SD 165 216

TITLE

10C48811T RESUME

)CS '502 378

Selected Character ics of Artists:,1970;Self-Employment, Migr tion, Household and Family.Research Division Report 10.

INSTITUTION. National Endowment for the Arts, Washington, D.C.PUB:.DATE NNovNOTE

EDRS 'PRICEDESCRIPTORS

!)F -$0.8 3' HC-$2.0-6 Plis Postage.Architects;,-*Artists; Authors; *Demography;Employlent Patterns; Family Chatacteristics;Migration Patterns; Musicians; ,*OccupationalInformation; Occupational Mobility

ABSTRACTBased on data concerning the artist population of the.

United States cbllected in,the 1970 census, this report examinesthee patterns in the lives of artists. The firstchapter analyzesself-employment patterns and includes information about the size ofthe self-employed artist population, its-earnings.; and a breakdoin ofself-employment patterns according to occupation. The occupationsdiscussed are authors, architects, painters/sculptors, photographers;and musicians/composers. The second chapter presents data on themigraticn pa#erns of artists between 1965 and 1970. Specifically,their igratioi from region 'to region and to ,major metropolitan areas.is analyzed. The final chapterexaminee the hoisehold characteristicsof artists and includes information on their living arrangements".families,,children, and marital status. (Twelve table and six listsof figures are included.:): (FL)

ti

.1

***,******************************************************************** Reproductions supplied by EDRS are .the best that can be made ** from the original document. **##################413030*3004430*30#**44#*3030*****303003030443030030030303030300303030303030030

Rnsoarch Division Report #10

Selected Chaof Artists:1970

* Self -Employment

' Migration

Household and Family

eristics ,u,s. DEPARTMENT OF HEALTH..EDUCATION &WELFARENATIONAL INSTITUTE 0*

EDUCATION-

THIS DOCUMENT HAS BEEN REPRO- .

Ducar) EXAMY AS RECEIVED FROMTHE PERSON OR ORGANIZATION ORIGIN.AT ING .IT POINTS OF VJEW OR OPINIONS'STATED DO NOT NECESSARILY REPRE-SENT OFFICIAL NATIONAL INSTITUTE OPEDUCATION POSITION OR POLICY,

:

National Endowmentfor the Arts -r

Noveinber 1978

Studies by Data Use and Access Labaratotjes, 1977-1978

10

0

PREFACE.

This-report lboks at threelives of American artists-

, patterns, migration patterand 1970, and household anacteristics. The-reporti

.

themes iwthself-e0p10s betweenfamily chthe thir. 'an

a'- series based:on the 1970 CensUs that..analyzes t e data.on.the artist population.The earl' r reporta.'were: ReSearch Di-vision R rt 5, Where Artists Live:J-41970; an Research Division Report #7,',Minori es, and Women:in:the %rts: 1970.The tv earlier repOrts Utilized bothpublished -data And.datathat had not beenprevlouly'published except' ig the formofd compUter tapes knowhlas the-Public'Use .

Sample, This report utilizes: the latter.data source to an even gteater extentthan the Others.

The. tabulatiOn and analysis 3.f.thedata'for the study was performed for theReSearch Division by Data Use and AccessLaboratories- work was done by DianeEllis, undet.the general directiorfofJack Beresfoid, President .of DAta Use andAccess LabOtatories.,

Although the.data from the 1970.CensuSisnow 8 years old, thee are- twocharacteristics of this data which con-tinue to, make it veryudeful's The firstis that it will serve as a baseline -forcomparison with the 1980 Census.. A,second reason is plat no-comparahly---d*tailed comparatiVe study'of the severalartist occupations is currently available.Thedata.that is presented here is a sta-'tamtidally.valid description of the'.central tendenCies of many:aspects of the:AMeripan artist's life. It MAY have subi-istantial.use for planning.And,poliCyidevelopmen.Lby helping.to'overcOme fall' .

!ideas and: romantic notions,that developedthrough popularization of individual. andoften atYpical cedes..

.

on the*esidence location of artist in

!1965 and in 1970. :it shows that air istaass-a WhOleare not substantially moremobile than the rest of the'profes ionaand technical labor forceand that thedirection:of their, migratiOn is g erally ,.the:dame. Further, they do,not a 1 flOok- .

to New YorkCity. ,Considereble V iationoccurs in.migration rates, in the differentartist occupations.

The third chapter eXamines.househOld andfamily characte4StiCs of artiats.and,H,gain showp considerable variation by:'-

/4

occupation. Over 80% of architects aremarried; feWer'than haif the dancer areMarried. Danceraare far-moriefliikelY than_any'ofthe:other artists to be .female.heads Of households with dependentehild...ten.' Therefore,-dancers are more likely..than artists in.the other occupations.tp-be seriously affected by periods ofunemployment Or low earnings. ActorshaVe the greatest likelihood of beingdiVorced or'Separatedand are.theleastlikely to be.living'in famine's.. The ...Census data, of-course,.dOes hot:.explain.the causal factors.' We! cannot tell,' forexample, whether Oe.faMilrpatterns ofactors reflects a characteristiC,in thepersonality ofthese artists or indicates ..

the denianding nature of their occupationor, the instability of employment, and the,..,

incompatability of these factors with::.family life. . . , '

, - -

The Public Use Sample from whichthe data :in this report has been. Prepared is:available for other detailed studies:abput--artists in 1970. AMong other projects,the Resparch-DivisiOnbas:PrePadya.da..W.tape that contains all of the informationabout artiste and tbgirhouseholds.in the'PublicUse..Sample ofthe'197Cenaus..This:data tape:is.Calledani"eXtract fileandcan be*tede.. aVailible for:replicationor,maYlaelusedby-persOnd and organizationswho wouldolwish to make studiesoftheirown. It is intended that a similar.extract file will be made.frOm the'PublicUse. Sample of-.the 1980'Cenaus. Moredetails about the use of:theextradt file,can be obtained from the ResearCh Division,'National Endowment .for theStreet N.W. , Washington, D.C. 506.(202): .6.34-,7103. Contact Thomas .

Bradshaw for information.

The chapter on selfemploymethat the.extent of aelf,emplas-the:remuneration artists 'rsubstantially in each, of, theTo illustrate, authors and.arthe largest proportion of:Selamong, the Occupations. HowevemployeA,Authors.earned only 2has authors employed for wages,

..employed architects earned 26%architects who worked for wageAny; self-employed artists worandearned.lesa than artists:in'OcCupatiOns who worked, for wage

The-second chapter utilizes Cens

t makes'clearent as wellceive variesccupations.hitects hademployment

r; elf- Is much

self-More than

Geriered lessthe same Research Division

National EndowmentOctober 1978 3.

s data

for the' Arts...

csaiir

TER I

EMPLOYMENT PATTERNS. OF U. S . ARTISTS: 1970

Introduatioi?

./IAize of the Self - employed Artist -Populationr .

parnings of Self-employed -Artists

Summary of Self-employment. Patterns:bY Artist Occupation

CHAPTER II:

MIGRATION PATTERNS OF U.S. ARTISTS:. 1970,

Regional .migration(ot Artists

..Artist Migration to Major Metropolitan Areas

CHAP TER III

HOUSEHOLD, AND FAMILY, CHARACTERISTICS OF ARTISTS:

i

Intioduption

Living Arrangericents

Families

Children

Marital Status-

19

19

20

'LIST dtt' TABLES74, Tr.

...-,

played' Ar long 'Artists' in .1969

"Self- etmployed Aithng ArtistitOiho§,Sere in the Same Occupation in1965 artd 19T0 :

, . ,-;

3 Weeks Fiorked Durihg '1969 for :Self4employea and Wage-earning Aitistir"

4 4i UneraPloythent Levels, of Self-employ ed and Wage-earning'tArtiStsBy:Ocalpation, 41970 \ ,':-J11,': .:;. '.4,,H* '-:,! ',t!

, ..

''. 5 Median 19,69 incOnieS"of4 Self-qmployed:and!Wage-earning ArtistS4.,'Ici,4 - 114 V c ap .it i o n i for allArtists and for Artists, in the :Same,'' i.2'. Occupationin 1965' and:197011r ' '''''. :)

. no . , .. ..,,

. . 4; : i. ':.,d

,

6 ';,! Inter State: and interregional, Migration Stattis of Artist*,Professional V4rkers, and,,the Toig Labor For'Oe 16:Yeare'OfAge and fiver, 1965 -1970 ,:. ;:.,, . ::.-.

Interregional Migration. Rates .61.4rtists.-,,16-Yeartit of Age and '...

,Over in5the Labor Forde,, IllrOco4ition;-').965:_to 1970iii

Livjng Aradgements0f144tisfs and Total, USPopulatiolf, 1970.., :.

6.1,

Jeiving ArraifgaMents !!if Arkists Age: and-Over,

By-Occupation,US, 1970 '. -. 1

t.10 Family Types Among ':Artists Age 2.. -and Oyer, By Occupation,

.1970- , : c

11 -Presence of 611i1drenlInder.,1 in Households of Artists, By.

Occupation, US, .1470%".. ,k

12 Marital Status of Aft.ists.Age 16 and:.0yer,Fty Occupation, .1.970

LIST OF FIGURES

Differencep in. Median 1969 Incomes Between' Self-employed,anWage-earning Ariists

Net Migration of Artists Between Regions of the United Stats:1965 to 1970

, .

Iffipact Miggation:bn Rates of Growth of. Artiats Populationsin Regions of',01e'

.United States, ,1965 to 1970'

.

4 Migration of Artists Into. Metropolitan'` NeW York, 1.468',Ailgeles.

and Chicago, 1965::to.:71970:.

.

5 itelationship Of:Female Participation in Artist ,Occupationand kon-Husband7Wife:Bousehold Typea,for Artiats Age '16 .andOver, US, 1970 r'

Marital Status of, Artists Age '16 and Over, 1970

4

SE*-4ARIMMFAT,

11412111069CT,XPN'

0

This chapter examines extent ',of self-..employment amakig 1LS: repl.rtedin 1970, and Compares, the earnings ofself-employed artists ,With earningS' of,artists,who worked for 'wsges''or salarieS.0As with'many other charaPt.,_eristics ofartists,..: the extent of self-eMpIciyMentand 'the financial reward40 deriVed frOin itvary greatly by artist od0,ipatieti.much ,of the discUssiOn.,f000es:,PA theseoccupational differencee.,

Ten artists occupations are covered,':actors, architects, s:authers,daneerS.

'designer0; musicians,:kid.CpMpOserris' .

aApnters and jsculpterki,, ;Photographeia,radio/TV annOlince4pisi.:*a university rteachers of art, mUeic,.t,and drama..analysis inClUdesailiartistl inoccupations Who worker in.'1969.addition to discussing ,,each ticcUPatirin4,-",,group, breakdowns' areMsde for artistswho were in:the liame4oC'cliPation in both`1965 and 1970.is..Made betty PE,:jartifts

.weeks or Mor during:the'year,':and-thosewho,' less. Wherever.'::these srie.' alsilbgroups are Ube& in. the ,analypis-,pointed out in';.tbe'discisSpn.Readers of' ertstre,port 's Id be,-; alert tothe rf act ' that the 1970 sCen sii4s Con.`ducted in April 'ef/,,that ye r 'however

, the 'data-for suctl Matters as earnings andweeks of work are for the full'::year before',the Census wia'Ph- was 1969.

(this ta in s repo are detived from e"1970 Census Use' Sampile. 11. Tablesfor this analysis were pre,O.redi:py DUALabefrom extracts of tliese samples. Descli 7,tion'ti of sample sizes,'. weidhtingL and -:"sampling- "error aie::follridinitlie'Dti4tabs'tabulation report;2

Teacher-a of Art.Music, Drama (univ)

Other. Artists,Writers, Enter- . ''tainers (netwhere clasSified)'

22

All Artists

_U.S.. Etureau of the Census; ";;Public Use 1';;;,iSample oe the 1970, Census.: .iDeatription

,Tech4ical Documentation (Wkshington,. D.C.r U.S. GovernMent Printing 'Office,

2 bata Use and ACcess Ilaboratories,1'TabulationS:of-ytis.ti:and PersoniiComparative Opel'. litions in the UnitedStates:970", ,,Vables 291:throUgh 32(prepared for 04:` :National EnaloWmeni for4,.the "Afts , ,Januatzr: 1977;) .

fir

Self- Employed Among SIZE OF THE SKIF-EMPLOYED ARTIST

Artists Who Were in the POPULATION :1111

Same Occupation1965 and 19 0/'

Art, Music, DramaTeachers (univ.)

Other Artists(not elsewherecladsified)

1'

I

Zn the,1970 Census there,yere about t

154,000 artists in the United States whoqwere,self-employed, Or 23% of all artistswho worked during the year 1969. Theremaining 77% worked for-wages for otheemployers. Less tDan one percent ofartists said they were working Withou payin 1969. This level of/self-employment '

among artists was considerably higher thin,the self-employment rate for all profes7'siontl and technical workers,, whialwas at8%. However, large variation' '° selfLemployment levels existed among theartistoccupations, just,a15. they did in otfierprofessional odtupations.

Among the various artist tcoUriatiOnq.authors and architects had the highestlevels of self7dMplOyment, with 4.0% of,authors and 37% of architectsemployed. ,Self-*mployMent'didnOt exist .

at all.aimong university teachers of art,.'.puait, and drama anchwas very low forr4diti/TV announcers., dancers,. and actors.Table:1 ahOWsselfemplOyment leyelafOr'eachartiat.'OcOupation.

Self-emOloyment was more:common- amongartists who had been intheir'octupationfor at least:five yearstan,,it was amongartists newe to their profesSiond..Nearly30% q all artistswhoWare in thesame odcupat' in 1965-and,1970.wereself- employed, while only'18% of artists,who:were.in'their ,occupations ohly_in'1970were their own employers. ;:Thispattern:eXisted-for most artistdidicupa-\.

except fo; authOra and MOsicians/.composers, where self-employment 8413almost adJteidiMon aftiong7hOW "artists `as itwas formoreaXPeriericed artists: Amongartists whO:1:ladbeen iritheirdtcupation'.for at:eist fiverears, architects andauthors had the highest:se14-employmentrates', at 4596.a1-4.44% respectively. tSee'

.'

Among both the self-employed artists andthose who worked for wages, the.proportionworking 40 weeks or more during the yearwas similar.' Nearly three-quarters ofselfeMplOyed'artistaand three-quirters,of wage 7earning -artiatamaintained thiswork level.. Among artists who were.intheir occupation for at least five years,an even greater proportion of both'theself- employed and wage-earning artists-worked 40 weeks or more per year.is shown in Table 3. These data donOt:;(::necessarily mean .that self-employed

Table 3 Weeks Worked during1969:for Self-Employedand Wage-Earning Artiste;

Weeks Worked

Worked 40 weeks or more in 1969 83% 85%Worked less than 40 weeks in 1969 17 is

Worke&40 weeks or. more in 1969 59 %' .62%WOrked less than 40 :yeeks'in 1969. 41.

Worked 40 weeks or more in 1969Worked less than 40 weeks in 1969

73% 72%28

artists work as much as wage-earningartists.' Large differences:in length of 'y'the work week and number Of weeks worked-Per. year may still exist; particularly.for artists who worked less than 40.wee)csper year. Data on earnings of self-

. employed artists (described'in the nextsection) suggestthat the.self-employeddo, in.fact, work fewer days duringtheyear:.

Unemployment in 1970 was higher:mongartists who:normally worked for wageS orsalaries than it was for artists who werenormally self-6employed . While self-employed artists had'an unemployment rate

slightly more than ..4% of artists.worked for wages were out of, WOrkat

thet.ime of the 1970 Census. This:pastern of unemploymentWas found inalltypes. of artist occupations; as shown. inTable4. However, this does not neces-sarily mean that "employed" telfremployed.artists actually-had any income:.

EP:Emilia& QF. SELF-EMPLOYED ARTISTS

In 1970 the typical. seg-employecihad 'a median annual income of abobt$6,200. This was 16% less than the,median income of artists who worked forwages and earned $7,400 on the average.

. , ,,UneMployment Leiefsof Self-EMptoyed,and,Wage-gaming Artists; ;

by °c on tion,'1970 ;

- EVen atiO 4*0:0131.0:(145:1 .beep in: theiroOtupatiOniCfotat xeisi..Iive.year's , theeainingsf differentebetween ,Self-employedand wagerearningartiStS:waS:the sari*With ..fielfIT!*1***4- it1,0Still earning-

I /, i ,'

More th half obt thie*iXningi diffeience.640)3e4#4],b1.404P;I:the>thorter Y ,

aMotintot i000 worX0:04tiribiLthe year by f, self-employed arts 'who

ipeworked at :164i3t71:0*04X.S during 6' year;the earningE(dififeten.between :elfr,eMplOyed 1-land Wegerearningi arti a. s lia#'004 :dto Os , /14t4:::-.00:01161.6yfa artists having.1.e medianSnnu11006,me:of about -$13'; 80p. and' wage-haVing7a median`incQine,:ofi41.0.041er4eek. Figure'l.: -

"shows .these, Ocimtotat4000-.; '-...,;(.

In certainartitt*tupationS.-:.hbwever,self - employment WaeMorefinantially/'rewarding,th*wOrking.fOrWages. :Self .

eMployed,arOhitetts, actors musicians/compOSerdencert, and radio/TV announ-cers had higher-median intomeadni:069thamLOtherS in their respective profes-sions Who"yorked for-mageS. Self-employed .

architects earned on the average about2694.mbre than.tgageearning. architectswhile self-qmployed actors earned more

: than twice as much as wage-,earning,actors,

However,emong photographers and designersmedianincOMe.from self - employment Wasslights below:earningsderived-from:Wages: Self-employment;.,appeared leastFinancially rewarding for authors andpaintera/sculptors. Self-employedauthors earned only half the - income ofwage-earningf4uthors, and Self'employedpainters/sOulPtOrs earnedabOut a-third ..A.essthaniwagerearningpainterd/sCulpters.These comparisons arethoWn in'Table 5. 4

..

AMorig.aredt0who had been in ,their!

tgy' OlfOrat leaat'fiVe'yearaitle:'-..qerenceS between self-employed.ere ninTartists were very, similar

to th se Of. the general. population ofartibts in each, ocCuPation..;In fieldsWhere self-employed artists earned more,

.

than wage-earningienced members,of:tearned more throngilarly in fields sing, where self

Perbent Ilnemploy4d

' Painters/Sculptors

Dancerd

,Radii(TV Announcers

Art, Music, DramaTeacher;. (univ.)

Other Artist3,(not elsewhere..*classified)

All Artists

;e;

Feweeathan 1000Artists'in theseoccupation wereself-employ in1170,-therefore'theunemplOyment rates,Are not of suffir

,cient statisticalquality to permitmeaningfultom-.parisons

4

ciectipati'

incomeand w

tists, the more exper-.e profession also'self-emplOyment. Sim-

ch as writing, and paint-loyed artists earned

less than wage-e ning .artists, the moreexperienced members of the 'professionalso earned less from self-empiOyMent:.This pattern existed in every artistoccupation, as seen'in\fiabie 5. Earnings .

patterns of the more egperienced artists.,are-not very different, from the earningspafterns of the general artist Population,in terms of the earnings differencesbet en self-employed artists' and those:'w work for wages. 4

All Artists

'7;

Table 5 ..Median 1969 comesof SeIVEinp lo andWage-Earnin diets,by Occupetkin, for AUArnett atilt for Artistsin the same OCCOpaflOn

- in 1965 rind 1970

Artiste in Same.`Occupation in 19'65and 1970 --

Authors

Musicians/Composers

5,100: -10,200

3,1.00

5,'600

5,900.

11,800.

4,500

4

SUMMARY OF SE -EMPLOYMENT 'PATTERNS OY''.ARTIST OCCUP IONS

As *as seen in Table 1, the occupationsof author, architect, painter/sculptor,photographer, and musician/composer had;the highest self-employment levelsreported in the 1970 Census. In alLof°

°these oecupationsooMore,than one-quarterof thOse 'who-Worked were self-emploielli.Siimmhries of the basic-'emplpyment patlternetfor theae odcupations follows; ,

.Authors, had the highest self-emPloyinentrate of any artist occupation, at..4 'in1970. Authors who. were in this ocCu ation

both, 1965 and 197(r had an even hi herself-employMent rate, at 45%. Selfremployed authors-were less, likely to beout, of /work at the time of the 1970 Cnsusthan 'were wage-earning ,authors; alth ghunemployment may not' be as readily report-ed by the self -empiOyed as 'it ie by wage-

--earnera, Self-employed author's bat anunvc0.1oyment rate of 2.9%, compared with3. for wagel--earning atithors.. For.authors there is high level Of self-emiloyment. Earnings for the .self-employed

authors 'were only halfthe earnings ofauthots who worked fpr wages. 1014,1d-Vage-earning authors had a median annual incomeof $10,20q,'self-employed earnedonly. .$5,100 in 1969 Part, of his incomedifference may be attributed to the short-ex amount of time worked by self-employedauthors.. Onliy-72% reported working 40weeks or more duriong 1969,while' 81% ofwage earning authors maintained this, worklevel.

Architects also had .a high.level 'bf:self-emplol?Ment in 1970, at 37% and reaching45%fbithosekwho had been ,in the profession fot at least five years. Unlikeauthors, however, the self- employedarchitect earned more money-than the wage-eatning:architect and Vas More likely to

owork atALleast 40 weeks duting ttle.Yeat.Self- employed architects:, had a medianannual income of about $5,200, whilewage-earning architects made'only.$12',10per Yar. UpemPloyMent in 1970 was very`'low for bOth the self - employed and wage-.earning architect - -less` than 1.5% fotwage earners and lesa than 1% for theself-employed.

PainterS/Sculptors had an overall selfemployment rate Oif 19MHanci a 39%,rate-for.personAkho were,in:fthe occupa-tion :in both 1965 and 1970.H Unemploymentwas at 3.4% for Wage..-earners, and 2.2%;forthe:Self-eMplOyed. , Wage-earning paintersand sculptorS were slightly mote likely tohave wbrked:at least 40weeksduring theyear - -76% of viage-earriers'and73% .Of the.self-employed reported "vpotking.at this

.

level:in 1969. 'Wageeatning painters/

ulptors earned $),'000 per year in 1970,while the.median income.for self-employedpainters/sculptors'was only $4,700 peryear. Again some of the income difference 'is,probably attributable to. the longerWotking. period.for wage- arners.

Photographers had a Self-employmentrate\''of 2eAdn 1970, reaching 34%..for those *ho

had been in the-ccupation far at leastfive years. Income'differendes betweenself - employed and wage- earning photo-graphets were slight, with wage-earnershaving a median anAual,income:of. $7,500,and self- employed photographers earning$6,709, even though)moreHof the self-empaoyed repotted working at,least'40.weeks during to year. Unemploymentlevels were lower for self- employedphotographer* at i%, than they were fOtwage-earning photographers, at'3%

cians COM .sers had,a (Vatter of theirmembers self-employed in-1970; AMong .

.t4oAe who were musicians or 7eamposers inbath 1965 and 1970, self-employment levelswere slightly higher '27%. Just over half(510 of all, musicians and composers

. worked at leastt40-weeks d ring,the yearThis low work level identical

for both theelf-.einployed group; and thewage-earning group: Reflecting ese lowwork levels were lowannual in apes.Self-employed musiciaps and.co oseraearned abUt $3,100 per year While thosewho worked for wages had a m ian income,of only $2,100 per year. UnemPloymentlevels were. modetate, at 5.3% fot- wage,

.earners and .4.4% for the self-employed

MIGRATION P TTERNS OF U

..INTRODUCTIO

t

to*

S.. ARTISTS: 1965-1970

( addition, this analysis draws on unpub-.lished supplemental tabulations from theartist extract file.

The mobility of artists:within the.United.States is of itsportance'imundefstanding'the geographic distribution of thispop-Ulation group. Migratiffi data are useful

' in assessing trends in eeidende and placeof employment of artists, and in making:artist population 1:.ojectiOns for partic-..

' ular geographic. areas. Where migration,rates differ among the various artistoccupatigns, it is possible to determinereasChs fortheSedifferenCeS, which maysignal other important 'occupationalproblems or changes.

>I . .

This report focUses on two major aspectsof artist migratioli: .(1) movements fromone region of the country to-another, and.(2) movements into thethree largest .

metropolitan areas of pe dountry--New. York City, LOs Angeles,, and Chicago.,These movements are analyzed.for theffive7year period 1965 to 1970. The.reasbn forfocusing on interregional movements is toassess he'size and diredtion of national'shifts imartistspladeof residenCeiwhich may indicate long -term residenceand employmenttrends. MoveMents into.the major metropolitan areas are *signifi-cant because artists are primarily anurban-baSea, occupational group, with :

nearly a'guazter-of the artist populationresiding in the three largest metropolitanareas: It is useful to understand the

rektent to which migration.is a factor inthis urban concentration Of artists, andto know where the migrating artists arecoming frorp'.

Data in this report are, from the 1970Census of Population.1 The'followingOccupations are included in the artist'definitionused here: actors, architects,authors, dancers < designers, musicians andcomposers, paintelks.and sculptor's, photo-graphers, radio/TV anhouncers, anduniversity teachers of art, music, anddraMa. The regional 'groupings of statesinto Northeast, North Central, SOuth, andWest regions are based on U.S. Bureau of

'the-Census definitions.

This report draws on published. data fromthe 1970 Census and on special tabulationsfrom the 1970 Census Public Ude Saflples.A special extract file on the artistOccupations was developed.by DUALabs fromthe Public iitetSamples. Tabulations fromthis extract file were previously compiled.by DUALabs in a separate tabulationreport.2 Descriptions of sample size..weighting and saMpling error are found in.'the DUALabs' tabulation report. to

_'REGION7-MIGRATION OF ARTISTS

J

Artists who move from one region of thecountry to ano4er could have importanteffects on national shifts in geographiclocation df the.artist population. Al-thoUgh many artists might move from oneplace to another,.moststay within their

.

own state or,their own region: Between1965 and 1970, 92% of all artists stayedwithin their own region, and 85% stayedin the same state. This section deS,

.cribes those artists who moved from-Oneregion of the country to another.Although.they'represent a.relatively

;small proportion of all artists,-theirmovements may be important indicators oflohgerterm migration and employmenttrends for artists.

General Trends

Between 1965 and 1970 about 60,000 artistsmoved-from one region of the country toanother. These interregional migrantA'represented a% of all artists in the 1970labor force. During this five-year periodthere was a definite migiation streamamong artists, which was characteritedby movements. out of the Northeast and.North Central regions of the country, andinto the South and West regions. This'resulted in a net migrationof about10,006 artists into the South and West,

,while the Northeast andNorth*Centralregions lost about 5,000 artists each.The map in FigUre.2 shows these movements.

1 U.S. Bureau of the Census, Census,ofPopulation:. 1570, Subject Reports, FinalReportPC(2)77A, Occupational Character-istics, Tables 34 and 35; and Final ReportPC(2)-2B, Mobility for States and theliation, Tables 1 and 58 (Washington, D.C.:U.S. Govetnment Printing Office).*

2 Data Use and Access Laboratories,"Tabulations of Artists and Persons inComparative Occupations in the UnitedStates: 1970," Tables 36-46 (preparedfor the National. Endowment for the Arts,January 1977)..

13

,.

Figure 2

2600

i750

J.

Net Migration of ArtistsBetween Regions of theUnited States: 1965 to1970

VIP

se

Note: The Westregion includesAlaska andHawaii.

41)

Table 6 Interstate and Intone-gional Migration Statusof Artists, .ProfessionalWorkers, and the TotalLabor Force 16 Years ofAge and Over,1965,1970

InterregionalMigrants

__.4,abor Force Group InterstateMigrants

Number 'Percent , Number Percent

-Artists 110,500 15.5% 59,500 8.3%

All Professionaland TechnicalWorkers

1,617,000.14.0 861000 7.4

Total Labor Force '6,007,000 7.6 3,164,000 4.1

This interregional migration did not havea greatimpact on thetotal size of artistpopulations in any of the regions. Netinterregional migration since 1965accounted for less .than 3% of all artistsin the South end West by 1940, and repre-

_ Sented a similar level of loss to theNortheast and North Central regions.

How do tht migration patterns of peoplein artist 9ccupations compare-with thoseof other U.S. workers? The:number ofpeople who are Willing*to move to anotherstate or another region is generallthigher among professional workers than itis among non-professional'workers.ArtiStS are, no exception. In fact, theyare more likely than .other;professionalworkers to move from one state.to another.

' Between 1965 and 1970, 15% of artists madean interstate move. This rate was slight-ly'lower for all professionals. But forthe general labor force, less than 8%moved beyond their.state -line. On a `

regional level, the volume of,mdgration.was also similar between'artists and allprofessionals,. with 8% of artists and7.5% of all professionals migrating fromone region of the country to another.Among the general. labor force, only 4%made an interregional move. 'These. com-.

,\4pariaons are shoWn in Table 6.

The direction of movement was similarbetween artists and. the rest .of the U.S.:

rt population: BetWeen 1965 and 1970 theU.S. population as a:whole moved out ofthe Northeast andvNOrth -Central. regionsOf the country and'into the WestandSouth; just aathe artists did. For thegeneral U.S. population, the West had thelargest net gain and the Northeast hadthe largest net loss,. representing anet

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region had. net migration, losses in most I .

artist,occupations,. but it had a large,gain in radio/TV:announcers and slightgains in teachers and photographers. The.South experienced net migration gains tni

. most artist occupations, but lost actorsdancers, and radio/TV announcers: .The- I .

West also had.net-gains in most artist ;

occupations, but lost authors,.photo-graphers and radio/TV announcers.

.Based on Other,demographic charadteristicsof the artist population, it 'is possible-to determine reasons for some of thedifferences in migration patterns among'artist 'occupations. For the general U.S..population, age is one of the majordifferentials, in migration rates. People20-29 years of age had the highest inter-state migration rates in 1970.4 Amongartiste, the, youngest occupations alsohad high- interstate rates. This appliesin particular to dancers, radio/TVannouncers, and actors. Sex of.the artistMakes no difference in migration rates.Women artists were .just as likely to move.long distances between. 1965 and 1970.aswere pale artists. Marital ties arefrequently a factor in decisions tomigrate. Among artists, the high.divoreeand 'separation rates for actors, dancers,'

'and authors may be a contributing factorto high migration' rates (see Chapter III).

Data o4' why artists migrate is.

not available from the U.S. Census, but-.:if artists move. for reasons similar to

'those of the rest of the adult population,'then most long-distance moves are made forjob-related'reasons, and most short-dis-tance moves are due to housing:conaider-ation6.5 It has also been found' that+household-level unemployment or dissat-isfaction with a job pushes a familk to.move .6 High uneMployment.rates around1970 for actors and dancers were probablyan important reason for their high.,migration levels. Among professionalworkers, self-employment is also adeterminant in migration status :7 Peoplewho-are self-employed tend to move. lessbecause of the disadvantage in a newcommunity of.having to build 'up newclientele. Among artists, self-employ- ament may be a faCtor in migration rates.The architecture and photography profes-sions, which have high self-employmentlevels, have low migration rates, while-occuPations which are dominated by wageand salary workers, .such as universityteachers, radio/TV announcers, dancers,and actors, have high migration rates. S.

Fihally, the type of employer probablyinfluences migration. rates. The highrates for university teachers of art,music, and drama máy bemore stronglyinfluenqed by the ghly structured,

nationwide system of colleges anduniversities, which are the sole employers'

:'of this occupational group, 'than by any of .

the,migration determinants previouslydescribed. 4. ' .

.

ffectson Regional Growth Rates ,

1rtists who Moved from one region to .

anotherlDetween.1965 and 1970 had littleeffect if any of the. regions on the sub-.stantial growth rate of artists ..n the-labor force during this period.' Whilethe general U.S. civilian labOrfforcegrew at a rate of 11% during the fiVe7year period the number of artists inthe labor force increased by about 64%.In the South, this growth rate reached.75%. Figure 3 shows the small effect ofartist migration as a factor in the laborforceimcreasea in each region. (As will'be discussed in thp next sectiOn migra-

--tion does have an important effect ongrowth of the artistpopulabion:in'largemetropolitkh areas.)

What, 'then does account for the sub-stantial growth in. the size of the artist

. labor force in every region? The main',reason is that more people were.develOp--.',ing'occupatiohs.in the arts. An averageOf 79% of the total growth in each regioncan be attributed to new labor forceentries froM artists who were not working'or seeking any type of employment in 1965.This group .includes persons who were not

o

.

4 U.S. Bureau of the Census, Census ofPopulation: 1970 Subiect Reports, Final $

Report PC(2)-2B, Mobility for States andthe Nation, Table 1, "Mobility Status ofTotal and Negro Persons 5 Years Old and , k

Over by Age: 1970, p.1 (Washington,D.C. : U.S.. Government Printing Office, _

June 1973). , 4.,

5 U.S. Bureau of the Census, CurrentPopulation Reports, Aeries P-20 No, '154,/August 22, 1966 "ReasOns fdr Moving:,March 1962 to March 1963," TAble E'(Washington, D.C.: U.S. GoVernment In'Printing Office). . f

6 U.S. DepMove, R& DD.C.: U.S..

. .

,

artment of Labor, Whr Families:Monograph .48 (Washi,mitoh, _

Government Ptinting Office,;.

7 U.S. Bureau of he Census, census ofPopulation:. 1970, Subiect Reports, FinalReport PCC2)--2B, Mobility,forAtatessandthe Nation, Table 6., p.26 (Washington,

1977), p.x.

D.C.: U.S. Government Printing Office,1973). , r ,

I

I,

Figure 3 / Impact of Migratiop on/ Rates of Growth Of

/ Artist Populations in iRegions of the United.States, 1965 to

r.;

Rate of 'Growth

0 North- Northeast Central

'go

IllMigrat ion

Elaccupa&onalChange

IMINeW, Labor .1

Force gntries.

c.

looking for work.in 1965 because theywere going to school, keeping house, orfor other reasons. Another 19% of theincrease was-due tooccupationalchangeamong people who were working in a fieldother than art in 1465, but changed to anartist occupation by 1970. The remaining2% was the effectof '.interregionalmigration, which accounted for about 4% .

of the increase in the West,. less thanin the SOUth, and slightly impeded,..

growth in the Northeast and-North Centralregions, which had mote.noiatmigrants'.than "inmigrants" among artists.

.15.

18

ARTIST MIGRATION TO-MAJOR METR'OPOLITANAREAS

.., 'The threelargest'metropOlitan areas ofthe nation--New York, Los,Angeles,fandChicago--also had the largest number of.artists in-1970, about 24% of all employedU.S. artists.8 This Compares with about12% of, the general. U.S. population resid-ing in these three metropolitan areas...How did these three areas develop such alarge share of the4artist population?An important factbrin New York, LosAngel's, and Chicago is artist migration.More than a quarter of all artists. With1970 residences in%these three metroPolritan areas were living elsewhere in 1965.With such a large proportion of artistsmoving to' these metropolitan areas inonly a five -year time spark, one can seethat artist migration. over longer periodshas undoubtedly produced a significant-impact on the concentration of artists..

Of the three metropolitan. areas, New.York's artists had the highest migrationrate,0,0tween 1965 and 1970. More than ,.

30% of tall artists residing in New.YorkCity. in 1970 ha& moved. there within, theprevious five years. Among therie artist-migrants, well over half came from otherparts of the Northeast, mostly from otherplaces in New York State, about 20% came.from other regions of the country, andanother 20% came from abroad, either asforeign immigrants.or citizens.residing .abroad (see Figure 4).

In Los Angeles,1 23% of artists' in resi-dence in 1970 moved there between 1965

and 197074 Among these artist-migrants,about One-quarter came:from other partsof;the West outside t4e:7Los Angeles SMSA,nearly half came,fronNIher regions ofthe country, and the r4hOining quarter -

came from abroad. Oftbbse artists whomigrated from other regions of the coun-try, more came from the Northeastthanfrom the South or North Central regions.

Thechicago and Los Angeles SMSAs hadslightly lower levels of "immigration"among artists than NewYork. Artists whomigrated' to the Chicago metropolitan area

, since 1965 made up 22% Of 'Chicago'sartist population in 1970. "ke New '

York, nearly half of Chicago r migrant-artists came 'from other plac kin thesame region, mainly from other counties_'in Illinois. One-thirdof Chicago'sartist-Migrants c ---- from other .regions,the majority from . e Northeast, and the.'

.

remaining 19g came from abroad.

Do artists migrating intoest SMSAs come from otherareasorldo they com frand towns? Census data

the. three larg7:metropolitansmallecities

Ows that theywere overwhelmingly front other metropol-itan areas (places of 50,000 or moreinhabitants). Less than 10% cams frothnon-metropolitan areas. However.migrant-artists from the Sbuth were less likelyto' be from a metropolitan- area thanmigrant-artists from other regions of thecountry'.

8- Research Division Report #5, Where;IArtists' Live: 1970, Appendix Table 1,National, Endowment for the Arts, Washing-ton, D.C.,' October 1977.

Migratiodof Artists Into Metropolitan New York,' .

LosAngelese and Chicago 1965 to 1970

Percent ArtistIFIgrants

Origins of ArtistIA- Migrants

New York: city.- A

Artiste ReSident- 1965.68.5%

.

Artists In4ligrant31. 5%

Other New York State 47.

Other Northeast 10.8%

.I.os Angeles:

Artists Resident 196576.8%Artists In-Aigrint2.3.2%

:

Chicago)!r.T

Artists, Resident 196578.4%Artists21.6% '

0

Other California 20.2%

Other Western 8.7%

Nort Central 13.8%

Sou 12.9%

Nor heast 18.1%

Abroad 26.3%

70 her North Central 19.2

her Illinois-28.5%

est 9.7%

South:6:5%

0 Abroad -19.0%

HOUSEHOLD AND FAMILY CHARACTERISTICS OF ARTISTS -1970

INTRODUCTION '- . LIVING ARRANGEMENTS

A

This'reportdescribes thehousehold7types,..marital status, and'extent of families

. and children among U.S. _axtists in 1970,,Comparisons bf living arrangements areshade between artists and the genbral U.S.

"population. Where living arrangeMentsdiffer among the artist occupations,reasons for these differences are explor-ed.

.

. 1 (

Living arrangeMents help. to explain thesocial. SitUation of artists, and are anindicator-of tlheir'personal concerns Andresponsibilities, which may be.affectedby employment and income levels, as wellas other occupational factors.--.Livingpatterns may also indicate the extent ofimpact that government policies affectingfamily life may have on U:dp..artists.

Ten artist .occupations are. overed inthis analysis: .actors, architects,authors, dancers, designers, musicians andcomPosers,'painters and. sculptors photo.;graphers, radio/TV announcers, anduniversity teachers of.art, music, anddrama. It includes all artists in,theseoccupations who. were'over the age' of 16and in the. experienced labor force in1970.

.

Data in this report are from the 1970Censusof Population. The report draws.

...son both published data' and ..on special'I tabulations on the artist occupations from

the 19/0 Census 'Public Use Sample.. _

Table 8 LivingArrangements ofArtists and Total (ISPopulation, 1970

In Families,

Total US 86.1%Population

.

4

ArtiSts are slightlyAifferent from otherpeople in, their types of living arrange7ments. In k970, artists. were'. .iving

- 1 .

in families at alower rate than the ratefor all persons in the U.S. Of a-similtiage railrge. Artists were more likely them-the general populationtO:live alone or.with other non-relatives.

Living arrangements varied to some extentEby the:occupation o the artist. Archi-tects,'photographeka, and dedigners weremore likely than were other artiststolive in families, whereas, actors anddancers were least likely tot LiV-e infamilies. Actors, dancers, and authOrswere More likely to live alone or withnon-relatives. Musicians/composers andradio/TV announcers were. more likely than.were other artists .to be living in-groupquarters.

1- U.S, Bureau of the Census, Census ofPopulation: 1970, SUbject Reports,Persons by Family Characteristics, Table 2

.

(Washington, D.C.: U.S. GovernmentPrinting Office, 1973); Family Composi--tion, Table 13 (Washington, D.C.: U.S..Government Printing Office, 1973); 'and

.

Marital Status, Table 5 (Washington,' D.C.:U.S.'Governnlent Printing Office,.,1972).

Alone or with In Group Quarters *.Nan-Relatives

10.1 3.8

t6.or moreunrelated persons.'

Table 9 Living Arrangements ofArtists Age 16 and Over,by Occupation, US,1970

10ccupation.

.

Alone or with '1 In Group QuartersNorf.-Relatives

Photographers

Painters/SculptorS

Authors

Art, Music,DramaTeacers (uAii}.)

'

DancerS

Aators

FAMILIES

Ar =4s n family living akrangemehtsinclu e. hose who lived with one or morepersons related to them by blood, mar-riage-, or adoption. The artist"may-be.the husband, Wife child, or otherrelative of the ho ehold head. Overall,

..artists had strong .ly ties in 1970,with four out of'eve five artistsliving in'families.

Most of the family living arrahgementswere of the husband -wife type, but'insome artist occupatiohs.a signifieantpr rtion of the artists were family _heads-who had no'spouse living with them.Among all artist households, '74% followedthe traditional husband-wife livingarrangements, while nearly 8% had house-hold'heads where no spouse was preSent

Among the various artist occupations,architeCta,designers, and photographerswere most likely to follow the,conven-.tional husband -wife type of living

20

Table 10 Family Types amongArtists Age 1.6 and Over,By0Otupation, us, 1970

Occupation Husband-Wife(Percent ofall househOlds)

tC

Head of-Householdwith No 8poUse(Percent 'ofall households)'.

Art, Music,.DramaTeachers (uniV.}

Radio/TVAnnouncers

Musicians/Composers

Actors

Dancers

Alf4Artists

58.0 9.5

73.5% 7.5%'

k

arrangement. Only about half (53%) ofdancers aived in this type of householdin 1970. They were just as likely toeither live alone or as the head of a',family, with no spouse, either with theirown children or with other dependents.Dancers who were female -44:00s of house-hold, with no husband present, made up18% of all, household typeg in the danceoccupation. The dance occupation also hada higher degree of persons 'who weredivorced .or separated'than any otherartist occupation this is discussed inmore detail in the following suctions)..

Actors followed a similar vattern todancers in 4970, Only 58% o 'Actors werefound in the traditional huA d-wife

t stype arrangement. c parly 10%of ac were heads of households buthad no spouse.' Table 10' shows. the per-centage of each family type for the,artistOccupations.

21

23

4

Relictionship Of Femalecipation an

Artist Occupation AdHon-Husband:MiteHousehold Types OrArtists Age16 and

U.S :, 1970. '

c,%, non-husband-wifehouseholds

Altrchitects-.B radio /TV

announcers.C photographersMI clesigners 1

E atthorsF musicians/

compoSersClteachers 9f art,

music, dramaH painters/ -

sduiPtors-_l_adtors

dOders.

60

% femalein occupation

The proportion of women in an artistoccupation: is strongly: correlated, with .

the presence of rnon- traditional familytypes- -those which are not the husband--wife type:2 ThIs.in the deriders Occupa-tion . which is : WM/ fem.-41e', and in. the $

actors occupp fOn/ which is 5i6 feniale,

.rilo

husband-wife oUsebolds are found least.frequently;. : rig ,erchiteCtS, which hayethe lOwest proportions of females for ,theartist ..160dupationit i brisbaiidawife house- .

holds are most common. .

., . .

There is, also a Strong .relationshipetween the. ages. of artists in an ocdupa-tion and. the extent of husband -wifehousehold tYpes... As might be expected,the greeter proportion of young peoplethat an occupation has, the more likelyit is to exhibit living patterns that arenot the husband-wife type (r=.72)., Amongderiders, musicians, and radio/TV.

2 : -A .Pearson t' correlation coefficient wascalculated, between the degree of women in::an artist Odcupation and the degree ofnon-husband.-wife family types, with 'aresulting r=.83.

announcerShere. persons -ace :

makec.Up beWeen 4TX. and:78%.0fdcli-patiOps,.husband-wife"ouseITO4dpare':14astoomOoh.' Onthe Other _hand:, among .

-axchitectsdesigherand PhOt 4r44,11-00:,.:where persona under 30 make,up eSs-thana.ehird of:V.O.occUpatiOnshus aridelicuseliColdsaXe found MostIr ently

...'.- - .

1,04;,.?-

ildrenseholds

ecupae

. ,PreteChild

41 1970, less4than half (46%) Of theartist population. lived in householdswhich included children. Among family -type households Arily children-were pre-sent in 57% of artists'. homes. Thisproportion is lower than it was for allU.S. families'(62%) and considerablylower than for all professional workers(66 %).

Among all the artist occupation's, aCtots .were least likely to be living withchildren, with only 37% living in thi4type.. of household. -ArohitectS, on the.-Other hand, were moSt,likely to havechildren in theit households with morethan half living with children. Althoughdancers showed a greater.propensitytoward non-husband-wife liVing arrange-,ments than bther types of artists,Akancers-were more likely than the general,artist population to be'livingNiith theirown children. This suggests that a highpercentage. of women in the dance occupa-tion are heads of one - parent households.

.MARITAL STATUS

:

Art, Music, DramaTeachers (univ.)

usiciansComposers.

Aut

A-tors

All Artists _46%

In 1970, two-thirds of 11 artists in the'nation were married.' r smarriage rate.Was lower than the rate for all profea-.*sional and technical workers, which was73% in 1970, and it was slightly lowerthan the rate. for. the general 'employedU.S. population of a similaeage range,which was 70% in 1970. Artists wgre'mbrelikely than the general employed top- .4an'ulation to be single, divorccdor.separated. They were .less likely, ,to tV.widowed.

. k%

Patterns in marital status closely te7-seMble.patterhs in living arrangements.The occupations of architect, designer,

23

25

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Table 12

Occupation

ArChitects

Designers

Marital Status of ArthitsAge16 and Over, ByOccupation, 1970

Separated/ WidowedDivorced

Photographers

Art, Music, Drama.Teachers (univ.)

Painters/Sculptors ,

Authors

-Radio/TV-Announcers

Musicians/Composers.

Dancers

All Artists 6% 3.1%

,-level for the occupation. 3' The dance' andacting fields, which had relatively, .highproportivils of Women.in'1970, also hadthehighest percentage-of. persons whoyeb§-divorced- or sepiarated. The fieldsthat were most heavily male-dominated--architecture .and radio/TVannouncing,--hadthe lowedt separation and divprce levels.Ibis is not-unique to the artist'occupa--tions. Ih'1970, the separation and divorce.'rate among all professionallyemOloyed, .

.women in the U.S. was nearly triple therate for professionally-employed men.

AuthorS and actors were more likely tb bewidowed in 1970 than were other artists,although:the differences are slight. Ageof:the'-author. population was-probably.a.faCtor'in tile relatively high incidence

_of widowhood,:mith 11% at age 60'orolder.in 1970. The author occupdtion has a

t

3 A Pearson r correlation coefficientwas computed between the degree of Womenin an artist occtekti9land the degree ofseparations and divorqka in the occupa=tion, with' a :resulting r=1.90.

25

larger proportion of persons in this-elderly age group than any'other artist.'occupation. The .average,is 8% fOr theother artist occupations.

SUMMARY

of households, with no husband present.These unusual living patterns for dancersare pertiallyeXplained by the highproportionof women in 'the profession. In1970, 87% of all dancers,were women.

Designers were fairly conventional intheir living arrangements. Three-quarterswere married in 1970, and only 17% .-remained single. Their separation anddivorce rate, at 9%, was one of thelowest for the artist occupations. Thepropo'ition living in families was at 89%,and half shared households with theirchildren. .

Musicians and Composers" were typical of'the artist population in their familyliving arrangements, but they were amongthe least likely artist groups' to bemarried-36% remained single as of 1970.This is probably due to the large numberof young people in the occupation. In19701,-nearly half of'all musicians wereunder the age of 30.

Painters and Sculptors were also a typicalgroup in.their living patterns. Eighty-two percent lived in families, and ,460%lived with children. .Two out of threepainters/sculptors were married,, 23%remained single, and only 7% wereSeparated or diVorced.

Photographers had strong family ties in1970, with 85% living in families,' andalmost half sharing their households'withchildren. At 72%, photographers had oneof the higheit marriage levels amongartists. Their separation' and divorcelevel was low (less than 699, and only,20% were single in 1970.

Radio/TV Announcers' were' more likely 'thanwere other artists to have never married.37% remained single as of 1970. -This'is probably dile to the large number ofyoung people' in this occupation. In 1970,more. than half 'of radio/TV announcerswere under the age of 30. Their familyliving paterns, however, were very simi-lar to the,genetal artist population, withabout three-quarters living with theirfamilies. These living patterns are very.similar to those of musicians and compos-ers.

livarsity: Teachers of Art, Music, andama were very typical of the general

$artist population in their living arrange-ments. Nearly 70% were married,. 23% weresingle, and 6% were separated or divorcedin 1970. More than three-forths live&with other family meabers and 44% livedin households witli their children..

Household' and family charactetistics of-artists vary'according to the particular`artist occupation: These occupationaldifferences are summarized.below.

1

Actors are among the most unconventionalartists in their living arrangements.They were least likely, of all artists tobe living in families in 1970,. with One-third 0£ actors living alone, with non-relatives, or in, group quarters. Only58% lived in hIldband-wife Type's ofhouseholds, and only 37% lived withchildren.. Half.of all actors weremarried in 1970, More than a third hadnever married-and 11% were divorced or.sel5arated. 4

- Architects follow the most conventionaltype of living pattern among the artist.occupations. In 1970, 87% of architectslived with their families, and more thanhalf had children in their households.They were more likely than were otherartists to be married, and least likelyto be single, divorced, or separated.These conventional living patterns forarchitects are partially explained ty_thedominance of men in' the profession. In1970, 95% of U.S. ardhitects wereameh.

Authors wereefairly typical of artists in'

their maritaX arrangements, but only 41%lived with children. Their marriage rate*as identical to the average, for allartists, with two-thirds of authorsmarried in 1970. An additional 10% wereseparated or divorced; and 20% had never.married. 4

Dancers were the most unconventional ofall,frtists in their types of livingarrangements. They had a considerablyhigher proportion of persons who weredivorced Or separated than any'otherartist group. Less tkaarlialf of dancerswere maxriectin 1970. 'Although they wereless-likely than were other artists tobe liying with' a spouse, they' were morelikely to be,living with, children.--half,of all dancers lived.in households whichincluded their ownchildren. 'A sizeableproportion of dancpro' were female heads

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