Don't give up your day job : an economic study of professional artists in Australia

By D. Throsby, Virginia Hollister. 2003

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Artistic Labor Markets: Contingent Work, Excess Supply and Occupational Risk Management (2006, unknown): “…categories of artists that we find in the comprehensive NEA report on Artists in the Work Force [Alper et al. (1996)], in the Australian report by Throsby and Hollister (2003), in the British one by O’Brien and Feist (1995) or in French official annual reports based on Census and Labor Survey…”
ARTISTS' CAREERS AND THEIR LABOR MARKETS (2006, background): “…documented, using direct economic surveys of artists, that most artists report working in non-artistic jobs in a given year [e.g., Alper and Wassall (2000); Kingston et al. (1981, 1986); Throsby and Hollister (2003); Wassall and Alper (1984, 1985, 1990, 1992); Wassall, Alper and Davison (1983)].”
Academy and the Real World (2009, background): “85% of Australian artists are registered as small businesses (Throsby and Hollister, 2003) and over 60% of dance in England is delivered by freelance artists (Heeley and Pickard, 2002, in Brown, 2004).”
Unrewarded careers in the creative class: The strange case of bohemian graduates (2010, background): “Towse (2001) questions the role and value of higher education for artists’ training.”
Skills for creative industries graduate success (2011, unknown): “The disciplinary differences in income levels were congruent with what has been reported elsewhere (Bridgstock, 2005; Higgs, 2008; Throsby and Hollister, 2003).”