R~arch Division Repor~ ~F7’ 

Minorities and Women in 

the Arts:1970 

January 1071 
Minorities and Women in NaUonal En~nt

for the Am 

the Arts:1970 

A Study by Data Use and Access Laboratories, October 1977 
Minorities and Women in 

the Arts:1970 
PREFACE
 

This report is the second in a series that analyzes in
 

considerable detail the data from the last national census.
 

Some of the data~belng used has not been published before,


except in the form of computer data tapes known as the
 

Public Use Sample. In this report the participation of


women and minorities in artist occupations in 1970 is compared with their overall participation in the labor force.
 

Likewise, %heir earnings in each artist occgpatlon in 1969


are compared with earnings for their counterparts in the


same artist occupation. Also, patterns of residence and


migration are discussed.
 

Because the number of persons employed in artist occupations


is small relative to total U.S. employment, only extremely


large or speclalized surveys can providelnformation on
 

employed artists nationwide. The decennial census provides
 

sufficiently accurate and.detailed 9ccupational information


and has been used in this study. Furthermore, census data


is part of an ongoing process so that valldstatlstical
 

comparisons can be made of changes over time. The 1970


Census information used in this study can be compared with
 

data from the 1980 Census when they become available and


will show changes that occur in this decade.
 

The tabulation and analysis of the 1970 Census data for this


study was performed for the Research Division by Data Use
 

and Access Laboratories. This report, was written by Diane


Ellis under the general direction of Jack Beresford. Much
 

of the data appearing in this publication was taken from


three sets of tabularmaterial prepared earlier by Data


Use and Access Laboratories -- "Rank of Artists in Specific
 

Artistic Occupations," "Interstate and Interregional Migration of Artists Based on the Printed Results of the 1970
 

Census," and "Tabulations of Artists and Persons in Comparative Occupations in the United States~ 1970." Copies of
 

these materials can be examined at the Library of the Arts
 

Endowment or borrowed through inter-library loan. To do


so, contact Mrs. Chris Morrison, Librarian, National Endowment for the Arts, Washington, D.C. 20506~ phone: (202)
 

634-7640.
 

Research Division
 

National Endowment for the Arts
 

November 1977
 

i
 
TABLE OF CONTENTS
 

INTRODUCTION
 1
 

MINORITIES IN THE ARTS
 

3
 

Population Size
 

3
 

Earnings
 8
 

Residence and Migration
 I0
 

WOMEN IN THE ARTS
 

12
 

Population Size
 12
 

Earnings
 13
 

Residence and Migration
 15
 

APPENDIX
 

17
 

ii
 
Table i.
 

Table 2.
 

Table 3.
 

Table 4.
 

Figure 1.
 

Figure 2.
 

Figure 3.
 

TABLES AND FIGURES
 

Minority Composition of Artist
 

Occupations, U.S., 1970 5
 

Percentage Distribution ofMinority


Artists by Occupation, U.S., 1970
 

Percentage Comparison of Earnings of


Minority and Non-MinorityArtists in


Each Artist Occupation, U.S., 1969
 9
 

Percentage Comparison of Earnings of
 

Established Men and Women Artists in
 

Each Ar~tlst OCcupation, U.S., 1969
 

Proportions of Minor[tiesinArtist
 

Labor Force ComparedwithProportlons
 

in Total Labor Force, U.S., 1970
 

MedianIncomes~Among Established
 

Artlsts~by~Race/EthniCi%y,.U.S., 1969 8
 

Male - Female Composition of the


Artist Occupations, U.S., 1970 12
 

iii
 
 

Table A.
 

Table B.
 

Table C.
 

Table D.
 

Table E.
 

Table F.
 

Table G.
 

..APPENDIX TABLES
 

Persons 16 Years Old and Over in Artist
 

Labor Force and LabOr Reserve, By Oc’
 

cupation and Race/Ethnicity, U.S., 1970
 18
 

Median Incomes by Occupation and Race/Ethnicity for Artists Age 30and Over Who
 

Worked 40 Weeks or More in 1969 and Were
 

in the Same Occupation in 1965 and 1970,
 

U.S., 1970 

#
 19
 

State Residence of Employed Black Artists,
 

U.S., 1970 ~
 20
 

State Residence of Employed Spanish-American
 

Artists, U.S., 1970
 21
 

Persons 16 Years Old and Over in Artist
 

Force and Labor Reserve, by Occupation and
 

Sex, U.S., 1970
 22
 

Median Incomes byOccupation and Sex for
 

Artists Age 30 andOver who~Worked 40 Weeks
 

or More An 1969 and Were in the Same Occupation in 1965 and 1970, U,S~, 1970
 23
 

State Residence of Employed Women Artists,
 

U.S., 1970
 24
 
 

 

INTRODUCTION
 

The 1970 U.S. Census provides data on artists who are
 

women and artists who have minority racial or ethnic


backgrounds. This data shows: there were lower proportions of minorities and women in artist occupations than
 

in the total labor force in 1970; income levels for established minority artists~were below the levels for established non-minority artists; and income for established


women artists was less than half the income of established
 

men artists.
 

The following discussion of population size is based on


artists who were 16 years of age and over in the experienced


labor force or labor reserve in 1970. Thus, artists working
 

in 1970, as well as those who last worked ix an artist occupation are included. However, in the dlsc~ssion of the


place of residence of artists only artists w~rking in 1970
 

make up the database.. The term "m~,nority" in .~.is report


is used to describepersons-from fo~ri~m~j~r ~thnic or racial


groups: black, Spanish-American2, American Indian, and Asian-


American. The’~race of a~l.persons~reported in the census is


determined by-self-identification.  ̄ ~
 

Data on populationisize and earnings are fr?m the 1970 Census
 Public Use Sample. Tables for this ~analysls Were prepared


by DUALabs~from extracts °of these sample~. Descr~pt.ions of
 

sample sizes, weighting, and sampling error are found in


the DUALabs report. Data on residence are from printed
 

1 For description and use of this data file, see U.S.
 

Bureau of the Census, Public Use Sa~.~les of the 1970 Census:


Description and TechnicalDocumentat~on (Washington, D.C.:
 

GPO, 1972.).
 

2 Included in the category, Spanish-American, are persons
 

with Spanish surnames, of Spanish countries of origin, and


with Spanishmother tongues.
 

3 Data Use and Access Laboratories, "Tabulations of Artists
 

and Persons in Comparative Occupations in theUnited States:
 

1970" (prepared for the National Endowment for the Arts,


January 1977), Tables 1-12. "
 
results of the 1970 Census recompiled by DUALabs to
 

~°vide.~eakdowns. 0n th~ locations of minority artists
 n spec÷r~c occupations.~ Data on migration are also


from printed results of the 1970 Census.5
 

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

1970, Detailed Characteristics, Series PC{1)-D, Final Reports 1 through 52; and Data Use and Access Laboratories,


"Rank of States and Standard Metropolitan Statistical
 

Areas by Number of Artists in Specific Artistic Occupations"
 

(prepared for the National Endowment for the Arts, January


1977).
 

5
 See U.S. Bureau of th~ Census, Census of Population
 

1970, Detailed Characteristics, Final Report PC(1)-D1,
 ~.S. S~,~ary,"Table 293, Detailed Occupations Of the
 

Experienced C~ilian Labor Force,,by Sex., for Regions";


U.S. Bureau oftheCensus,-Census~.~f Population 1,970,
 

Subject Rep~rts,~Final Report PC(2)-TA, Occupational
 

Chara~t~rist~s;~abl~.~3.4,,!!Residence in 1965for-the
 Exper~enced~-Ci~llan Lab~F~cebYoccupation,~Race,


Spanish~orig~n’an~S~x~ 1970,. and Tables 35 to 37
 "Region of Residence~in 1965 for Persons in the Experienced
 

Civilian Labor F~rce, who moved~,.between~’Region~, by~0c_
 cupa,tion and ~ex: 19701"~an~ ~Data use-and .Access Laboratories, "Interstate and. Inter,regional Migratio~ of~Artists


Bas~ed ~on th?~pr~ntedR~sults of the 1970 Census (prepared
 for the National End0~ent for the Arts, August 1976).
 

-2­
 

MINORITIES IN THE ARTS
 

POPULATION SIZE
 

In 1970 there were about 68,000 persons of minority racial


and ethnic backgrounds who had occupations as actors, architects, authors, dancers, designers, musicians, composers,
 

painters, sculpt0rs, photographers, radio and television


announcers, university teachers of art, music, or drama,


and other types of artists and entertainers. Appendix.


Table A breaks this figure down by occupation and ethnic
 

background.
 

~inority artists made up about 9% of all artists in the 1970


labor force. This figure is low when compared with the
 

proportion of minorities in the total labor force, which was


about 15% in 1970. It is similar to minority participation
 

levels among all professional, technical, and kindred workers
 

in the 1970 labor force. ,  ̄
 

Of the four minority groups studied, blacM artists were the


only minorities who were found in a considerably lower proportion than their proportion in the total labor force.


Artists of Spanish heritage, as well as American Indian and
 

Asian’American artists, were represented in nearly identical


proportions as their proportions in the total labor force.


These relationships are illustrated in Figure 1.
 

In specific artist occupations, some fields had a sizeable
 

proportion of minorities in 1970, while other fields had


very few such persons. Dance had the highest participation


levels -- nearly 20% of the U.S. dancers in the labor force
 

were minorities. The writing~fileld had the lowest proportion


of minorities. Only 4% of all authors.in the labor force
 

were minorities. (Examination of related writing occupations


also showed low levels of minority participation: .5% for


editors/reporters and’ 6%~ for pub!ic~relations and publicity


writers.) Thepercentage 0f minorities in the labor force of


each artist occupationis shown in Table 1.
 

-3­
Figure 1
 

Proportions of Minorities in Artist Labor Force,
 

Compared with Proportions in Total Labor Force, U.S.,


__1970
 

3-.8% Spanish
 1.8% Other* 3.7% Spanish
 1.6% Other*
 3.6% Black ~
 9.4% Black ~ ¥
 

White
 85% White
 

~-RTIST**
 TO~TAL
 LABOR FORCE
 LABOR FORCE
 

*Includes American Indians, Asian,Americans, Eskimos,
 

Aleuts, and others identified as non-black, non-white,


and non-Spanish.
 

**Actors, architects, authors, dancers, designers, musicians,
 

composers, painters, sculptors, photographers, radio and


television announcers, and university teachers of art, music,
 

or drama.
 
Table 1
 

Minority Composition of Artist Occupations~ U.S.~ 1970
 

All Spanish­ Occu_~ation
 Minorities Black
 American Other*
 

Dancers
 19.5% 7.8% 6.8%
 4.9%
 Actors
 12.2 4.8 5.4
 2.0
 Musicians/Composers 11.7 7.0
 3.7 1.0
 Photographers
 8.8 3.3I
 3.7 1.8
 Designers
 8.5 2.2
 4.1 2.2
 Architects
 8.1 2.1
 3.0 3.0
 Painters/Sculptors 7.5
 2.3/ 3.3 1.9
 Radio/TVAnnouncers 6.5 2.7 3.0
 .8
 University Teachers of
 

5.0 2.9 1.0 1.1
 Art, Music, Drama
 

Authors
 4.4 2.1 1.7 .6
 Other Artists/Entertainers 13,5
 404 6.1
 3.0
 (not elsewhere classified)
 

All Artist Occupations
 9.2% 3.6% 3.8% 1.8%
 

*Includes American Indians, Asian-Americans,
Eskimos, Aleuts, and
 others identified as non-white, non-black, and non-Spanish.
 

Dance had high levels of participation by all minority groups.


The architect and author occupations had the lowest proportions
 

of blacks, while the occupation of university teacher of art,


music, or drama had the lowest proportion of Spanish-Americans.
 

Census data shows no American Indians with occupations as
 

university art, music, or drama teachers.
 

Table 2 summarizes occupations of all minority artists in 1970.
 

The largest single group of minority artists was that of black


musicians and/or composers. Also, one-third of all black artists


were in the musician occupation, while blacks were found with
 

least frequency as authors and radio/~"~ announcers. In contrast,


Spanish~American artists were most numerousin the designer


occupation, which~was the largest artist occupation in terms
 

of the total number of.mlnorlty artists.
 

-5­
Table 2
 

Percenta@e Distribution of Minority Artists by 0ccupationF U.S.r 1970
 

Occupation
 

Actors
 

Architects
 

Authors
 

Dancers
 

Designers
 

Musiclans/Composers
 

Painters/Sculptors
 

Photographers
 

Radlo/TVAnnouncers
 

University Teachers-of
 

Art, Music, or Drama
 

Other Artists & Entertainers
 

TOTAL
 

Black SpanishAmerican 

American 

Indian 

AsianAmerican 

4% 5% 6% 2% 

5 7 2 15 

3 2 2 1 

4 3 3 4 

11 19 11 22 

33 17 15 8 

11 15 22 18 

I0 -11 7 11 

3 3 4 1 

4 1 0 3 

13 17 28 15 

100% 100% 100% 100% 
Asian-American artists were most numerous in the designer,
 

architect, and painter/sculptor occupations in 1970 and were


least likely to be found as announcers for radio or television


broadcasts. American Indians made uponly two-tenths of a
 

percent of all artists in the 1970 labor force. Their numbers


were verysmall in all artist occupations, with less than one
 

percent in each field. Painting and sculpture attracted


more Indians than any other artistic field in 1970, but the
 

total number in this oc~upatiQn was less than 400 nationwide.


It should"be noted that U.S. Census data does .not include the
 

craft occupations as part of the professional occupatlonal
 

classification. Thus, ~his rePort does not include the number
 

of native America~S (or otherminority persons) who worked
 

as craftsmen.
 

Although not the subject.of this ~eport, artists of other
 

ethnic backgrounds a!somshowed some interesting occupational


tendencies-in 1970. ~ost:artists~of European and Asian


ethnicities wereconcentrated in the designer occupation.


Artists of Italian birth o~ parentage~made up 5% of all
 

designers~in the 1970 U.S.~ labor, force; Russian artists were


st.rong in-both the Writing and design fields, composing 4%


of authors and 4% of designers; and artists of German ethnicity composed 3 1/.2% of all. architects in the labor force.
 

Among artists whgse familieshad~been in.theU.S, for at
 

least two ~enerations~a~d~whowere not~..black or Spanish,


there was a greater tenden¢y~to~rkas~rad~o/TV announcers,
 

editors and reporters, and university art, music, or drama
 

teachers than in any other other artistic field. Designers


had the least concentration of this group o£white, older-


generation Americans. About 40% of all desirers in the U.S.


labor force were either black, Spanish, forelgn-born, or


first-generation America~i~,i
 

-7­
 

EARNINGS
 

Earnings from the year 1969 were examined for all "establishedartists -- those who were in the same artist occupation in
 

both 1965 and1970, who were at least 30 years of age, and


who had worked 40 weeks or more during the year. These established artists made up 23% of all minority artists and 33%
 

of .all non-minority artists in the 1970 labor force. In


other words, minority artists were less likely to be established
 

in their occupations than were non-minority artists.
 

For those minorities who did become established in. the artist
 

occupation, earnings were less than for established nonminority~artists. In 1969, the median income.for.an established white artist in the the ui~. was about $11,000.
 

the established minorit a ...... For .
  ̄ _ _ ~ y rtlst, medaan ancome ~eached $9,300
 or 84% o£~the earnings of established white~.artlsts. This
 

percentage of earnings in the artist occupations is higher


than the figure for the total labor force, ~where median incomes
 

for minorities were about 74% of the earnings of non-minority


workers in 1970. ~Among American Indian and.black artists,
 

wages_.were lower than for other ~nority groups in.1969, at
 ab~ut~$8,0Q0 ~and $8,200, respectively._ As~ani~ericans were


th@ o~nly!m~n~rity~artlsts to achieve imedian ~incomes, nearly


comparable,to ~white artists. Fig~ure 2~ shows this comparison.
 

Fi@ure 2
 

Median~Incomesamo~g Established Artists
 b¥,Race/-Ethnicity~ U~S., 1969 "
 

white 

Asian 

$11,000 

black 

$8,200 

Spanish 

$9,.050 Indian 

$8,000 

$10,700 
The earnings gap between established mlnorlty~and non-


minority artists did not exist in all artist~occupations.
 

Generally, in the occupations of radio/TV announcer, painter


and sculptor, author, and musician, and composer almost no


income gap was apparent. But in other occupations large
 

earnings gaps existed. The artist occupations
 

in Table ’3 according to the earnings of establishedmlnority
 areranked


artists compared to non-minority artists. Appendix Table B


provides median incomes for each artist occupation by race
 

of artist.
 

Table 3
 

Percentage Comparison of Earnings of EstabllshedMinorlty
 Artists in Fach Artlst Occupation, U.S.o 19~
 

Occupation*
 Median Minorlty Earnings


as a Percent of
 

Median Non-..Minorit~ Earnings
 

Radio/TVAnnouncers
 1081
 Painters/Sculptors
 99
 Musicians/Composers
 95
 Authors
 94
 Designers
 88
 Architects
 83
 Photographers
 78
 University Teachers of Art, Music,
 Drama 77
 Actors
 76
 

All Artist Occupations
 84%
 

*Dancers are excluded as a separate category here.because
 

too few establlshedminorlty dancers existed to provide a


meaningful comparison. They are Included in percentage for


"All Artist OccupatiOns."
 

-9­
RESIDENCE AND MIGRATION
 

Black artists who were employed in 1970 had residential


patterns similar to the general population of employed
 

artists. Half were concentrated in New York, California,
 

Illinois, Pennsylvania, and the District of Columbia.
 

Among Spanish-American employed artists, more than 40%
 

resided in California in 1970. Another 30% lived in Texas,
 

Florida, and New York. These residential patterns are


similar to patterns for the general Spanish-American population.
 

Appendix Table C shows total numbers and percentages of


employed black and Spanish,American artists in each state.
 

These patterns of residence varied little by artist occupation. The exceptions are actors and radio/TV announcers.
 

Minority actors tended to be more highly concentrated in


New York and California than other artists, and radio/TV


announcers were more geographically dispersed into such


states as Ohio, Michigan, and Texas. (A similar residence


pattern exists for these occupations in the general artist
 

population.) For most occupations, New York and California


had the largest share of black artists. However, Washington,


D.C., replaced California as the second most populous state
 

for black architects. California was overwhelmingly home


for Spanish-American artists.
 

Between 1965 and 1970, about 2,300 black artist~s in the labor
 

force moved from one region of the country to another. These


interregional migrants represented about 9% of all~ black


artists,’a proportion similar to interregional migrants
 

among white artists. The patterns of movement were different
 

from whites, however. M~re black artists moved out of the
 

South than in, giving the South the largest net loss of black
 

artists of any region. Interestingly, black female artists
 

followed a reverse trend, and likewhite artists, moved into
 

th~ S~uth in greater n~rs th~ey~.moved out~ ~The West
 

~~ ~e .m~.st black ar~_ists._-N~~ interregional migration
 uur~ng ~ne z~ve-year perlod did not have a great impact on


the total size of the black artist population in the West,
 

however, accounting for less than 1% of black artists in the


West by 1970. Movement of black artists from one state to
 

another between 1965 and 1970 affected 12 1/2% of t o-~ in


the labor force compared with 15% of the general artist labor
 

force.
 

Among Spanish-American artists in the labor force, about
 

7% moved from one region of the country to another between


1965 and 1970, only slightly less than the proportion of


interregional migrants in the entire artist labor force.
 
The direction of interregional migration was similar to
 

artists overall, with the western and southern regions showing net gains as.Spanish-American artistsmoved to (or


returned to) reglons with general concentrations of Spanish-


Americans. The Northeast regio~ had~thelargest net loss. By


1970, net interregional migration fromthefive-year period
 

accounted for about 2% of al!SpanishmAmerican artists in


the South. The effect in other regions was negligible. Movements from one state to another between 1965 and 1970 were made
 

by 11% of Spanis---~erican iartists.
 
WOMEN IN THE ARTS
 

POPULATION S IZR
 

In 1970 there were about 236,000 women in the labor force as
 

actors, architects, authors, dancers, musicians, painters,
 

sculptors, photographers, radio~and television announcers,


and universityteachers of art, music, or drama..Appendix
 

Table E gives-the breakdown by occupation
.
 

There werermore than twice as many menas women in artist
 

occupations in 1970, and the proportion of women in the


arts was lower than in the total labor force. Womenmade up


32% of artists in the occupations listed above compared with


40% women in the professional labor force and 37% in the
 

total labor force.
 

Participation levels of women varied greatly among the


different artist occupations. Dance was the only field in


whichwomen clearly outnumbered men) the ratio was more than


six to one. Among actors, women were represented in a proportion nearly-identical to their proportion in the total
 

population -- 52%. But among architects and radlo/television


announcers, there were few women in 1970. Figure 3 illustrates the level of female participation in each artist
 

occupation.
 

Fi@ure 3
 

Male - Female
 Composition of the Artist. Occupatlonsr U.S.r 1970
 

FEMALE
 

MALE 

Dancers 87% 

Actors 52% 

Painters/Sculptors 44% 

UniversityTeachersofArt,Music 40% 

Musicians/Composers 

Authors 64% 

Designers 70% 

Photographers 81 

Radio/TVAnnouncers 91 

Architects 951 
EARNINGS
 

In 1970, women who were established artists - that is, who
 

were 30 years old, who had worked in the same artis~t occupation in both 1965 and 1970,.and who had worked ~at least 40
 

weeks during the previous year - earned less than half the
 

income of men who were established artists:o/ median annual


incomes were at about $12,000 for such men and $5,500 for
 

such women. Theseestablished artistS~inCluded~19% of all
 

women artists in the labor force and 38% 0fall menartists
 

in the labor force. Thus, half the proportion~of women became established artists as did men. Earnings among women
 

artists were considerably below the earnings of black and


minority artists, as described in Sectlon II. More than


30% of all established women artists had annual incomes of
 

less than $3,000 per year, compared with only 5% for established male artists. At the other extreme, 9% of established men
 

in the arts had incomes over $25,000 per year, while only
 

1 1/2 % of women artists attained this level of earnings.


Also, the National Endowment for th@ Arts has previously reported that unemployment in eight artist occupations in 1970


was higher for women thanfQr men -- at about 7% for women


compared with 4.2% for men.~
 

In every artistoccupation large gaps existed between male


and female incomes in 1970. Architecture and design provided
 

higher earnings for women than any other artist field. They


also provided higher earnings for women, in relationship to


male earnings, than any other artist field. But even for female architects and designers, median incomes were 30% lower
 

than the earnings of men in those fields. The musician occupation gave women the lowest earnings of any artist field.


With median incomes less than $2,000 per year, established
 

women musicians earned about one-fifththe incomes of men who
 

were established in. the field. The radio/TV announcer occupation also provided median earnings for women that were less
 

than half the earnings of men. Table 4 ranks the artist
 

occupations according to the comparative earnings of men and


women artists. Appendix Table G provides median annual incomesfor men and women artists in each occupation.
 

These large differences in earnings between men and women
 

are not unique to the art field. Data on otherselected occupations show a similar difference. For example, women who


had been lawyers for at least five years and who worked full-


time in 1969 had median incomes that were only 57%the median
 

5 National Endowment for the Arts, Employment and Unemployment
 

of Artists: 1970-1975 (Research Division Report #1 (April,
 

1976), p. 15.
 

-13­
incomes of established male lawyers -- $22,100 per year
 

for men compared with $12,700 for women. Among the total


labor force of wage and salary workers, women’s median


earnings were about 62% the earnings of men in 1970. This


earnings disparity has not lessened.~at all in ~recent years.


By 1975, median incomes for ~women in the total labor force


remained at 62% of the earnings of men.6
 

6 U.S. Department of Labor, ’!Trends
 in Weekly and Hourly Earn­ ingsfor ~ajor Labor Force Groups,"
Press Release No. 77-955,
 November 2, 1977, Table i, p.4.
 

-14­
Table 4
 

Percentage Comparison of Earnings of Established Men and Women
 

Artists in Each Artist Occupationr U.S.r 1969
 

Median Earnings of ~omen


University Teachers


Occupation as.a Percent of 

Median Earnings of Men 

Architects 

Designers

Actors 

68.% 

Authors 

Dancers 62 

61 

of Art, Music, Drama 59
 Photographers
 51
 Painters/Sculptors
 51
 Radio/TVAnnouncers
 32
 Musicians/Composers
 21
 

All Artist Occupations
 46%
 

RESIDENCE AND MIGRATION
 

Residence patterns of employed women artists were nearly
 identical to those of employed men artists in 1970. Thirty


percent of employed women artists livedin New York or
 

California, with the woman artist favoring New York slightly
 

more than the man artist. Another 20% of women artists
 

lived in Illinois, Pennsylvania, Texas, and~Ohio. Appendix
 

Table G Shows the total number of women artists in each
 

state and their distribution among thestates.
 

Women artists were largely urban-based in 1970. Like men.


artists, only 12% lived in rural areas (communities of less
 

than 2,500 people). Among major metropolitan areas, New
 

York City was the most frequent choice of residence, with


14% of women artists residing there in 1970. Other cities
 

with large women artist populations were Los Angeles, Chicago,


Washington, D.C., San Francisco, and Philadelphia (each city
 

had more than 2% of all women artists).
 

Women artists were just as likelytomove iongdistances as
 

were men artists between 1965 and 1970, but theirpatterns
 

of movement were slightly different. About 8% of.all women


in the artist labor force moved from one region of the
 

country to another during this period. A greater proportion


of women artists than men artists moved out of the North
 

Central region and into the Northeast (meaning primarily New


York City) did not have as great a net loss among women


artists as it had among men artists.
 

-15­
Interregional migration gave the West and the South the


largest numbers ofwomen artists. The West had the largest


net gain due to a higher proportion of women artists moving


in from the North Central region. By 1970, interregional
 

migration from the preceding five years accounted for 3.3%


of all women artists in the West and 2.3% of women artists
 

in the South. Movement from one state to another from 1965
 

to 1970 affected 14% of women artist, nearly identical to


the figure for men artists.
 

-16­
APPENDIX
 
Table A
 

Persons 16 Years Old and Over in Artist Labor Force and Labor Reserve,
 

By Occupation and Race/Ethnicit~, U.S., 1970 

Occupation White Black SpanishAmerican 

American 

Indian 

AsianAmerican 

Other 

Actors 20,563 1,134 1,266 117 234 116 

Architects 57,219 1,283 1,867 34 1,613 201 

Authors 30,083 651 534 33 132 17 

Dancers 9,406 914 798 49 389 133 

Designers 119,596 2,882 5,409 201 2,302 249 

Musicians and Composers 109,937 8,657 4,629 269 862 97 

Painters and Sculptors 119,356 2,917 4,297 382 1,898 165 

Photographers 71,230 2,585 2,928 118 1,141 84 

Radlo/TVAnnouncers 23,005 652 734 68 50 65 

University Teachers of

Art, Music, or Drama 32,775 925 334 0 336 50 

Other Artists/Entertainers 

(not elsewhere classified) 69,441 3,509 4,859 497 1,609 318 

TOTAL 662,611 26,109 27,655 1,768 10,566 1,495 

Sources	 Data Use and Access Laboratories, "Tabulations of Artists and Persons in Comparative Occupations in the United States: 1970," Tables 2 and 3 (prepared for the


National Endowment for the Arts, January 1977).
 
Table B
 

Median Incomes by Occupation and Race/Ethnicity for Artists Age30 and Over Who
 

Worked~40 Weeks or More in 1969 and Were in the Same Occupation in 1965 and 1970r U.S.r 1970
 

White Black Spanish- American Asian- All
 

Occupation .American
 Indian American Minorities
 

Actors $12,550 $ 9,020 $ *
 $ * $ * $ 9,520
 

Architects 15,230 11,970 12,170 * 13,670 12,610
 

Authors 10,930 10,500 10,520 * * 10,250
 

Dancers 10,030 * * *
 

’Designers 11,920 9,680 10,170 *
 12,040 10,520
 

Musicians/Composers 6,520 5,200 6,850 *
 8,520 6,200
 

Painters/Sculptors
 10,260 9,670 9,990 14,000 10,210 10,130
 

Photographers 10,080 8,170 7,910 * 7,490 7,880
 

Radio/TV Announcers 10,660 13,520 6,5~0 *
 * 11,520
 

University Teachers of
 

Art~ Music, or Drama 12,490
 9,020 10,000 * * 9,680
 

All Artist Occupations $11,030 $ 8,230 .$9,050
 $ 7,980 $10,660 $ 9,310
 

~L~ss.t~an.109 est.ablis~ed" min0r!~ies,.~prov!~ng t.~.oo few~cases ~for ameaningful comparison.


Tnls uara Is~Included In.’median incomes .for ,Al1: Minorities" and ."All"Artlst Occupations."
 

Source: Data Use and Access Laboratories, "Tabulations of Artists and Persons in Compar­ ative Occupations in the United States: 1970," Supplemental Tables T005-T008 and
 T020-T022 (prepared for the National Endowmentfor the Arts, January 1977, revised
 November 1977).
 
Table C
 

State Residence of Emp10~ed Black Artists, U.S., 1970
 

State
 

New York
 

California
 

Illinois
 

District of Columbia
 

~ennsylvania
 

Texas
 

Michigan


Ohio
 

Maryland
 

New Jersey
 

Louisiana
 

Florida
 

Virginia


Georgia
 

Massachusetts
 

Missouri
 

Alabama
 

North Carolina
 

Tennessee
 

Indiana
 

South Carolina
 

Connecticut
 

~’;ashington


Mississippi


COlorado
 

Oklahoma
 

Kentucky
 

Minnesota
 

Kansas
 

Wisconsin
 

oregon
 

Delaware
 

Arkansas
 

Arizona
 

Nebraska
 

Iowa
 

New Mexico
 

Vermont
 

Nevada
 

WestVirginia
 

Hawaii
 

Rhode Island
 

Alaska
 

South Dakota
 

WyQming


Utah.
 

New Hampshire
 

Maine
 

Ida~h°
 

Montana
 

North Dakota
 

Number
 Percent
 

3,909­ 21.0
 

2,417
 

1,358 7.3
 

13.0
 

968 5.2
 

951 5.1
 

895 4.8
 

830 4.5
 

690 3.7
 

678 3.6
 

663 3.6
 

552 3.0
 

473 2.5
 

427 2.3
 

427 2.3
 

354 1.9
 

335 1.8
 

324 1.7
 

315 1.7
 

298 1.6
 

208 1.1
 

203
 1.1
 

162 .9
 

136 .7
 

125 .7
 

113
 .6
 

109 .6
 

103 .6
 

72 .4
 

64
 .3
 

61 .3
 

58 .3
 

45 .2
 

40 .2
 

34
 .2
 

29 .2
 

28 .2
 

28 .2
 

22
 .1
 22
 .1
 

22 .i
 

22 .1
 

14 .1
 

6 .03
 

5
 .03
 

5 .03
 

5
 .03
 4 .02
 

0 .00
 

0 .00
 

0 .00
 

0
 .00
 

Source: Data Use and Access Laboratories, "Rank of’States and


Standard Metropolitan Statistical Areas by Number of Artists in
 

Specific Artistic Occupations," Table la (prepared for the National
 

Endowment for the Arts, 1977).
 
 

Table D
 State Residence~of EmploTed Spanish_AmericanArtistsr
 

U-S.r 1970
 

State
 Number
 Percent
 

California
 

Texas
 

Florida
 

New York
 

Illinois
 

New Mexico
 

Arizona
 

Colorado
 

Virginia


Michigan


Maryland


Louisiana
 

Ohio
 

Nevada
 

Massachusetts
 

Missouri
 

New Jersey


Connecticut
 

District of Columbia
 

Georgia
 

Washington


Oklahoma
 

Kansas
 

Minnesota
 

Tennessee
 

Hawaii
 

Indiana
 

Wisconsin
 

Oregon


Pennsylvania


Utah
 

Alabama
 

Nebraska
 

North Carolina
 

Rhode Island
 

Kentucky ,
 

Maine
 

South Carolina
 

~ssissippi
 

Alaska
 

Montana
 

Arkansas
 

Idaho
 

South.Dakota
 

Delaware
 

Iowa
 

New Hampshire
 

North Dakota
 

Ve~.’mont
 

West Virginia


Wyoming
 

7,419 40.1
 

2,617 14.1
 

1,611 8.7
 

1,412 7.6
 

535
 2.9
 

523 2.8
 

406
 2.2
 

406
 2.2
 

299 1.6
 

295
 1.6
 

293
 1.6
 

215 1.2
 

204
 1.1
 

184	 1.0
 

183 1.0
 

177
 1.0
 

173
 .9
 

172 .9
 

159
 .9
 

148
 

129	 .7
 

100	 .5
 

97	 .5
 

72	 .4
 

72	 .4
 

61
 .3
 

56
 .3
 

56	 .3
 

51	 .3
 

0’ .3
 

48	 .3
 

47 .3
 

47
 .3
 

46
 .2
 

32	 .2
 

26	 .1
 

23	 .1
 18	 .1
 11	 .1
 10	 .1
 9	 .05
 

7	 .04
 

7
 .04
 

6
 .03
 

5 .03
 

.0 .00
 

0
 .00
 

0
 .00
 

0	 .00
 

0
 .00
 

0
 .00
 

Source: Data Use and Access Laboratories, "Rank of States and


Standard Metropolitan Statistical Areas by Number of Artists in


Specific Artistic Occupations," Table la (prepared for the National
 

Endowment for the Arts, 1977).
 

-21­
Table E
 

Persons 16 Years Old and Over in Artist Labor Force and
 

Labor Reserve, b~ Occupation and Sex, U.S., 1970
 

Occupation
 

Actors
 

Architects
 

Authors
 

Dancers
 

Designers
 

Musicians/Composers
 

Painters/Sculptors
 

Photographers
 

Radio/TVAnnouncers
 

University Teachers of


Art, Music, or Drama
 

Other Artists & Entertainers
 

(not elsewhere classified)
 

TOTAL
 

Male. Female Total 

11,316 .12,114 23,430 

59,420 2,797 62,217 

20,003 11,447 31,450 

1,577 i0,i12 11,689 

91,583 39,056 130,639 

76,364 48,087 124,451 

73,623 56,392 129,015 

63,634 14,452 78,086 

22,496 2,078 24,574 

20,800 13,620 34,420 

54,160 26,0’73 80,233 

493,976 236,228 730,204 

Source: Data Use and Access Laboratories, "Tabulations of


Artists and Persons in Comparative Occupations in the United


States: 1970," Table 1 (prepared for the National Endowment
 

for the Arts, January, 1977).
 

-22­
Table F
 

Median Incomes by Occupation and Sex for Artists Age 30
 

and Over ~o Worked-40 Weeks or More in 1969 and Were
 

in the Same Occupation in 1965 and 1970r U.S.r 1970
 

Occupatio~
 Male Female
 

Actors
 $12,780 $8,000
 

Architects
 15,140 10,250
 

Authors
 11,870 7,410
 

Dancers
 11,500 7,000
 

Designers
 12,480 8,420
 

Musicians/Composers
 9,110 1,960
 

Painters/Sculptors
 11,130 5,6?0
 

Photographers
 10,180 5,150
 

Radio/TVAnnouncers 10,990 3,510
 

University Teachers of


Art, Music, or Drama 13,420 7,900
 

All Artist Occupations
 $11,980 $5,5~0
 

Source: Data Use and Access Laboratories, "Tabulations of
 

Artists and Persons in Comparative Occupations in ~he United
 

States: 1970," Supplemental Tables T001-T004 (prepared~. for
 

the National Endowment for the Arts, January 1977,
 

revised November 1977).
 
 

 

Table G
 State Residence of Employed Women Artists~ U.S.,
 1970
 

Stat____~e
 Number
 Percent
 

New York
 23,205 16.9%
 California
 19,467 14.2
 Illinois
 7,180 5.2
 Pennsylvania
 6,657 4.9
 Texas
 6,526 4.8
 Ohio
 6,123 4.5
 New Jersey
 4,831 3.5
 Michigan
 4,631 3..4
 Florida
 4,330 3.2
 P~ssachusetts
 4,061 3.0
 Maryland
 3,018 2.2
 Virginia
 2,753 2.0
 Missouri
 2,705 2.0
 Connecticut
 2,622 1.9
 Wisconsin
 2,592 1.9
 Washington
 2,578 1.9
 Minnesota
 2,484 1.8
 North Carolina
 2,343 1.7
 Georgia
 2,206 1.6
 Indiana
 2,199 1.6
 Colorado
 1,746 . 1.3
 Tennessee
 1,619 1.2
 Kansas
 1,488 I.i
 Alabama
 1,377 1.0
 Oklahoma
 1,352 1.0
 Oregon
 1,342 1.0
 District of Columbia
 1,302 1.0
 Louisiana
 1,289
 .9
 Arizona
 1,230 .9
 Kentucky
 1,211 .9
 Iowa
 1,199 .9
 South Carolina
 1,046 .8
 Hawaii
 1,004 .7
 Nebraska
 837
 .6
 Nevada
 648 .5
 Utah
 609
 .4
 Arkansas .557 . 4
 Rhode Island
 554
 .4
 West"Virginia
 543 .4
 Mississippi
 500
 .4
 New Mexico
 493
 .4
 ~aine
 444
 .3
 New Hampshire
 321
 .2
 Montana
 321 .2
 Idaho
 288 . 2
 Delaware
 278
 2
 South Dakota
 248 .2
 Vermont
 207
 .2
 Alaska
 155
 .1
 North Dakota
 

Wyoming
 139
 .I
 104 .1
 TOTAL
 136,962 100.0%
 

Source: Data Use. and Access Laboratories, "Rank of States and
 

Standard Metropolitan Statistical Areas by Number of Artists
 

in Specific Artistic Occupations," Table la (prepared for the


National Endowment for the Arts,January 1977).