Artists often work under the theory that Caves (2000) describes as, Art for art's sake, which can be understood as artists having an intrinsic motivation to create. Often, they work in humdrum jobs that do not give them satisfaction but that support their self-sufficiency for them to create a body of work. This principle can affect how contracts between artists and art market gatekeepers are formulated.

According to Caves (2000), the organization of the creative industries relies heavily on contracts linking creative and humdrum agents. In the visual arts sector, artists often struggle to rely on gatekeepers in the long term since contracts often have no explicit duration.

Looking at this from an artistic logic, the primary intention of contributing to art as a greater good does not always align with the economic logic that is orientated on the market, which operates cost-efficiently and measures the quality and quantity in order to legitimize the production on its market value. The primary intention is the exchange of the output on the market rather than creating art for the art's sake. Looking at how contracts for visual artists are typically created within the theory of Caves (2000), there is a need for support for visual arts to secure business growth.

Additionally, the key challenges that visual artists from Ireland are facing are that it is difficult to cope with the emotional and psychological tolls of living and working in a foreign environment which led to isolation, homesickness, and an overall cultural shock. Further, facing the aftermath of British colonialism, Irish artists and culture today are confronted with stereotypes about Irish art, culture, and identity. This evidently limits opportunities for Irish artists in certain countries. For some artists, facing these challenges and limitations due to their cultural identity and artistic style illustrates one facet of the Irish artistic diaspora. The Irish diaspora is demonstrated a surprising durability in facing challenges in cultural differences and the financial pressure that accompanies settling into a new environment abroad. (O’Kelly, 2014)

From a European perspective, it is challenging to understand how Irish artists have been engaged with and received by different European countries. Overall Germany has been demonstrating a greater interest and appreciation compared to other nations.

Throsby (2001) understands cultural products have aesthetic, educational, or entertainment purposes. He developed the concentric circle model which has visual art as a core driver for other cultural sectors in a ratio from creative to commercial. Following this model, it is essential for the cultural industries of Ireland to promote the Irish visual art sector on a national and international level to drive economic growth and innovation.

Further, Becker (1982) describes the art world as consisting of all people whose activities are necessary to the production of the characteristic worlds which that world, and perhaps others as well, define as art. Therefore, art can be understood as a collective activity. Members of the art world coordinate the activities by which work is produced by referring to a body of conventional understandings, which describes the methods of how people can work together, that is embodied in common practice and in frequently used artifacts.

Adding this principle to the case of Irish artists abroad, there is a challenge navigating different cultural contexts and art scenes, which can be alienating and intimidating for artists unfamiliar with the local practices. Establishing networks and opportunities in new surroundings can be challenging for artists that are not part of established communities.

This gives Culture Ireland the opportunity to implement support for visual artists and open a partnership with the German Federal Office for Migration and Refugees (Bundesamt für Migration und Flüchtlinge, BAMF) and the German Federal Ministry of the Interior, Building, and Community (Bundesministerium des Innern, für Bau und Heimat) also plays a role in developing and promoting integration policies. The overtime will deepen the cultural diplomacy between these two countries. Specifically, the art sector in Germany for Irish artists can gain support from this initiative that not only illustrates the challenges for Irish artists to establish themselves within the German art market but also reflects on the German integration policies that shape the German artistic Anthropocene. Germany recently adapted their immigration policies, but cultural integration remains a challenge to overcome and eliminate stereotypes.

In order to relocate funds and redefine the existing initiative we need to first have a deeper understanding of the ecosystems of Ireland and Germany, we need to look into the processes involved for governmental organizations such as Culture Ireland in regards to their focus group and the implemented ecosystems thinking. In comparison, Germany operates with an economic logic that can be implemented to create predictive scenarios. Germany operates on existing data; it invests in successful prospects by using knowledge about the past to derive probabilistic estimates of alternative future conditions. This is not only an analytical method but, in my opinion, explains a lot about the German mentality. This way of thinking and approaching problems differs from how the Irish government regulates the cultural sector in Ireland. Here we see an unprecedented situation with Culture Ireland. Foremost the cultural fund is administered by the Minister for Tourism, Culture, Arts, Gaeltacht, Sport, and Media, Catherine Martin TD, and has recently announced funding of over €745,000 for Culture Ireland’s Grants Program benefitting 101 projects across 22 countries that cover dance, film, literature, music, theater, visual arts, architecture, and circus. Culture Ireland works with the Department for Foreign Affairs and Trade to ensure the effective promotion of cultural affairs while strengthening Ireland’s cultural network abroad. The organization offers a range of funding programs to support and promote the presentation of Irish arts internationally, including a regular grants round, the See Here scheme, Delegate Scheme, and a Showcase program. (Culture Ireland, 2023)

This scheme is the first of its kind that will start from an exploratory scenario that will operate from the present and will explore the impacts of various drivers, that impact trends and interactions from now into the future. In 2025 it will have data on its success and from then on will be able to make decisions based on its success. Within the architect model for cultural policies in Ireland, the Minister who is a member of the Dáil Éireann would have made decisions based on current preferences rather than public needs or economic success, therefore most of the cultural funds would have been allocated towards Sports and Media.

Berkers, P., (2023). Future scenarios 1,2 and 3. Future scenarios of the cultural sector. Erasmus University Rotterdam

Culture Ireland. (n.d.). About. March 20, 2023, www.cultureireland.ie/about

Caves, R. E. (2000). Creative industries: Contracts between art and commerce. Harvard University Press.

Hesmondhalgh, D. (2021). Is music streaming bad for musicians? Problems of evidence and argument. New Media & Society, 23(12), 3593-3615. https://doi.org/10.1177/1461444821997413

O'Kelly, S. (2014). European perspectives on the Irish artistic Diaspora. Irish Studies Review, 22(4), 383-396.

Throsby, D. (2008). The concentric circles model of the cultural industries. Cultural Trends, 17(3), 147–164. https://doi.org/10.1080/09548960802361951

Additional source

Young, E., & Quinn, L. (2017). An essential guide in writing policy briefs. International Centre for Policy Advocacy (ICPA).

Cultural advisor: Molly Crowe | +316 47 54 77 58 |info@mollycrowe.com | mollycrowe.com