Exhausted and broke: Melbourne artists in survival mode as galleries prepare to reopen | Melbourne
Melbourne’s galleries will open next week. But the community in the heart of Australia’s cultural capital is exhausted – and many are penniless.
Artist Fayen d’Evie’s exhibition at West Space was the culmination of six years of work – and it only lasted for 11 days.
The aptly named show “We Come In Touch With Things As They Break Down” aimed to find new ways to make art and come together through collaboration.
“The show closed almost as soon as it opened,” says d’Evie. “Working for six years on something so fleeting, that hardly existed. I fell into a mental health meltdown thinking about it and what it is for. “
In the past year, four in five Australian visual artists earned less than $ 25,000 from their practice, or $ 100 per week below the poverty line, according to a study by the National Association for the Visual Arts (Nava) .
As a result of the pandemic, one in two visual artists has experienced a drop in income of between 20% and 100%, resulting in 18% of artists not making any income from their work in the last year.
And almost the majority – 86% – said the pandemic has reduced their ability to do work, expose it, and earn income.
“We survived, but we’re still in survival mode,” says West Space interim art director Andy Butler.
Galleries like West Space act as incubators for the country’s emerging artists. They are small, receive less funding, and are often overshadowed by large institutions such as the National Gallery of Victoria and the Australian Center for Contemporary Art. But they are essential to the cultural makeup of the city.
The pandemic has exacerbated funding cuts that have lasted for years. In 2015, then-arts minister George Brandis cut the budget of the Australia Council – Australia’s arts funding body – by $ 100 million. The impact was instantaneous – 65 artistic companies disappeared and 70% of grants to artists were taken off the table.
It is an ongoing trend. Commonwealth funding has fallen 19% per person since 2007-08, according to Ben Eltham, lecturer at Monash University and Guardian Australia contributor.
Charged with helping to “bring back the city”, these galleries currently remain afloat with assistance from the state government and funding from local councils.
But amid years of declining funding, pandemic lockdowns have left the industry on its knees, Butler says.
“We have lost a generation of works by artists,” he says.
Galleries have less funding to exhibit artists and artists have fewer opportunities to present shows, Butler says.
“We just made a call for a significant opportunity to work with an artist over 12-18 months to develop an exhibit, but due to our delays we only have two spots in 2023.”
The gallery received 80 applications, which is far less than normal, and a mix of mid-career artists and artists fresh out of art school.
But the drive to create is still there – and what keeps everyone going is the caliber of work that comes out of it, he says.
“There are so many amazing Australian artists out there right now,” says Butler.
“We are entering the opening period after having worked continuously for 18 months, we do so with enthusiasm and enthusiasm because of the quality of these artists. “
Australia’s creative and cultural industries contribute $ 111.7 billion to Australia’s GDP, or 6.5% of the economy. Before the pandemic, the arts employed 600,000 people across the country.
Nava co-director Mimi Crowe says many artists sacrifice a fair wage for a career in the industry.
“We need to rethink our national understanding of how artists make a living and ensure that our industry standards reflect a respected and thriving arts sector,” said Crowe.
The Morrison government says it is investing $ 1 billion in the arts for 2021-2022.
Part of that is emergency RISE funding, which has so far invested $ 160 million in 387 projects – so far, 39 of them have been visual arts projects, which have received nearly $ 14 million.
Diego Ramirez is the director of Seventh, a non-profit gallery which, like many smaller galleries, has been forced to relocate during the pandemic.
They have found a new home in Richmond and he says it has been difficult for the gallery, but he has lost his family in Mexico to Covid and he is happy to pay the price for “the most closed city in the world” to keep his community alive.
“There is a shift towards engagement in communities [outside of the arts]. We’re part of this shift in terms of prioritizing talking to the people who live around us… how do we translate experimental art in a way they can understand? “
Up the street in Brunswick, Blak Dot is Melbourne’s only Indigenous-run gallery showcasing contemporary and traditional First Nations art.
Its artistic director, Kimba Thompson, says the gallery provides space for artists who may not yet have the opportunity or the money to exhibit their work at the NGV.
“It’s our 10th anniversary this year and we haven’t had a chance to celebrate it,” says Thompson.
“The last four shows, we literally opened the show and closed two days later.”
The gallery secured funds and was successful in negotiating with Moreland City Council to retain its space.
“Why can’t you throw money at us some other time?” The pressure is on the artistic community to bring Melbourne to life, ”said Thompson.
Blak Dot also has an outdoor area, a stage for live performances and a community garden.
“As much as we are a gallery, we are here for our community,” says Thompson.
In Carlton, writer Zara Sigglekow made a bold move during the pandemic – along with her friend Steven Stewart, she created her own gallery, Futures.
Sigglekow can count on his hand the number of days the gallery has been open over the past two years.
“It’s like being in a Whack-a-mole game,” she said.
Shopping malls have fared much better than their nonprofit counterparts. Online sales for many galleries have been strong as wealthy collectors reportedly purchased art instead of vacationing abroad.
For many shopping malls, moving paintings over $ 100,000 has been common in recent months.
Futures will open with a solo exhibition by Matthew Harris, who proudly identifies himself as a mix of “white bogan” and Yorta Yorta.
Although no one has seen it in person, half of the show has already sold out.
“But it’s still important that it has public visibility,” says Sigglekow.
Mainly, the pair are thrilled to have people roaming the streets, she says.
“It strengthened the community side of having a gallery, a space where people can come and meet,” says Sigglekow.
“It is not enough that it is a sales exchange. We really can’t wait to be able to do that.