Addressing workforce challenges: NAVA’s advocacy through the Arts SWAG

Addressing First Nations workforce challenges across the entire sector is crucial. Almost every state and territory plans to build a First Nations gallery or cultural centre, which will soon increase the demand for new First Nations artworks This anticipated demand will put additional pressure on Aboriginal and Torres Strait Islander artists and art centres, who are already among the lowest paid across the sector and have not had an increase in funding for some time.

This situation is exacerbated by the severe underrepresentation of Aboriginal and Torres Strait Islander people in mid-tier and leadership roles within galleries and museums. This lack of representation not only limits aspirations but also places a considerable mentoring burden on the few First Nations professionals in senior positions. With ongoing funding constraints, the small-to-medium (S2M) sector struggles to offer competitive pay and career progression, which further hinders the retention and empowerment of First Nations people within the sector. Many visual arts organisations do not have a single First Nations worker or Aboriginal advisory group.

Cultural safety remains a pressing issue. Many Aboriginal and Torres Strait Islander arts workers often find themselves in culturally unsafe environments, being one of the few, or the only, First Nations staff members. This has led to higher turnover rates and highlights the need for stronger initiatives to increase the number of First Nations arts workers and improve cultural competency in the sector.

Income instability has persisted in the visual arts sector for a long time, with over a quarter of artists earning less than $10,000 annually from their creative work. This financial insecurity is worsened by the high costs of materials, equipment, studio space, and travel. The trend toward freelance and casual employment, often without contracts, has exacerbated these challenges, particularly during the ongoing cost-of-living crisis. Artists are increasingly concerned about their rights and control over their work, especially with the rapid development of Generative AI. Additionally, gender inequity in income and career opportunities remains, with female artists underrepresented in solo exhibitions, state gallery acquisitions, and commercial gallery representation.

Arts workers are highly qualified yet earn significantly less than other professionals in the general population. This impacts on their current and future financial security and sense of professional worth. There is an urgent need for increased funding to support artists' and arts worker incomes and career pathways. Without public policy and investment that recognises art as legitimate work deserving of a living wage, the sector will continue to face poor working conditions and limited career development opportunities.

The reliance on unpaid labour is widespread in the visual arts sector, with many organisations relying heavily on volunteers or expecting paid staff to work beyond their compensated hours. This reliance on unpaid work is a symptom of the broader underemployment and job insecurity in the sector.

Accessibility and inclusivity also remain major concerns. d/Deaf and Disabled artists and arts workers face considerable barriers to participation, including difficulties in securing work adjustments and instances of overt discrimination. Similarly, racially marginalised artists and arts workers encounter obstacles to career progression and often face unsafe work environments. For racialised artists, this can include being asked to ‘perform’ their identity in their art, being tokenised without proper consultation, or having their culture, language, or access to contacts and community disrespected without a proper process of paid consultation. For racialised arts workers, this can mean being expected to provide unpaid consulting work or to be an ‘expert’ on race matters, being hired in identified roles that have unrealistic expectations, and feeling isolated within organisations that lack support or mentorship from peers with similar lived experiences. 

The gender pay gap in the arts sector is another stark reminder of the inequities that persist. The latest findings from the Countess Report on gender equity in the visual arts  reveal that despite some minor improvements in certain areas, overall progress has stalled since the last report. 

The sector is facing critical skills shortages, particularly in roles such as gallery technicians, arts educators, and collection and conservation staff. These roles are essential for the effective operation of galleries and museums. However, the sector faces severe operational difficulties due to the inability to offer salaries that match the required skill levels. Combined with the lack of specialised training available, this has led many workers to leave the sector. This problem is compounded by the recent closure of many arts courses and enormous changes to the vocational and tertiary education system. Whole modes of practice are now struggling to exist in several regions and the impact is already being felt across the sector for jobs lost and training programs cut.

Addressing these shortages requires targeted investment in specialised training and education programs, alongside policies that enhance career development, improve working conditions, and ensure adequate pay.

Judy Kuo, No Such Thing As Unskilled Work, A3 black and white print on 350gsm uncoated 100% recycled paper.

Available for purchase here https://judykuo.bigcartel.com/...

[ID: black and white illustration on a landscape-oriented A3 sheet. Across the centre are a series of tools against a black background. Across the top, there is text that reads NO SUCH THING AS and across the bottom of the frame it reads "UNSKILLED WORK" in large text than above.]