    • Other expenditure

Composition of spending by art space attendees in the City of Sydney is shown below. These data provide a baseline to a number of the estimates of costs and benefits.

Category

Average Spend

Tickets

$22.18

Food & beverages

$32.85

Merchandise

$19.29

Memberships

$43.82

Travel

$21.97

Accommodation

$383.3*

Other

$51.994*

‘Accommodation’ and ‘other’ spending were only reported by a small portion of attendees surveyed (<12%). As the standard error for the average spend in these two categories was in excess of 80%, these results are considered unreliable and excluded from further analysis.

The following approach was used to form a conservative estimate of the total number of visitors to galleries and art spaces in the City of Sydney in 2016. ABS data on art gallery attendance (ABS 2015a) reports that 26% of NSW residents attended an art gallery in 2013-14. This is assumed to be true for Sydney residents for 2016, giving an estimate of the number of resident that attended an art space in 2016. Sydney residents made up 31% of our art space field survey; assuming that this survey is representative of the art space attendee population we now have an estimate for the total number of unique visitors. Multiplied by the median number of visits per year, six (6), gives the total number of visits.


Small to Medium Arts spaces in the City of Sydney


S2M arts spaces provide artists with opportunities to experiment, develop and exhibit new work without significant commercial pressure or risk. This is valuable for artists at all stages of their career and S2M arts spaces work with artists at all stages of their careers. In this regard S2M arts spaces might be considered equivalent to the independent film-making sector, which fosters new talent and provides established directors and performers freedom for creative exploration or expression. Where larger institutions are seen as taking on a collecting role, S2M arts spaces see themselves as incubators and generators of new work. Several interviewees suggested that much of the contemporary Australian work acquired by larger institutions or shown internationally is often developed for S2M shows.

Due to their size and rapid turnover of exhibitions, S2M arts spaces are capable of taking risk by showing untested work. Related to this, S2M arts spaces argue they can accommodate a greater diversity of voices than larger organisations with limited space and tighter curatorial focus. Because of this S2M arts spaces are often the first place new work or artists are shown, and they often play a role in mentoring emerging artists through career entry or re-entry. This includes helping artists to develop their profile and business skills as well as connecting them with potential representation.

In addition to providing an accessible entry point for artists, and arts workers, the S2M sector provides a platform for career development. ARIs, in particular, appear to have been hugely important in the careers of the current generation of arts space managers. This career development relies on accumulating a set of skills and relationships that S2M arts spaces, by their nature, foster in a way that larger organisations cannot.

Most artists careers are iterative, not linear and their career trajectories in relation to the S2M sector might best be described as orbital. This orbital trajectory typically sees artists cycling through S2M and larger spaces, both commercial and non commercial, across Australia and overseas. Established practitioners routinely exhibit in and develop work for S2M spaces, and there is a degree of prestige or cultural cachet associated with exhibiting in established S2M spaces. Similarly, artist mobility between cities is not horizontal, and established artists showing in Sydney for the fist time will also often approach an S2M arts space, rather than an established gallery. There is some sense that smaller spaces feed successful work and artists into larger ones, but this appears related to a perceived hierarchy based on size rather than an established progression through S2M spaces.

The provision of cheap or free studio space by some S2M arts spaces also seems of significant value to the sector, particularly in light of the relatively high cost of commercial rent within the CoS. Anecdotally, even very established artists have difficulty affording studio space within the CoS and this impacts on their ability to create new work. Some more established arts spaces extend the provision of studio space to auspicing funding for individual artists or smaller organisations. Larger S2M arts spaces also produce touring shows and partner with other orgs to create new opportunities for exposure and audience development.

More generally S2M arts spaces may provide value to the wider community through audience spending on hospitality, transport and other activity as part of their visits to S2M arts spaces. Several interviewees mentioned that S2M arts spaces may play an unwilling role in urban development and gentrification that invariably prices them out of their accommodation.



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