search Division Report #10 :.’.o 2 

National Endowment ~,elected Characteristics for the Arts 

of Artists:1970 

November 1978 

"Self-Employment
 

"Migration
 

 ̄ Household and Family
 

Studies by Data Use and Access Laboratories, 1977-1978 
PREFACE
 

This report looks at three themes in the
 

lives of American artists--self-employment
 

patterns, migration patterns between 1965
 

and 1970, and household and family characteristics. The report is the third in
 

a series based on the 1970 Census that
 

analyzes the data on the artist population.
 

The earlier reports were: Research Division Report #5, Where Artists Live:
 

1970; and Research Division Report #7,
 

Minorities and Women in the Arts: 1970.
 

The two earlier reports utilized both
 

published data and data that had not been
 

previously published except in the form
 

of computer tapes known as the Public Use
 

Sample. This report utilizes the latter
 

data source to an even greater extent
 

than the others.
 

The tabulation and analysis of the data
 

for the study was performed for the
 

Research Division by Data Use and Access
 

Laboratories. The work was done by Diane
 

Ellis, under the general direction of
 

Jack Beresford, President of Data Use and
 

Access Laboratories.
 

Although the data from the 1970 Census is
 

now 8 years old, there are two important
 

characteristics of this data which continue to make it very useful. The first
 

is that it will serve as a baseline for
 

comparison with the 1980 Census. A
 

second reason is that no comparably
 

detailed comparative study of the several
 

artist occupations is currently available.
 

The data that is presented here is a statistically valid description of the
 

central tendencies of many aspects of the
 

American artist’s life. It may have substantial use for planning and policy
 

development by helping to overcome false
 

ideas and romantic notions that developed
 

through popularization of individua! and
 

often atypical cases.
 

The chapter on self-employment makes clear
 

that the extent of self-employment as well
 

as the remuneration artists receive varies
 

substantially in each of the occupations.
 

To illustrate, authors and architects had
 

the largest proportion of self-employment
 

among the occupations. However, self-


employed authors earned only half as much
 

as authors employed for wages, while self-


employed architects earned 26% more than
 

architects who worked for wages. Generally, self-employed artists worked less
 

and earned less than artists in the same
 

occupations who worked for wages.
 

The second chapter utilizes Census data
 

NATIONAL
 

ENDOWMENT
 

FOR THE
 

on the residence~T~on of artists in
 

1965 and in 1970. It shows that artists
 

as a whole are not substantially more
 

mobile than the rest of the professional
 

and technical labor force and that the
 

direction of their migration is generally
 

the same. Further, they do not all flock
 

to New York City. Considerable variition
 

occurs in migration rates in the different
 

artist occupations.
 

The third chapter examines household and
 

family characteristics of artists and
 

again shows considerable variation by
 

occupation. Over 80% of architects are
 

married, fewer than half the dancers are
 

married. Dancers are far more likely than
 

any of the other artists to be female
 

heads of households with dependent children. Therefore, dancers are more likely
 

than artists in the other occupations to
 

be seriously affected by periods of
 

unemployment or low earnings. Actors
 

have the greatest likelihood of being
 

divorced or separated and are the least
 

likely to be living in families. The
 

Census data, of course, does not explain
 

the causal factors. We cannot tell, for
 

example, whether the familypatterns of
 

actors reflects a characteristic in the
 

personality of these artists or indicates
 

the demanding nature of their occupation
 

or the instability of employment, and the
 

incompatability of these factors with
 

family life.
 

The Public Use Sample from which the data
 

in this report has been prepared is
 

available for other detailed studies about
 

artists in 1970. Among other projects,
 

the Research Division has prepared a data
 

tape that contains all of the information
 

about artists and their households in the
 

Public Use Sample of the 1970 Census.
 

This data tape is called an "extract file"
 

and can be made available for replication
 

or may be used by persons and organizations
 

who would wish to make studies of their
 

own. It is intended that a similar
 

extract file will be made from the Public
 

Use Sample of the 1980 Census. More
 

details about the use of the extract file
 

can be obtained from the Research Division,
 

National Endowment for the Arts, 2401 E
 

Street N.W., Washington, D.C. 20506
 

(202) 634-7103. Contact Thomas F.
 

Bradshaw for information.
 

Research Division
 

National Endowment for the Arts
 

October 1978
 
CONTENTS 

CHAPTER I 

SELF-EMPLOYMENT PATTERNS OF U.S. ARTISTS: 1970 

Introduction 2 

Size of the Self-employed Artist Population 3 

Earnings of Self-employed Artists 4 

Summary of Self-employment Patterns by Artist Occupations 7 

CHAPTER II 

MIGRATION PATTERNS OF U.S. ARTISTS: 1970 

Introduction i0 

Regional Migration of Artists i0 

Artist Migration to Major Metropolitan Areas 16 

CHAPTER III 

HOUSEHOLD AND FAMILY CHARACTERISTICS OF ARTISTS: 1970 18 

Introduction 19 

Living Arrangements 19 

Families 20 

Children 23 

Marital Status 23 

Summary 26 

ii
 
LIST OF TABLES
 

1	 Self-employed Among Artists Who Worked in 1969
 

2	 Self-employed Among Artists Who Were in the Same Occupation in
 

1965 and 1970 3
 

3	 Weeks Worked During 1969 for Self-employed and Wage-earning Artists 4
 

4	 Unemployment Levels of Self-employed and Wage-earning Artists,
 

By Occupation, 1970
 

Median 1969 Incomes of Self-employed and Wage-earning Artists,
 

By Occupation, for all Artists and for Artists in the Same
 

Occupation in 1965 and 1970
 

6	 Interstate and Interregional Migration Status of Artists,
 

Professional Workers, and the Total Labor Force 16 Years of
 

Age and Over, 1965-1970 12
 

7	 Interregional Migration Rates of Artists 16 Years of Age and
 

Over in the Labor Force, By Occupation, 1965 to 1970 13
 

8	 Living Arrangements of Artists and Total US Population, 1970 19
 

9	 Living Arrangements of Artists Age 16 and Over, By Occupation,
 

US, 1970 2O
 

i0	 Family Types Among Artists Age 16 and Over, By Occupation, US,
 

1970 21
 

ii	 Presence of Children Under 18 in Households of Artists, By
 

Occupation, US, 1970 23
 

12	 Marital Status of Artists Age 16 and Over, By Occupation, 1970 25
 

LIST OF FIGURES
 

Differences in Median 1969 Incomes Between Self-employed and
 

Wage-earningArtists
 

Net Migration of Artists Between Regions of the United States:
 

1965 to 1970 ii
 

Impact of Migration on Rates of Growth of Artists Populations
 

in Regions of the United States, 1965 to 1970 15
 

Migration of Artists Into Metropolitan New York, Los Angeles
 

and Chicago, 1965 to 1970 17
 

Relationship of Female Participation in an Artist Occupation
 

and Non-Husband-Wife Household Types for Artists Age 16 and
 

Over, US, 1970 22
 

6	 Marital Status of Artists Age 16 and Over, 1970 24
 

iii
 
 

CHAPTER I
 

SELF-EMPLOYMENT PATTERNS OF U. S. ARTISTS: 1970
 
INTRODUCTION
 

This chapter examines the extent of self-


employment among U.S. artists as reported
 

in 1970, and compares the earnings of
 

self-employed artists with earnings of
 

artists who worked for wages or salaries.
 

As with many other characteristics of
 

artists, the extent of self-employment
 

and the financial rewards derived from it
 

vary greatly by artist occupation. Thus,
 

much of the discussion focuses on these
 

occupational differences.
 

Ten artist occupations are covered:
 

actors, architects, authors, dancers,
 

designers, musicians and composers,
 

painters and sculptors, photographers,
 

radio/TV announcers, and university
 

teachers of art, music, and drama. The
 

analysis includes all artists in these
 

occupations who worked in 1969. In
 

addition to discussing each occupational
 

group, breakdowns are made for artists
 

who were in the same occupation in both
 

1965 and 1970. An additional division
 

is made between artists who worked 40
 

weeks or more during the year, and those
 

who worked less. Wherever these special
 

subgroups are used in the analysis, it is
 

pointed out in the discussion. N.B.
 

Readers of this report should be alert to
 

the fact that the 1970 Census was conducted in April, of that year, however,
 

the data for such matters as earnings and
 

weeks of work are for the full year before
 

the Census which was 1969.
 

Data in this report are derived from the
 

1970 Census Public Use Sample.1 Tables
 

for this analysis were prepared by DUALabs
 

from extracts of these samples. Descriptions of sample sizes, weighting and
 

sampling error are found in the DUALabs’
 

tabulation report. 2
 

U.S. Bureau of the Census, Public Use
 

S~amDle of the 1970 Census: Description


and Technical Documentation (Washington,
 

D.C.: U.S. Government Printing Office,
 

1972).
 

2 Data Use and Access Laboratories,
 

"Tabulations of Artists and Persons in
 

Comparative Occupations in the United
 

States: 1970", Tables 29 through 32
 

(prepared for the National Endowment for
 

the Arts, January 1977).
 

Table I 

Occupation
 

Authors
 

Architects
 

Painters/Sculptors
 

Photographers
 

Musicians/Composers
 

Designers
 

Actors
 

Dancers
 

Radio/TV Announcers
 

Teachers of Art,
 

Music, Drama (univ)
 

Other Artists,
 

Writers, Entertainers (not elsewhere classified)
 

All Artists
 

Self-Employed Among 

Artists Who Worked 

in 1969 

Percent
 

Self-Employed
 

40%
 

37
 

32
 

28
 

25
 

14
 

7
 

4
 

2
 

0
 

22
 

23
 

1 
Table 2 

0cGupation
 

Architects
 

Authors
 

Painters/Sculptors
 

Photographers
 

Musicians/
 

Composers
 

Designers
 

Actors
 

Dancers
 

Radio/TV
 

Announcers
 

Art, Music, Drama
 

Teachers (univ.)
 

Other Artists
 

(not elsewhere
 

classified)
 

All Artists
 

Self-Employed Among 

Artists Who Were in the 

Same Occupation in 

1965 and 1970 

SIZE OF THE SELF-EMPLOYED ARTIST
 

POPULATION
 

In the 1970 Census there were about
 

154,000 artists in the United States who
 

were self-employed, or 23% of all artists
 

who worked during the year 1969. The
 

remaining 77% worked for wages for other
 

employers. Less than one percent of all
 

artists said they were working without pay
 

in 1969. This level of self-employment
 

among artists was considerably higher than
 

the self-employment rate for all professional and technical workers, which was at
 

~. However, large variations in self-


employment levels existed among the artist
 

occupations, just as they did in other
 

professional occupations.
 

Among the various artist occupations,
 

authors and architects had the highest
 

levels of self-employment, with 4~ of
 

authors and 37% of architects self-


employed. Self-employment did not exist
 

at all among university teachers of art,
 

music, and drama, and was very low for
 

radio/TV announcers, dancers, and actors.
 

Table 1 shows self-employment levels for
 

each artist occupation.
 

Self-employment was more common among
 

artists who had been in their occupation
 

for at least five years than it was among
 

artists newer to their professions.
 

Nearly 3~ of all artists who were in the
 

same occupation in 1965 and 1970 were
 

self-employed, while only i~ of artists
 

who were in their occupations only in
 

1970 were their own employers. This
 

pattern existed for most artist occupations, except for authors and musicians/
 

composers, where self-employment was
 

almost as common among new artists as it
 

was for more experienced artists. Among
 

artists who had been in their occupation
 

for at least five years, architects and
 

authors had the highest self-employment
 

rates, at 45% and 44% respectively. (See
 

Table 2.)
 

Among both the self-employed artists and
 

those who worked for wages, the proportion
 

working 40 weeks or more during the year
 

was similar. Nearly three-quarters of
 

self-employed artists and three-quarters
 

of wage-earning artists maintained this
 

work level. Among artists who were in
 

their occupation for at least five years,
 

an even greater proportion of both the
 

self-employed and wage-earning artists
 

worked 40 weeks or more per year. This
 

is shown in Table 3. These data do not
 

necessarily mean that self-employed
 
Table 3	 Weeks Worked during

1969 for Self-Employed

and Wage-Earning Artists 

Weeks Worked Self- Wage-


Employed Earning
 

Worked 40 weeks or more in 1969 

Worked less than 40 weeks in 1969 15 

Worked 40 weeks or more in 1969 

Worked less than 40 weeks in 1969 

62% 

38 

Worked 40 weeks or more in 1969 

Worked less than 40 weeks in 1969 

72% 

28 

artists work as much as wage-earning 

artists. Large differences in length of 

the work week and number of weeks worked 

per year may still exist, particularly 

for artists who worked less than 40 weeks 

per year. Data on earnings of selfemployed artists (described in the next 

section) suggest that the self-employed 

do, in fact, work fewer days during the 

year. 

Unemployment in 1970 was higher among 

artists who normally worked for wages or 

salaries than it was for artists who were 

normally self-employed. While selfemployed artists had an unemployment rate 

of 2.5%, slightly more than 4% of artists 

who worked for wages were out of work at 

the time of the 1970 Census. This 

pattern of unemployment was found in all 

types of artist occupations, as shown in 

Table 4. However, this does not necessarily mean that "employed" self-employed 

artists actually had any income. 

EARNINGS OF SELF-EMPLOYED ARTISTS 

In 1970 the typical self-employed artist
 

had a median annual income of about
 

$6,200. This was 16% less than the
 

median income of artists who worked for
 

wages and earned $7,400 on the average.
 
Table 4 

Occupation
 

Musicians/
 

Composers
 

Authors
 

Designers
 

Painters/Sculptors
 

Photographers
 

Architects
 

Actors
 

Dancers
 

Radio/TV Announcers
 

Art, Music, Drama
 

Teachers (univ.)
 

Other Artists
 

(not elsewhere
 

classified)
 

All Artists
 

Unemployment Levels 

of Self-Employed and

Wage-Earning Artists, 

by Occupation, 1970 

Percent Unemployed
 

* Fewer than i000
 

Artists in these
 

occupations were
 

self-employed in
 

1970, therefore the
 

unemployment rates
 

are not of sufficient statistical
 

quality to permit
 

meaningful comparisons.
 

Even among artists who had been in their
 

occupations for at least five years, the
 

earnings difference between self-employed
 

and wage-earning artists was the same,
 

with self-employed artists still earning
 

16% less.
 

More than half of this earnings difference can be attributed to the shorter
 

amount of time worked during the year by
 

self-employed artists. Among artists who
 

worked at least 40 weeks during the year,
 

the earnings difference between self-


employed and wage-earning artists narrowed
 

to 6%, with self-employed artists having
 

a median annual income of about $8,800 and
 

wage-earning artists having a median
 

income of $9,400 per year. Figure 1
 

shows these comparisons.
 

In certain artist occupations, however,
 

self-employment was more financially
 

rewarding than working for wages. Self-


employed architects, actors, musicians/
 

composers, dancers, and radio/TV announcers had higher median incomes in 1969
 

than others in their respective professions who worked for wages. Self-employed
 

architects earned on the average about
 

26% more than wage-earning architects,
 

while self-employed actors earned more
 

than twice as much as wage-earning actors.
 

However, among photographers and designers
 

median income from self-employment was
 

slightly below earnings derived from
 

wages. Self-employment appeared least
 

financially rewarding for authors and
 

painters/sculptors. Self-employed
 

authors earned only half the income of
 

wage-earning authors, and self employed
 

painters/sculptors earned about a third
 

less than wage-earning painters/sculptors.
 

These comparisons are shown in Table 5.
 

Among artists who had been in their
 

occupations for at least five years, the
 

income differences between self-employed
 

and wage-earning artists were very similar
 

to those of the general population of
 

artists in each occupation. In fields
 

where self-employed artists earned more
 

than wage-earning artists, the more experienced members of the profession also
 

earned more through self-employment. Similarly in fields such as writing and painting, where self-employed artists earned
 

less than wage-earning artists, the more
 

experienced members of the profession
 

also earned less from self-employment.
 

This pattern existed in every artist
 

occupation, as seen in Table 5. Earnings
 

patterns of the more experienced artists
 

are not very different from the earnings
 

patterns of the general artist population,
 

in terms of the earnings differences
 

between self-employed artists and those
 

who work for wages.
 
Figure 1.	 Differences in Median 

1969 Incomes between 

Self-Employed and

Wage-Earning Artists 

Median Annual All Art~ts Artists Working


Income 40+ Weeks/Year
 

[]Self-Employed
 

Artists
 

"Wage Earning
 

Artists
 

6
 
 

 

 

Table 5 Median 1969 Incomes 

of Self-Employed and

Wage-Earning Artists, 

by Occupation, for All

Artists and for Artists 

in the Same Occupation 

in 1965 and 1970 

All Artists 

Occupation Self- WageEmployed Earning 

Radio TV/Announcers 10,200 6,500 

Actors 8,100 3,700 

Authors 5,100 10,200 

Musicians/ 3,100 2,100 

Composers 

All Artists $ 6,200 $ 7,400 

SUMMARY OF SELF-EMPLOYMENT PATTERNS BY
 

ARTIST OCCUPATIONS
 

As was seen in Table i, the occupations
 

of author, architect, painter/sculptor,
 

photographer, and musician/composer had
 

the highest self-employment levels
 

reported in the 1970 Census. In all of
 

these occupations, more than one-quarter
 

of those who worked were self-employed.
 

Summaries of the basic employment patterns for these occupations follows:
 

Artists in Same
 

Occupation in 1965
 

and 1970
 

Self- Wage-


Employed Earning
 

10,200 9,800
 

15,200 6,900
 

 ̄ 5,600 11,800
 

5,900 4,500
 

$ 8,500 $i0,i00
 

Authors had the highest self-employment
 

rate of any artist occupation, at 4~ in
 

1970. Authors who were in this occupation
 

in both 1965 and 1970 had an even higher
 

self-employment rate, at 45%. Self-


employed authors were less likely to be
 

out of work at the time of the 1970 Census
 

than were wage-earning authors, although
 

unemployment may not be as readily reported by the self-employed as it is by wage-


earners. Self-employed authors had an
 

unemployment rate of 2.~, compared with
 

3.9% for wage-earning authors. For
 

authors there is high level of self-


employment. Earnings for the self-employed
 
authors were only half the earnings of
 

authors who worked for wages. While wage-


earning authors had a median annual income
 

of $10,200, self-employed authors earned
 

only $5,100 in 1969. Part of this income
 

difference may be attributed to the shorter amount of time worked by self-employed
 

authors. Only 72% reported working 40
 

weeks or more during 1969, while 81% of
 

wage earning authors maintained this work
 

level.
 

Architects also had a high level of self-


employment in 1970, at 37% and reaching
 

45% for those who had been in the profession for at least five years. Unlike
 

authors, however, the self-employed
 

architect earned more money than the wage-


earning architect, and was more likely to
 

work at least 40 weeks during the year.
 

Self-employed architects had a median
 

annual income of about $15,200, while
 

wage-earning architects made only $12,100
 

per year. Unemployment in 1970 was very
 

low for both the self-employed and wage-


earning architect--less than 1.5% for
 

wage earners and less than i% for the
 

self-employed.
 

Painters/Sculptors had an overall self-


employment rate of 32% in 1970, and a 3~
 

rate for persons who were in the occupation in both 1965 and 1970. Unemployment
 

was at 3.4% for wage-earners, and 2.2% for
 

the self-employed. Wage-earning painters
 

and sculptors were slightly more likely to
 

have worked at least 40 weeks during the
 

year--76% of wage-earners and 73% of the
 

self-employed reported working at this
 

level in 1969. Wage-earning painters/
 

sculptors earned $7,000 per year in 1970,
 

while the median income for self-employed
 

painters/sculptors was only $4,700 per
 

year. Again some of the income difference
 

is probably attributable to the longer
 

working period for wage-earners.
 

Photographers had a self-employment rate
 

of 2~ in 1970, reaching 34% for those who
 

had been in the occupation for at least
 

five years. Income differences between
 

self-employed and wage-earning photographers were slight, with wage-earners
 

having a median annual income of $7,500,
 

and self-employed photographers earning
 

$6,700, even though more of the self-


employed reported working at least 40
 

weeks during the year. Unemployment
 

levels were lower for self-employed
 

photographers, at i%, than they were for
 

wage-earning photographers, at 3%
 

Musicians/Composers had a quarter of their
 

members self-employed in 1970. Among
 

those who were musicians or composers in
 

both 1965 and 1970, self-employment levels
 

were slightly higher, 27%. Just over half
 

(53%) of all musicians and composers
 

worked at least 40 weeks during the year
 

1969. This low work level was identical
 

for both the self-employed group and the
 

wage-earning group. Reflecting these low
 

work levels were low annual incomes.
 

Self-employed musicians and composers
 

earned about $3,100 per year, while those
 

who worked for wages had a median income
 

of only $2,100 per year. Unemployment
 

levels were moderate, at 5.3% for wage-


earners and 4.4% for the self-employed.
 
 

CHAPTER II
 

MIGRATION PATTERNS OF U. S. ARTISTS: 1965-1970
 

9
 
INTRODUCTION
 

The mobility of artists within the United
 

States is of importance in understanding
 

the geographic distribution of this population group. Migration data are useful
 

in assessing trends in residence and place
 

of employment of artists, and in making
 

artist population projections for particular geographic areas. Where migration
 

rates differ among the various artist
 

occupations, it is possible to determine
 

reasons for these differences, which may
 

signal other important occupational
 

problems or changes.
 

This report focuses on two major aspects
 

of artist migration: (1) movements from
 

one region of the country to another, and
 

(2) movements into the three largest
 

metropolitan areas of the country--New
 

York City, Los Angeles, and Chicago.
 

These movements are analyzed for the five-


year period 1965 to 1970. The reason for
 

focusing on interregional movements is to
 

assess the size and direction of national
 

shifts in artists’ place of residence,
 

which may indicate long-term residence
 

and employment trends. Movements into
 

the major metropolitan areas are significant because artists are primarily an
 

urban-based occupational group, with
 

nearly a quarter of the artist population
 

residing in the three largest metropolitan
 

areas. It is useful to understand the
 

extent to which migration is a factor in
 

this urban concentration of artists, and
 

to know where the migrating artists are
 

coming from.
 

Data in this report are from the 1970
 

Census of Population.1 The following
 

occupations are included in the artist
 

definition used here: actors, architects,
 

authors, dancers, designers, musicians and
 

composers, painters and sculptors, photographers, radio/TV announcers, and
 

university teachers of art, music, and
 

drama. The regional groupings of states
 

into Northeast, North Central, South, and
 

West regions are based on U.S. Bureau of
 

the Census definitions.
 

This report draws on published data from
 

the 1970 Census and on special tabulations
 

from the 1970 Census Public Use Samples.
 

A special extract file on the artist
 

occupations was developed by DUALabs from
 

the Public Use Samples. Tabulations from
 

this extract file were previously compiled
 

by DUALabs in a separate tabulation
 

report.2 Descriptions of sample size,
 

weighting and sampling error are found in
 

the DUALabs’ tabulation report. In
 

addition, this analysis draws on unpublished supplemental tabulations from the
 

artist extract file.
 

REGIONAL MIGRATION OF ARTISTS
 

Artists who move from one region of the
 

country to another could have important
 

effects on national shifts in geographic
 

location of the artist population. Although many artists might move from one
 

place to another, most stay within their
 

own state or their own region. Between
 

1965 and 1970, 92% of all artists stayed
 

within their own region, and 85% stayed
 

in the same state. This section describes those artists who moved from one
 

region of the country to another.
 

Although they represent a relatively
 

small proportion of all artists, their
 

movements may be important indicators of
 

longer-term migration and employment
 

trends for artists.
 

General Trends
 

Between 1965 and 1970 about 60,000 artists
 

moved from one region of the country to
 

another. These interregional migrants
 

represented 8% of all artists in the 1970
 

labor force. During this five-year period
 

there was a definite migration stream
 

among artists, which was characterized
 

by movements out of the Northeast and
 

North Central regions of the country, and
 

into the South and West regions. This
 

resulted in a net migration of about
 

i0,000 artists into the South and West,
 

while the Northeast and North Central
 

regions lost about 5,000 artists each.
 

The map in Figure 2 shows these movements.
 

1 U.S. Bureau of the Census, Census of
 

Population: 1970, Subject Reports, Final
 

Report PC(2)-7A0 Occupational Characteristics, Tables 34 and 35; and Final Report
 

PC(2)-2B, Mobility for States and the
 

Nation, Tables 1 and 58 (Washington, D.C.:
 

U.S. Government Printing Office).
 

2 Data Use and Access Laboratories,
 

"Tabulations of Artists and Persons in
 

Comparative Occupations in the United
 

States: 1970," Tables 35-46 (prepared
 

for the National Endowment for the Arts,
 

January 1977).
 

I0
 
Figure 2	 Net Migration of Artists 

Between Regions of the 

United States: 1965 to 

1970 

Note: The West
 

region includes
 

Alaska and
 

Hawaii.
 

ii
 
 

 

Table 6	 Interstate and Interregional Migration Status 

of Artists, Professional 

Workers, and the Total 

Labor Force 16 Years of 

Age and Over, i965-1970 

Labor Force Group	 Interstate
 

Migrants
 

Number Percent
 

Artists 	 110,500 15.5%
 

|
 

All Professional	 1,617,000 14.0
 

and Technical
 

Workers
 

Total Labor Force	 6,097,000 7.6
 

This interregional migration did not have
 

a great impact on the total size of artist
 

populations in any of the regions. Net
 

interregional migration since 1965
 

accounted for less than 3% of all artists
 

in the South and West by 1970, and represented a similar level of loss to the
 

Northeast and North Central regions.
 

How do the migration patterns of people
 

in artist occupations compare with those
 

of other U.S. workers? The number of
 

people who are willing to move to another
 

state or another region is generally
 

higher among professional workers than it
 

is among non-professional workers.
 

Artists are no exception. In fact, they
 

are more likely than other professional
 

workers to move from one state to another.
 

Between 1965 and 1970, 15% of artists made
 

an interstate move. This rate was slightly lower for all professionals. But for
 

the general labor force, less than 8%
 

moved beyond their state line. On a
 

regional level, the volume of migration
 

was also similar between artists and all
 

professionals, with ~ of artists and
 

7.5% of all professionals migrating from
 

one region of the country to another.
 

Among the general labor force, only 4%
 

made an interregional move. These comparisons are shown in Table 6.
 

The direction of movement was similar
 

between artists and the rest of the U.S.
 

population. Between 1965 and 1970, the
 

U.S. population as a whole moved out of
 

the Northeast and North Central regions
 

of the country and into the West and
 

South, just as the artists did. For the
 

general U.S. population, the West had the
 

largest net gain and the Northeast had
 

the largest net loss, representing a net
 

Interregional
 

Migrants
 

Number Percent
 

59,500 8.3%
 

861,000 7.4
 

3,264,000 4.1
 

12
 
Table 7	 Interregional Migration 

Rates of Artists 16 Years 

of Age and Over in the

Labor Force, By Occupation, 1965 to 1970 

~Occupation	 Interregional
 

Migration Rate
 

Art, Music, Drama
 

Teachers (univ.)
 

Dancers
 

Actors
 

Authors
 

Musicians/Composers
 

Radio/TV Announcers
 

Photographers
 

Designers
 

Painters/Sculptors
 

Architects
 

Other Artists
 

(not elsewhere
 

classified)
 

All Artists
 

shift of about 2% of the total population
 

of each region.3
 

Occupational Differentials
 

There are some interesting occupational
 

differences in the rates and directions
 

of long distance moves among artists.
 

Although only ~ of the general artist
 

population moved from one region to
 

another between 1965 and 1970, this proportion ranged from 6% for architects
 

up to 15% for university teachers of art,
 

music, and drama. As shown in Table 7,
 

teachers, dancers, actors, and authors
 

had relatively high rates of interregional
 

migration, while architects, painters/
 

sculptors, designers, and photographers
 

had relatively low rates. These occupational patterns were nearly identical
 

among artists who moved interstate.
 

The artist’s occupation also determined
 

the direction of the interregional move.
 

The general movement among artists, as
 

described above, was out of the Northeast
 

and North Central regions and into the
 

South and West regions. There were some
 

exceptions to this direction of movement.
 

One of the most notable differences was
 

that writers and photographers moved
 

primarily into the South, but not to the
 

West, moving away from the east and the
 

west coasts. They remained fairly stable
 

in the North Central region. Actors and
 

dancers followed a reverse pattern. They
 

moved primarily West, but not South, concentrating on the east and west coasts.
 

Art, drama, and music teachers moved
 

primarily out of the Northeast region, but
 

remained in the North Central region.
 

Finally, radio/TV announcers deviated from
 

general migration trends by moving into
 

the North Central region in relatively
 

large numbers, while all other regions
 

lost people in this occupation. Artists
 

in the other occupations, including
 

architects, designers, musicians/composers,
 

and painters/sculptors tended to follow
 

the general migration stream from North
 

to South and West.
 

In summ~ry, the Northeast region had net


losses of artists in all occupations
 

except for dancers. The North Central
 

3 U.S. Bureau of the Census, Census of
 

Population: 1970, Subject Reports, Final
 

Report PC(2)-2B, Mobility for States and
 

the Nation, Table 58, p.354 (Washington,
 

D.C.: U.S. Government Printing Office,
 

1973).
 

13
 
region had net migration losses in most
 

artist occupations, but it had a large
 

gain in radio/TV announcers and slight
 

gains in teachers and photographers. The
 

South experienced net migration gains in
 

most artist occupations, but lost actors,
 

dancers, and radio/TV announcers. The
 

West also had net gains in most artist
 

occupations, but lost authors, photographers, and radio/TV announcers.
 

Based on other demographic characteristics
 

of the artist population, it is possible
 

to determine reasons for some of the
 

differences in migration patterns among
 

artist occupations. For the general U.S.
 

population, age is one of the major
 

differentials in migration rates. People
 

20-29 years of age had the highest interstate migration rates in 1970.4 Among
 

artists, the youngest occupations also
 

had high interstate rates. This applies
 

in particular to dancers, radio/TV
 

announcers, and actors. Sex of the artist
 

makes no difference in migration rates.
 

Women artists were just as likely to move
 

long distances between 1965 and 1970 as
 

were male artists. Marital ties are
 

frequently a factor in decisions to
 

migrate. Among artists, the high divorce
 

and separation rates for actors, dancers,
 

and authors may be a contributing factor
 

to high migration rates (see Chapter III).
 

Data on reasons 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 for
 

job-related reasons, and most short-distance moves are due to housing considerations.5 It has also been found that
 

household-level unemployment or dissatisfaction with a job pushes a family to
 

move.6 High unemployment rates around
 

1970 for actors and dancers were probably
 

an important reason for their high
 

migration levels. Among professional
 

workers, self-employment is also a
 

determinant in migration status.7 People
 

who are self-employed tend to move less
 

because of the disadvantage in a new
 

community of having to build up new
 

clientele. Among artists, self-employment may be a factor in migration rates.
 

The architecture and photography professions, which have high self-employment
 

levels, have low migration rates, while
 

occupations which are dominated by wage
 

and salary workers, such as university
 

teachers, radio/TV announcers, dancers,
 

and actors, have high migration rates.
 

Finally, the type of employer probably
 

influences migration rates. The high
 

rates for university teachers of art,
 

music, and drama may be more strongly
 

influenced by the highly structured,
 

nationwide system of colleges and
 

universities, which are the sole employers
 

of this occupational group, than by any of
 

the migration determinants previously
 

described.
 

Effects on Reqional Growth Rates
 

Artists who moved from one region to
 

another between 1965 and 1970 had little
 

effect if any of the regions on the substantial growth rate of artists in the
 

labor force during this period. While
 

the general U.S. civilian labor force
 

grew at a rate of 11% during the five-


year period, the number of artists in
 

the labor force increased by about 64%.
 

In the South, this growth rate reached
 

75%. Figure 3 shows the small effect of
 

artist migration as a factor in the labor
 

force increases in each region. (As will
 

be discussed in the next section, migration does have an important effect on
 

growth of the artist population in large
 

metropolitan areas.)
 

What, then does account for the substantial growth in the size of the artist
 

labor force in every region? The main
 

reason is that more people were developing occupations in the arts. An average
 

of 7~ of the total growth in each region
 

can be attributed to new labor force
 

entries from artists who were not working
 

or seeking any type of employment in 1965.
 

This group includes persons who were not
 

4
 U.S. Bureau of the Census, Census of
 

Population: 1970 Subject Reports, Final
 

Report PC(2)-2B, Mobility for States and
 

the Nation, Table I, "Mobility Status of
 

Total and Negro Persons 5 Years Old and
 

Over by Age: 1970," p.l (Washington,
 

D.C.: U.S. Government Printing Office,
 

June 1973).
 

5 U.S. Bureau of the Census, Current
 

Population Reports, Series P-20 No. 154,
 

August 22, 1966, "Reasons for Moving:
 

March 1962 to March 1963," Table E
 

(Washington, D.C.: U.S. Government
 

Printing Office).
 

6 U.S. Department of Labor, Why Families
 

Move, R & D Monograph 48 (Washington,
 

D.C.: U.S. Government Printing Office,
 

1977), p.x.
 

7 U.S. Bureau of the Census, Census of
 

Population: 1970, Subject Reports, Final
 

Report PC(2)-2B, Mobility for States and
 

the Nation, Table 6, p.26 (Washington,
 

D.C.: U.S. Government Printing Office,
 

1973).
 

14
 
Figure 3 Impact of Migration on 

Rates of Growth of 

Artist Populations in 

Regions of the United 

States, 1965 to 1970 

Rate of Growth 

%8O 

70 

60 

5O 

40 

30 

20 

I0 

0 Northeast North 

Central 

South West 

"Migration 

[]Occupational 

Change 

"New Labor 

Force Entries 

looking for work in 1965 because they 

were going to school, keeping house, or 

for other reasons. Another i~ of the 

increase was due to occupational change 

among people who were working in a field 

other than art in 1965, but changed to an 

artist occupation by 1970. The remaining 

2% was the effect of interregional 

migration, which accounted for about 4% 

of the increase in the West, less than 

1% in the South, and slightly impeded 

growth in the Northeast and North Central 

regions, which had more "outmigrants" 

than "inmigrants" among artists. 

15 
ARTIST MIGRATION TO MAJOR METROPOLITAN
 

AREAS
 

The three largest metropolitan areas of
 

the nation--New York, Los Angeles, and
 

Chicago--also had the largest number of
 

artists in 1970, about 24% of all employed
 

U.S. artists.8 This compares with about
 

12% of the general U.S. population residing in these three metropolitan areas.
 

How did these three areas develop such a
 

large share of the artist population?
 

An important factor in New York, Los
 

Angeles, and Chicago is artist migration.
 

More than a quarter of all artists with
 

1970 residences in these three metropolitan areas were living elsewhere in 1965.
 

With such a large proportion of artists
 

moving to these metropolitan areas in
 

only a five-year time span, one can see
 

that artist migration over longer periods
 

has undoubtedly produced a significant
 

impact on the concentration of artists.
 

Of the three metropolitan areas, New
 

York’s artists had the highest migration
 

rate between 1965 and 1970. More than
 

30~ of all artists residing in New York
 

City in 1970 had moved there within the
 

previous five years. Among these artist-


migrants, well over half came from other
 

parts of the Northeast, mostly from other
 

places in New York State, about 2~ came
 

from other regions of the country, and
 

another 2~ came from abroad, either as
 

foreign immigrants or U.S. citizens
 

residing abroad (see Figure 4).
 

In Los Angeles, 23% of artists in residence in 1970 moved there between 1965
 

and 1970. Among these artist-migrants,
 

about one-quarter came from other parts
 

of the West outside the Los Angeles SMSA,
 

nearly half came from other regions of
 

the country, and the remaining quarter
 

came from abroad. Of those artists who
 

migrated from other regions of the country, more came from the Northeast than
 

from the South or North Central regions.
 

The Chicago and Los Angeles SMSAs had
 

slightly lower levels of "inmigration"
 

among artists than New York. Artists who
 

migrated to the Chicago metropolitan area
 

since 1965 made up 22% of Chicago’s
 

artist population in 1970. Like New
 

York, nearly half of Chicago’s migrant-


artists came from other places in the
 

same region, mainly from other counties
 

in Illinois. One-third of Chicago’s
 

artist-migrants came from other regions,
 

the majority from the Northeast, and the
 

remaining 19~ came from abroad.
 

Do artists migrating into the three largest SMSAs come from other metropolitan
 

areas or do they come from smaller cities
 

and towns? Census data shows that they
 

were overwhelmingly from other metropolitan areas (places of 50,000 or more
 

inhabitants). Less than i0~ came from
 

non-metropolitan areas. However, migrant-


artists from the South were less likely
 

to be from a metropolitan area than
 

migrant-artists from other regions of the
 

country.
 

8 Research Division Report #5, Where
 

Artists Live: 1970, Appendix Table i,
 

National Endowment for the Arts, Washington, D.C., October 1977.
 

16
 
Figure 4 Migration of Artists Into Metropolitan New York, 

Los Angeles, and Chicago 1965 to 1970 

Percent Artist Origins of Artist
 

In-Migrants In-Migrants
 

New York City
 

Artists Resident 1965
 

68.5%
 

Artists In-Migrant
 

31.5%
 

Los Angeles
 

Artists Resident 1965
 

76.8%
 

Artists In-Migrant
 

23.2%
 

Chicago
 

Artists Resident 1965
 

78.4~
 

Artists In-Migrant
 

21.6%
 

Other New York State 47.6~
 

Other Northeast 10.8%
 

West 7.3%
 

South 6.3%
 

North Central 7.1%
 

Abroad 21.0%
 

Other California 20.2%
 

Other Western 8.7%
 

North Central 13.8%
 

South 12.9%
 

Northeast 18.1%
 

Abroad 26.3%
 

Other North Central 19.2%
 

Other Illinois 28.5~
 

West 9.7%
 

South 6.5~
 

Northeast 17.1~
 

Abroad 19.0%
 

17
 
CHAPTER I I I
 

HOUSEHOLD AND FAMILY CHARACTERISTICS OF ARTISTS: 1970
 

18
 
INTRODUCTION	 LIVING ARRANGEMENTS
 

This report describes the household types,
 

marital status, and extent of families
 

and children among U.S. artists in 1970.
 

~Comparisons of living arrangements are
 

made between artists and the general U.S.
 

population. Where living arrangements
 

differ among the artist occupations,
 

reasons for these differences are explored.
 

Living arrangements help to explain the
 

social situation of artists, and are an
 

indicator of their personal concerns and
 

responsibilities, which may be affected
 

by employment and income levels, as well
 

as other occupational factors. Living
 

patterns may also indicate the extent of
 

impact that government policies affecting
 

family life may have on U.S. artists.
 

Ten artist occupations are covered in
 

this analysis: actors, architects,
 

authors, dancers, designers, musicians and
 

composers, painters and sculptors, photographers, radio/TV announcers, and
 

university teachers of art, music, and
 

drama. It includes all artists in these
 

occupations who were over the age of 16
 

and in the experienced labor force in
 

1970.
 

Data in this report are from the 1970
 

Census of Population. The report draws
 

on both published dataI and on special
 

tabulations on the artist occupations from
 

the 1970 Census Public Use Sample.
 

Table 8	 Living Arrangements of 

Artists and Total US 

Population~ 1970 

In Families
 

Total US	 86.1%
 

Population
 

*6 or more
 

unrelated persons.
 

Artists are slightly different from other
 

people in their types of living arrangements. In 1970, artists were living
 

in families at a lower rate than the rate
 

for all persons in the U.S. of a similar
 

age range. Artists were more likely than
 

the general population to live alone or
 

with other non-relatives.
 

Living arrangements varied to some extent
 

by the occupation of the artist. Architects, photographers, and designers were
 

more likely than were other artists to
 

live in families, whereas, actors and
 

dancers were least likely to live in
 

families. Actors, dancers, and authors
 

were more likely to live alone or with
 

non-relatives. Musicians/composers and
 

radio/TV announcers were more likely than
 

were other artists to be living in group
 

quarters.
 

1
 U.S. Bureau of the Census, Census of
 

Population: 1970, Subject Reports,
 

Persons by Family Characteristics, Table 2
 

(Washington, D.C.: U.S. Government
 

Printing Office, 1973): Family Composition, Table 13 (Washington, D.C.: U.S.
 

Government Printing Office, 1973): and
 

Marital Status, Table 5 (Washington, D.C.:
 

U.S. Government Printing Office, 1972).
 

Alone or with In Group Quarters*
 Non-Relatives
 

10.1
 3.8
 

19
 
Table 9	 Living Arrangements of

Artists Age 16 and Over, 

by Occupation, US,1970 

Occupation	 Alone or with In Group Quarters
 

Non-Relatives
 

Architects	 12.5%
 .9%


Photographers	 12.5 2.6
 

Designers	 14.9 .6
 

Painters/Sculptors	 16.3 1.7
 

Authors	 21.0 .9
 

Musicians/ 16.1 6.6
 

Composers
 

Radio/TV 17.2 6.1
 

Announcers
 

19.4 4.2
 

Teachers (univ.)
 

Art, Music, Drama
 

Dancers	 22.8 4.3
 

Actors	 27.5
 5.0


All Artists	 16.1% 2.9%
 

FAMILIES
 

Artists in family living arrangements
 

include those who lived with one or more
 

persons related to them by blood, marriage, or adoption. The artist may be
 

the husband, wife, child, or other
 

relative of the household head. Overall,
 

artists had strong family ties in 1970,
 

with four out of every five artists
 

living in families.
 

Most of the family living arrangements
 

were of the husband-wife type, but in
 

some artist occupations a significant
 

proportion of the artists were family
 

heads who had no spouse living with them.
 

Among all artist households, 74% followed
 

the traditional husband-wife living
 

arrangements, while nearly ~ had household heads where no spouse was present.
 

Among the various artist occupations,
 

architects, designers, and photographers
 

were most likely to follow the conventional husband-wife type of living
 

20
 
Table 10	 Family Types among 

Artists Age 16 and Over,

By Occupation, US, 1970 

Occupation Husband-Wife Head of Household 

(Percent of with No Spouse 

all households) (Percent of 

all households) 

Architects 82.3 4.3 

Designers 

Photographers 78.4 6.5 

Painters/Sculptors 

Art, Music, Drama 

Teachers (univ.) 70.3 6.2 

Radio/TV 

Announcers 

Authors 69.3 7.0 

Musicians/ 

Composers 

Actors 58.0 9.5 

Dancers 

All Artists 73.5%
 7.5%
 

arrangement. Only about half (53%) of
 

dancers lived in this type of household
 

in 1970. They were just as likely to
 

either live alone or as the head of a
 

family, with no spouse, either with their
 

own children or with other dependents.
 

Dancers who were female heads of household, with no husband present, made up
 

i~ of all household types in the dance
 

occupation. The dance occupation also had
 

a higher degree of persons who were
 

divorced or separated than any other
 

artist occupation (this is discussed in
 

more detail in the following sections).
 

Actors followed a similar pattern to
 

dancers in 1970. Only 58% of actors were
 

found in the traditional husband-wife
 

type of living arrangement. Nearly i~
 

of actors were heads of households but
 

had no spouse. Table i0 shows the percentage of each family type for the artist
 

occupations.
 

21
 
Figure 5 

architects
 

radio/TV
 

announcers
 

photographers
 

designers
 

authors
 

musicians/
 

composers
 

teachers of art,
 

music, drama
 

painters/
 sculptors
 

actors
 

dancers
 

Relationship of Female 

Participation in an

Artist Occupation and 

Non-Husband-Wife 

Household Types for

Artists Age 16 and 

Over, U.S., 1970 

non-husband-wife
 

households
 

60
 

5O
 

40
 

30
 

20
 

i0
 

i0 20 3
 

% female 

in occupation 

The proportion of women in an artist
 

occupation is strongly correlated with
 

the presence of non-traditional family
 

types--those which are not the husband-


wife type.2 Thus, in the dancers occupation, which is 87% female, and in the
 

actors occupation, which is 52% female,
 

husband-wife households are found least
 

frequently. Among architects, which have
 

the lowest proportions of females for the
 

artist occupations, husband-wife households are most common.
 

There is also a strong relationship
 

between the ages of artists in an occupation and the extent of husband-wife
 

household types. As might be expected,
 

the greater proportion of young people
 

that an occupation has, the more likely
 

it is to exhibit living patterns that are
 

not the husband-wife type (r=.72). Among
 

dancers, musicians, and radio/TV
 

2 A Pearson r correlation coefficient was
 

calculated between the degree of women in
 

an artist occupation and the degree of
 

non-husband-wife family types, with a
 

resulting r=.83.
 

22
 
announcers, where persons under age 30 

make up between 47% and 78% of the occupations, husband-wife households are 

least common. On the other hand, among 

Table 11 Presence of Children 

under 18 in Households 

of Artists, By Occupation, US, 1970 

architects, designers, and photographers, 

where persons under 30 make up less than 

a third of the occupations, husband-wife 

households are found most frequently. Occupation Presence of 

Children 

Architects 

CHILDREN Designers 

Dancers 

Radio/TV 

In 1970, less than half (46%) of the 

artist population lived in households 

Announcers 

which included children. Among family- Photographers 

type households only, children were present in 57% of artists’ homes. This Art, Music, Drama 

proportion is lower than it was for all 

U.$. families (62%) and considerably 

lower than for all professional workers 

(66%). 

Teachers (univ.) 

Musiclans/ 

Composers 

Among all the artist occupations, actors 

were least likely to be living with 

Authors 

children, with only 37% living in this Actors 

type of household. Architects, on the 

other hand, were most likely to have 

children in their households, with more All Artists 46% 

than half living with children. Although 

dancers showed a greater propensity 

toward non-husband-wife living arrangements than other types of artists, 

dancers were more likely than the general 

artist population to be living with their 

own children. This suggests that a high 

percentage of women in the dance occupation are heads of one-parent households. 

MARITAL STATUS
 

In 1970, two-thirds of all artists in the
 

nation were married. This marriage rate
 

was lower than the rate for all professional and technical workers, which was
 

73% in 1970, and it was slightly lower
 

than the rate for the general employed
 

U.S. population of a similar age range,
 

which was 7~ in 1970. Artists were more
 

likely than the general employed population to be single, divorced, or
 

separated. They were less likely to be
 

widowed.
 

Patterns in marital status closely resemble patterns in living arrangements.
 

The occupations of architect, designer,
 

23
 
Figure 6 Marital Status of Artists 

Age 16 and Over, 1970 

Percent of Artists Married Never Separated/ Widowed
 

Married Divorced
 

and photographer showed the highest proportions of married persons, with over
 

7~ married in each occupation. Among
 

dancers and actors, on the other hand,
 

less than half were married. Musicians
 

and radio/TV announcers also had relatively low marriage rates.
 

With low marriage rates, dancers, actors,
 

musicians, and radio/TV announcers were
 

more likely than were other artists to
 

have never married, with approximately
 

one-third of each occupation being single
 

in 1970. Dancers had the highest rate of
 

separation or divorce, at 21%. Actors
 

also had a relatively high separation and
 

divorce rate. The lowest separation and
 

divorce rate occurred among architects,
 

at 4%: they were also most likely to be
 

married--only 13% stayed single as of
 

1970.
 

There is a strong relationship between
 

the proportion of women in an artist
 

occupation and the separation or divorce
 

24
 
Table 12 Marital Status of Artists 

Age 16 and Over, By

Occupation, 1970 

Occupation Separated/ Widowed 

Divorced 

ArChitects 2.6% 

~ 

Photographers 

Art, Music, Drama 

~ ...... 

Painters/Sculptors 

Authors 

Radio/TV 

Announcers 

Musicians/ 

Composers 

Actors 4.1 

Dancers 1.7 

All Artists 3.1% 

level for the occupation.3 The dance and
 

acting fields, which had relatively high
 

proportions of women in 1970, also had
 

the highest percentage of persons who
 

were divorced or separated. The fields
 

that were most heavily male-dominated-­

architecture and radio/TV announcing--had
 

the lowest separation and divorce levels.
 

This is not unique to the artist occupations. In 1970, the separation and divorce
 

rate among all professionally-employed
 

women in the U.S. was nearly triple the
 

rate for professionally-employed men.
 

Authors and actors were more likely to be
 

widowed in 1970 than were other artists,
 

although the differences are slight. Age
 

of the author population was probably a
 

factor in the relatively high incidence
 

of widowhood, with 11% at age 60 or older
 

in 1970. The author occupation has a
 

3 A Pearson r correlation coefficient
 

was computed between the degree of women
 

in an artist occupation and the degree of
 

separations and divorces in the occupation, with a resulting r=.90.
 

25
 
larger proportion of persons in this
 

elderly age group than any other artist
 

occupation. The average is ~ for the
 

other artist occupations.
 

SUMMARY
 

Household and family characteristics of
 

artists vary according to the particular
 

artist occupation. These occupational
 

differences are summarized below.
 

Actors are among the most unconventional
 

artists in their living arrangements.
 

They were least likely of all artists to
 

be living in families in 1970, with one-


third of actors living alone, with non-


relatives, or in group quarters. Only
 

5~ lived in husband-wife types of
 

households, and only 37% lived with
 

children. Half of all actors were
 

married in 1970. More than a third had
 

never married and 11% were divorced or
 

separated.
 

Architects follow the most conventional
 

type of living pattern among the artist
 

occupations. In 1970, 87% of architects
 

lived with their families, and more than
 

half had children in their households.
 

They were more likely than were other
 

artists to be married, and least likely
 

to be single, divorced, or separated.
 

These conventional living patterns for
 

architects are partially explained by the
 

dominance of men in the profession. In
 

1970, 95% of U.S. architects were men.
 

Authors were fairly typical of artists in
 

their marital arrangements, but only 41%
 

lived with children. Their marriage rate
 

was identical to the average for all
 

artists, with two-thirds of authors
 

married in 1970. An additional i~ were
 

separated or divorced, and 2~ had never
 

married.
 

Dancers were the most unconventional of
 

all artists in their types of living
 

arrangements. They had a considerably
 

higher proportion of persons who were
 

divorced or separated than any other
 

artist group. Less than half of dancers
 

were married in 1970. Although they were
 

less likely than were other artists to
 

be living with a spouse, they were more
 

likely to be living with children--half
 

of all dancers lived in households which
 

included their own children. A sizeable
 

proportion of dancers were female heads
 

of households, with no husband present.
 

These unusual living patterns for dancers
 

are partially explained by the high
 In
 proportion of women in the profession.
 

1970, 87% of all dancers were women.
 

Designers were fairly conventional in
 

their living arrangements. Three-quarters
 

were married in 1970, and only 17%
 

remained single. Their separation and
 

divorce rate, at 5%, was one of the
 

lowest for the artist occupations. The
 

proportion living in families was at 85%,
 

and half shared households with their
 

children.
 

Musicians and Composers were typical of
 

the artist population in their family
 

living arrangements, but they were among
 

the least likely artist groups to be
 

married--36% remained single as of 1970.
 

This is probably due to the large number
 

of young people in the occupation. In
 

1970, nearly half of all musicians were
 

under the age of 30.
 

Painters and Sculptors were also a typical
 

group in their living patterns. Eighty-


two percent lived in families, and 46%
 

lived with children. Two out of three
 

painters/sculptors were married, 23%
 

remained single, and only 7% were
 

separated or divorced.
 

Photographers had strong family ties in
 

1970, with 85% living in families, and
 

almost half sharing their households with
 

children. At 72%, photographers had one
 

of the highest marriage levels among
 

artists. Their separation and divorce
 

level was low (less than 6%), and only
 

2~ were single in 1970.
 

Radio/TVAnnouncers were more likely than
 

were other artists to have never married-­

37% remained single as of 1970. This
 

is probably due to the large number of
 

young people in this occupation. In 1970,
 

more than half of radio/TV announcers
 

were under the age of 30. Their family
 

living patterns, however, were very similar to the general artist population, with
 

about three-quarters living with their
 

families. These living patterns are very
 

similar to those of musicians and composers.
 

University Teachers of Art, Music, and
 

Drama were very typical of the general
 

artist population in their living arrangements. Nearly 7~ were married, 23% were
 

single, and 6% were separated or divorced
 

in 1970. More than three-forths lived
 

with other family members and 44% lived
 

in households with their children.
 

26
 
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