The spark

The spark that created United States Artists was lit by a landmark Urban Institute study exploring the live/work issues facing American artists. Conducted in 2003, Investing in Creativity: A Study of the Support Structure for U.S. Artists was funded by 36 of the nation’s leading foundations. This critical research describes artists as a significant part of the American workforce and as important contributors to the health and economic wellbeing of our society. The findings of the study confirmed the need for an organization like USA:

• While 96% of Americans value art in their communities and lives only 27% value artists.
• Although many artists enjoy success in commercial markets,significant numbers of America’s artists live on the economic margins of society with inadequate support systems.
• Needs that include employment and health insurance, live/work space, access to equipment and materials continue to be unmet for many.
• Training and professional development, connections to other artists and art experts, as well as market stimulation and access are required for success.
• Finally, access to and information about awards and grant programs was found to be critical to artists’ survival.

The need

Historically, donors have allocated a healthy portion of philanthropic funding to the arts. In recent years, the private sector has generously contributed billions to build, renovate and endow art museums, theaters, opera houses and art centers all across the country. In 2005 alone, nearly $14 billion was donated to arts, cultural and humanities programs in the United States (Giving USA 2006). Meanwhile, support for individual artists remains underdeveloped, fragmented and underfinanced, as evidenced by the following statistics:

• More than three-fourths of standard cash grants to individual artists are less than $10,000 and more than half are under $2,000.

• Research on artists’ employment confirms that, on average, the majority of artists earn less than other people with comparable education and skill sets.

• One 1996 study lists respondents’ median annual earnings for work as artists at a mere $5,000.

Across the country, as governments address budget deficits, funding to the arts is one of the first line items to be cut. Although history tells us that funding to arts institutions is frequently restored and even enlarged when times improve, the needs of individual artists have never been fully addressed—in good times or in bad.

The opportunity

Samuel Hoi, USA Board Member, and President of Otis College of Art and Design, sees an opportunity to break with history. Says Hoi, “The trail of human capital development can be traced from agricultural to industrial, to information, to knowledge, to idea-based. The evolutionary vector is pointing toward creativity— the new competitive advantage of our time. Creativity promises to be the most sustaining distinguishing factor in global competition for our country. It is the perfect moment in the U.S. to champion artists.”

Our aim is clear.