There is No Work in the Arts, But So Much to Be Done

Group show at Latitude 53 exposes the “hidden workings of the art world”

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Art is steeped in mystery. It’s not just the enigma of prehistoric rock carvings or the strange phenomenon of people breaking down in tears in front of Mark Rothko’s rectangles; even the inner workings of the art world remain elusive. Most artists have little idea what their peers earn, the complexities of commission contracts mystify many, and few have cracked the code on how to stand out in a crowded market and catch a curator’s eye.

That’s what makes There is No Work in the Arts, But So Much to Be Done, currently running at Edmonton’s Latitude 53 Gallery until Nov. 16, so eye-opening. Emerging curator Liuba Gonzáles de Armas came up with the insightful and much-needed idea of exposing the hidden workings of the art world. Visitors are not only invited to observe the show’s setup as it unfolds but can also examine the artists’ contracts, including her own fees, displayed as part of the exhibit. The selected works delve into the immense challenges that emerging artists face.

For most recent fine art graduates, these challenges are daunting. An older Canadian National Household Survey, analyzed by Hill Strategies Research Inc., revealed that only 11 per cent of visual and performing arts graduates were working as artists. More recent US-based underemployment data are equally grim. According to the Federal Reserve Bank of New York, nearly 60 per cent of fine art graduates struggle to secure full-time jobs.

Gonzáles de Armas discovered these realities firsthand. After completing a bachelor of arts at the University of Alberta and a master’s degree in art history at McGill University, she found herself working at an internship for less than minimum wage. Meanwhile, her studio-based artist friends were struggling just as much, if not more. "We want to stay in the arts, but it’s hard," they would tell her. "We don’t know how to make ends meet while staying in this sector." These recurring conversations ultimately inspired her to curate this eye-opening exhibition.

The six artists she selected tackle almost every barrier. Toronto-based Lan “Florence” Yee’s Please Reply artist book reflects on the gruelling process of grant writing — for instance, only 16 per cent of Canada Council’s Explore and Create program applicants succeed. 

Some questions and grant requirements are intrusive, especially for queer and racialized artists like Yee, who feel tokenized by the need to justify their identities. “I wrote in my grant that this was healing,” Yee writes on the first page of their hand-embroidered book, ending the work with a heartfelt plea: “Please reply.”

Halifax-based Emily Davidson’s custom-designed wallpaper How It’s Made challenges the notion of art as a leisurely hobby, instead portraying it as a vital part of the labour force — the arts, culture and heritage account for almost $61 billion in GDP and growing. Initially displayed as part of a living-room installation, her wallpaper features porcelain plate-like scenes bathed in vibrant pink hues. However, a closer inspection reveals deep social justice commentary. Each scene highlights the industries and the number of labourers involved in the production of her work — from ink manufacturing and heavy metal mining to the coffee shop where Davidson created the design.

Métis beadworker and researcher Moriah Crocker’s performances, held most Saturday afternoons throughout the exhibition, offer a glimpse into the focused effort behind Indigenous (Métis/nehiyaw) beadwork. Created as part of her master of art history degree at the University of Alberta, Crocker sits and meticulously beads small jewelry items for visitors. The pieces are given as gifts. However, the exchange is mutual: viewers are invited to watch her work, sometimes for two hours, allowing them to viscerally experience the time and value inherent in artistic labour.

In There is No Work in the Arts, But So Much to Be Done, the rose-coloured glasses come off. The picture of post-degree life that these artists paint is rooted in experience — a contrast to the lists of potential career paths that fine arts faculties often distribute to students. What such lists fail to mention is that careers such as teaching, art therapy, or architecture typically require additional degrees and student loans. That's a tall order when, according to Hill Strategies Research Inc., the work-related median employment income of Alberta artists in 2020 was just $10,700. Many visual art departments don’t even offer internships or professional development courses, leaving graduates unequipped to write artist statements, publicize shows, or apply to galleries.

Confronting these challenges doesn’t detract from the exhibition’s uplifting goals; in fact, its very existence offers a solution. The show equips artists with vital knowledge to navigate the dark recesses hidden behind the art world’s polished façade. But there’s also a broader takeaway for all viewers: we see the true grit, dedication, perseverance, and immense courage it takes to be an artist. ■

There is no Work In the Arts, But So Much to be Done, curated by Liuba Gonzáles de Armas. Exhibiting artists: Moriah Crocker, Emily Davidson, Alyson Davies, Daniel Ennett & Co, Camille-Zoé Valcourt-Synnott, Florence Yee. On view at Latitude 53 through Nov. 16

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