This brief report examines the situation of the estimated 3,632 visual artists in Quebec. The report estimates that 60% of Quebec visual artists are women and only 12% are under 35 years of age (compared with 37% of the overall Quebec labour force). The average personal income (from all sources) of all Quebec visual artists is $35,400. The average is much lower for women ($27,600) than men ($40,900). Fifty-seven percent of Quebec visual artists have total individual incomes below $30,000, with a higher percentage among women (64%) and artists under 35 (66%).
Commissioned by the Visual Arts Alliance with a financial contribution from the Canada Council for the Arts, this literature review attempts to provide a synthesis of existing research in the visual arts in Canada and to identify gaps in this research. The report notes that the goal was not to outline the state of the visual arts sector in Canada but rather the state of research into the visual arts in the country.
Based on discussions at the Kingston Colloquium of the Visual Arts Alliance in 2011, this position paper attempts to identify “ways to make the visual arts more central in the lives of Canada and Canadians”. Five key themes emerged from the colloquium debates.
This report highlights attendance statistics at 440 Quebec museums, interpretive centres, and exhibition spaces (excluding artist-run centres). In 2013, total attendance was 14.2 million, the highest level since the Observatoire began this survey in 2003. Total attendance at 22 art museums was 1.8 million in 2013, which was a record high since the start of the survey in 2003. Between 2003 and 2013, art museum attendance in Quebec increased by 38%, the largest increase of any type of museum or heritage organization.
The goal of the research outlined in this presentation was to provide “reliable, detailed data on public art galleries across Ontario”, thereby influencing art gallery sector analysis as well as organizations’ benchmarking and future planning.
Based on in-depth interviews with marketing managers from four Australian performing arts organizations, this article proposes four key indicators of the quality of audience experience in the performing arts: knowledge transfer or learning, risk management, authenticity, and collective engagement.
This report examines performing arts attendance in Quebec over a ten-year period (2004-2013), including performances of theatre, dance, music, comedy, circus, and magic. In 2013, the most recent year of the study, there were 17,100 performances with an admission fee in Quebec, attracting 6.7 million spectators and generating $229 million in box office revenues. Over the long term, performing arts attendance in Quebec has not grown.
This Statistics Canada report examines the direct economic impact of the arts, culture, and heritage in Canada, using methodology that is comparable to other sectors of the economy. Statistics Canada estimates that the direct economic impact of cultural goods and services was $47.8 billion in 2010, or 3.1% of Canada's Gross Domestic Product (GDP). In 2010, there were 647,300 jobs directly related to cultural products, or 3.7% of total employment. The direct economic impact of culture ($47.8 billion) is about 10 times larger than the sports estimate ($4.5 billion).
Based on five case studies of Canadian and American documentary films, this report argued that documentaries, “coupled with a well-executed social impact strategy, can have substantial impact on social change”. However, the report also acknowledged that “social change involves good luck, good timing, traction of ideas in the broader culture and more than a little magic and zeitgeist.”
The report notes that, other than a few differences, diverse Canadians attended at similar rates to other Canadians. Based on these findings, the report concludes that “the range of arts offerings in Canada – from art galleries, classical concerts, and theatre performances to pop concerts and cultural festivals – manages to attract most Canadians to at least one type of activity."