Summary:

This dipstick study by Art4Art Foundation (A4A) set out to capture a meaningful snapshot of the current experiences and needs of artists within its residency database. Using a short survey, the study explored key trends in demographics, current art practice, sources of support, and challenges - particularly focusing on the role of mentorship. The aim was not exhaustive data collection, but rather to generate actionable insights that can inform future artist residencies and mentorship design.

Main Findings 

• While most artists are actively practicing, female and rural artists remain underrepresented and face greater challenges in accessing gallery affiliations, academic roles, and mentorship.

• Only 23% of surveyed artists reported having mentors, with access concentrated among urban male artists.

• Male artists were more likely to cite both the presence and absence of mentorship as pivotal, suggesting a more entrenched awareness or valuation of such support.

The study provides a way forward to design future programmes that bridge identified gaps, enabling emerging artists to not only sustain their practice but also grow through meaningful mentorships which are accessible to all types of artists.

Approach:

We conducted a focused dipstick study which employed a short survey of Art4Art Foundation's residency artist database. The goal of this study is not exhaustive data collection but rather to capture a snapshot of key insights that can inform future mentorship-focused residency programmes and collaboration opportunities with artists. 

The aim is to stay attuned to the needs the artist community, ensuring that the A4A residency can offer mentorship programmes which are: a) responsive to professional challenges of the art world, b) relevant to the artist and the mentor’s artistic journey, and c) impactful in creating a space for emerging artists to discuss their work and gain skills required to navigate the Indian art space. 

Data Collection:

To operationalise our aim, we gathered most current information on demographic details, and captured trends on art practices, mentorship, sources of support and challenges faced by artists. A total of 26 responses were received – majority of the respondents were males, about 17 male artists out of 26 responses. Only 9 female artists responded out of a database of 70+ artists. The information was collected using binary, categorical and open-ended questions. The analysis used an explanatory approach to understand the experiences of artists.  

Demographic Overview of Artists: 

The survey respondents ranged in age from 28 to 42 years. The average age of both male and female artists is 35 years of age. The youngest and the oldest artist who answered the survey were women. 

The majority (69%) reside in urban areas (8 females and 10 males), followed by semi-urban areas (27%, 1 female and 6 males). 

Only 4% of respondents are from rural areas, represented by a single male respondent. This indicates a significant urban concentration among participants, with males being more represented in semi-urban areas and a relatively balanced gender distribution in urban settings.

Artists are either married or single (12 artists in each category). About 44% female artists and 47% male artists are married or single. Additionally, only nine artists reported having children – about 3 female artists and 6 male artists reported having one child.

Table 1: Marital status cross tabulated with number of artists (in Numbers)

At a glance:

• Survey respondents' age ranged from 28 to 42 years.

• The average age of both male and female artists is 35 years.

• Majority (69%) of respondents reside in urban areas (8 females and 10 males).

• Semi-urban areas account for 27% of respondents (1 female and 6 males).

• Rural areas represent only 4% of respondents (1 male).

• 44% of female artists and 47% of male artists are married or single.

Current Art Practice: 

About 88% of the total artists surveyed are actively practicing their art. Almost the same percentage of male and female artists identified as practicing artists - about 8 female artists (89%) and 15 male artists (88%). While the percentage is almost the same – more female artists (77%), about 7 artists, have reported not being affiliated to a gallery which showcases their art. Among male artists, this number is slightly lower (58%), where 10 artists have reported to have no affiliations. 

The data suggests a gendered difference not only in the extent of income diversification but also in the types of opportunities available to artists. A higher proportion of male artists are involved in additional income-generating activities compared to female artists. The data suggests that a majority of male artists (71%), about 13 artists, take part in other income-generating activities. They work as freelance artists and have diversified into areas like commission-based work, art writing, and conducting art workshops. In contrast, only 5 female artists (55%) partake in freelance opportunities. A notable difference is that while teaching art is a common secondary income activity for female artists, only one female artist reported being a professor, compared to 4 male artists. This highlights a possible gender gap in more stable or formal academic roles within the art sector, with male artists more likely to hold professorial positions.

Role of Mentorship:

Despite differences in income-generating options between male and female artists, the same percentage of artists report having mentorship (about 23%). About 2 female artists and 4 male artists have mentorship. This suggests limited access to this form of support for artists. All male artists and one female artist who reported having a mentor are residing in an urban area.

Only five artists have reported the mentorship as a supporting factor towards their artistic careers. Four of these artists are males and only one is female, indicating a gender gap in mentorship access. More male artists (4 artists) also list lack of mentorship as a challenge compared to female artists (2 artists). 

This suggests that mentorship is generally limited across surveyed artists, male artists are both slightly more likely to have mentors and more likely to perceive mentorship - or its absence - as a significant factor for their careers. The geographic concentration of mentorship access in urban areas also points to a spatial disparity that has been created in the art space. Together, these patterns suggest that current mentorship opportunities may be unevenly distributed and inconsistently experienced. 

At a Glance: Current Art Practice and Role of Mentorship:

• Active Art Practice:

• 88% of surveyed artists are actively practicing.

• Similar percentages of practicing male (88%) and female (89%) artists (15 males, 8 females).

• Gallery Affiliations:

• 77% of female artists (7 artists) are not affiliated with a gallery.

• 58% of male artists (10 artists) lack gallery affiliations.

• Income-Generating Activities:

• 71% of male artists (13 artists) are involved in freelance work and activities like commission-based art, writing, and workshops.

• 55% of female artists (5 artists) participate in freelance work.

• Teaching is a common secondary income for female artists; however, only 1 female artist is a professor compared to 4 male artists.

• Male artists are more likely to hold formal academic roles.

• Mentorship:

• 23% of artists (2 female, 4 male) report having mentorship.

• All mentored male artists and 1 mentored female artist reside in urban areas.

• Only 5 artists (4 males, 1 female) view mentorship as a supporting factor in their careers.

• Lack of mentorship is noted as a challenge by 4 male artists and 2 female artists.

Conclusion:

This dipstick study offers a valuable snapshot into the current landscape of artists . These findings have provided insight into opportunities of artists in terms of their practice and available guidance. Hence, this is a preliminary evidence base to design more contextual mentorship opportunities. The findings suggest that female artists and artists residing in rural areas are underrepresented. This underrepresentation points to possible gaps in accessing work and mentorship opportunities among this demographic.

This will also help A4A recalibrate outreach strategies to reach artists who would like to join residency programmes and get benefits of mentorship opportunities which were previously unavailable to them. As one artist expressed, “...mentorship played a crucial role in shaping my artistic journey and fostering my confidence as a visual artist. Even now, we remain in contact, and his continued support and wisdom are invaluable to me.” This powerful testimony underscores the transformative potential of mentorship - a potential A4A is well-positioned to nurture through responsive, artist-driven residency design.

Footnotes: 1.The martial status of both males and females, who report having a mentor, are either single or separated.

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