Kids These Days


At the moment it’s very contemporary to be cross discipline, as an artist and an all around human. The changing economic situation for young people has caused them to focus on multiple income streams instead of just one job. As full-time, career path jobs with benefits such as health insurance and retirement, paid sick days, and vacation, dry up and a become memory of how previous generations lived, a paradigm shift has taken place. And young people do not seem to interpret this as a bad thing. Never having had job security, a salary, or employee benefits of any kind, they don’t miss them. Also, many young people witnessed older folks lose everything while focusing on just one job or career. Young people see no reward for loyalty.

The Joker, by Lee Puffer
The Joker, by Lee Puffer

We have a new generation of freelancers. The ones I know are very liberated by this. They follow their hearts. They do what they want to do and they do whatever they have to in order support that.

Choosing to do what you love is no longer a terrible career choice as “sure thing” careers no longer exist.

Artists have always been this way. Very few of us make our entire living from making and selling artwork. We have always had a bunch of other jobs, skills, and talents.

Just to sustain a career in as a visual artist, and not even fully support ourselves financially, we need many abilities. Obviously we must be disciplined, knowledgeable about our own art as well as the contemporary and historical context of our art. We must be experts at our chosen material, as well as many other materials. We write blogs, articles, statements and thesis. We lecture about our work, using presentations we create. We teach, and we handle the administrative duties related to teaching. We do our own marketing. We are able to interface with and charm gallerists, curators, journalists, the general art public and one another. The list goes on.

These are the things we do; in addition to the studio work that is the core of our practice, in order to be able to continue making our art. Even the most successful among us still need additional income to survive.

So we do the jobs that earn us a living. These other jobs require a host other skills. In this way we are like the youth of today, freelancers, multidisciplinary. Artists always have been. Artists have always found creative and individual solutions to the challenge of making a living and sustaining an art practice. Who is to say one way is more valuable than another? Now that other more stable career choices have lost their promise of security, we artists are more equipped than anyone to adapt. Just like the young people for whom security has never existed in their lifetimes, the same has always been true for many of us artists.

The youth of today are artists but they do not define themselves as such. It used to be that if you were a painter, you couldn’t be taken seriously if you also enjoyed fashion and beauty. If you were an actor, you wouldn’t also be a fashion designer. If you were a potter, you wouldn’t also direct music videos, or be a food stylist, or have a handbag line. As artists it was even worse if you had a professional career. Then you were a sellout, abandoning your art. Painting on the weekends was not good enough. It used to be that having multiple interests or a conflicting career defined you as a dilettante or a hobbyist. Not anymore.

There’s a reason freelancers are bright-eyed and bushy tailed. We have to hustle. We have to take the best/first offer instead of waiting for that contract that may never come. We don’t expect our tenured colleagues to understand, but we kind of wish they did. Our experience is different than theirs; it is in fact a lot more like the challenges that face their students. Tenured Faculty, there’s a benefit in making an effort to comprehend your freelancing/adjuncting brethren, you’ll understand your students a little better, too.