Arts Research Monitor articles, category = Human resources

Based on Statistics Canada’s product perspective, the direct economic impact of culture products in 2016 was estimated at:

  • $56 million in Yukon, or 2.1% of territorial GDP
  • $76 million in the Northwest Territories, or 1.7% of territorial GDP
  • $48 million in Nunavut, or 2.0% of territorial GDP

Based on Statistics Canada’s product perspective, the direct economic impact of culture products in 2016 was estimated at:

  • $543 million in New Brunswick, or 1.7% of provincial GDP
  • $874 million in Nova Scotia, or 2.3% of provincial GDP
  • $108 million in Prince Edward Island in 2016, or 1.9% of provincial GDP
  • $414 million in Newfoundland and Labrador, or 1.4% of provincial GDP

Based on Statistics Canada’s product perspective, the direct economic impact of culture products was estimated at $25.7 billion in Ontario in 2016, or 3.5% of provincial GDP. In Quebec, the direct economic impact of culture products was estimated at $11.0 billion in 2016, or 3.0% of provincial GDP.

Based on Statistics Canada’s product perspective, the direct economic impact of culture products in 2016 was estimated at:

  • $7.2 billion in British Columbia, or 2.9% of provincial GDP
  • $5.3 billion in Alberta, or 1.7% of provincial GDP
  • $915 million in Saskatchewan, or 1.3% of provincial GDP
  • $1.6 billion in Manitoba, or 2.5% of provincial GDP

Using the product perspective, Statistics Canada estimates that the direct economic impact of culture products was $53.8 billion in Canada in 2016, or 2.8% of overall GDP. The employment estimate was 652,400 in 2016, or 3.5% of the 18.5 million jobs in the country.

This report, based on a survey of 210 American art museums in 2016 that followed up on issues uncovered in a similar survey in 2013, finds that a “gender gap persists” in art museums, despite “incremental gains in some areas of pay and employment representation”. Of the 210 responses from art museum directors in 2016, 100 were female (48%). While women direct most of the museums with budgets below $15 million (54%), female directors represent one-third or less of all museum directors in larger institutions.

Given the “severe lack of hard data” on diversity in Canadian art galleries, the author of this report, with assistance from anonymous collaborators, created a dataset of the diversity in select leadership positions in 80 galleries that have received core funding from the Canada Council for the Arts (as well as the separately-funded National Gallery of Canada). The resulting statistics indicate that “gallery management is whiter than Canadian [visual] artists in particular, and the Canadian public in general”. Regarding gender equity, the report finds that “women dominate Canada’s art field” but their majority is weakest in its top echelons.

Based on Canadian, American, and United Kingdom employment surveys, this report compares the creative economy in the three countries. Based on the definitions used in the report, Canada’s creative economy is comprised of 2.2 million workers, including 534,000 creative workers in creative industries, 815,000 creative workers in non-creative industries, and 893,000 non-creative workers within the creative industries. Comparisons between the three countries show that Canada has the highest share of total employment on three related measures.

Based on “a literature review, phone interviews, online surveys, artist roundtables and the development of an inventory of training providers”, this report examines the current situation and needs regarding skills training and supports for artists and arts organizations in Nunavut.

This series of research projects included three primary research endeavours: 1) a comparison of the finances of 19 B.C. arts, culture, and heritage organizations with 38 “peer” organizations in other provinces; 2) analysis of a province-wide survey of arts, culture, and heritage organizations; and 3) a summary of 14 qualitative interviews “related to human resources, community engagement and impacts, diversity, the entrepreneurial nature of B.C. arts organizations, and the nature of success for different groups”.