Minorities and women in the arts, 1970 : a study

Research Division Report #7

Minorities and Women in eb£*,b*~»««

the Arts: 1970 55**

January 1978

A Study by Data Use and Access Laboratories, October 1977

Research Division Report #7

Minorities and Women in IHriS,tewm*

the Arts: 1970

January 1978

A Study by Data Use and Access Laboratories. October 1977

Minorities and Women in
the Arts: 1970

Digitized by the Internet Archive

in 2012 with funding from

Boston Library Consortium Member Libraries

http://archive.org/details/minoritieswomeniOOdata

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 being 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 com-
pared with their overall participation in the labor force.
Likewise, their earnings in each artist occupation 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 specialized surveys can provide information on
employed artists nationwide. The decennial census provides
sufficiently accurate and detailed occupational information
and has been used in this study. Furthermore, census data
is part of an ongoing process so that valid statistical
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 tabular material prepared earlier by Data
Use and Access Laboratories — "Rank of Artists in Specific
Artistic Occupations," "Interstate and Interregional Migra-
tion of Artists Based on the Printed Results of the 1970
Census," and "Tabulations of Artists and Persons in Compara-
tive 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 Endow-
ment for the Arts, Washington, D.C. 20506; phone: (202)
634-7640.

Research Division

National Endowment for the Arts

November 1977

TABLE OF CONTENTS

Page

INTRODUCTION 1

MINORITIES IN THE ARTS 3

Population Size 3

Earnings 8

Residence and Migration 10

WOMEN IN THE ARTS 12

Population Size 12

Earnings 13

Residence and Migration 15

APPENDIX 17

11

TABLES AND FIGURES

Table 1.
Table 2.
Table 3.

Table 4.

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

Percentage Distribution of Minority
Artists by Occupation, U.S., 1970

Percentage Comparison of Earnings of
Minority and Non-Minority Artists in
Each Artist Occupation, U.S., 1969

Percentage Comparison of Earnings of
Established Men and Women Artists in
Each Artist Occupation, U.S., 1969

Page
5
6

15

Figure 1

Figure 2
Figure 3

Proportions of Minorities in Artist

Labor Force Compared with Proportions

in Total Labor Force, U.S., 1970 4

Median Incomes Among Established

Artists by Race/Ethnicity , U.S., 1969 8

Male - Female Composition of the

Artist Occupations, U.S., 1970 12

in

APPENDIX TABLES

Page

Table A. Persons 16 Years Old and Over in Artist
Labor Force and Labor Reserve, By Oc-
cupation and Race/Ethnicity, U.S., 1970 18

Table B. Median Incomes by Occupation and Race/Eth-
nicity for Artists Age 30 and Over Who
Worked 40 Weeks or More in 1969 and Were
in the Same Occupation in 1965 and 1970,
U.S., 1970 , 19

Table C. State Residence of Employed Black Artists,

U.S., 1970 20

Table D. State Residence of Employed Spanish-American

Artists, U.S., 1970 % 21

Table E. Persons 16 Years Old and Over in Artist

Force and Labor Reserve, by Occupation and

Sex, U.S., 1970 22

Table F. Median Incomes by Occupation and Sex for

Artists Age 30 and Over Who Worked 40 Weeks
or More in 1969 and Were in the Same Occupa-
tion in 1965 and 1970, U.S., 1970 23

Table G. State Residence of Employed Women Artists,

U.S., 1970 24

IV

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 propor-
tions of minorities and women in artist occupations than
in the total labor force in 1970; income levels for estab-
lished minority artists were below the levels for estab-
lished 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 in an artist oc-
cupation are included. However, in the discussion of the
place of residence of artists only artists working in 1970
make up the data base. The term "minority" in this report
is used to describe persons from four major ethnic or racial
groups: black, Spanish-American^, American Indian, and Asian*
American. The race of all persons reported in the census is
determined by self-identif ication.

Data on population size and earnings are from the 1970 Census
Public Use Sample. 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 report. ^ Data on residence are from printed

* For description and use of this data file, see U.S.
Bureau of the Census, Public Use Samples of the 1970 Census:
Description and Technical Documentation (Washington, D.C.:
GPO, 1972).

Included in the category, Spanish-American, are persons
with Spanish surnames, of Spanish countries of origin, and
with Spanish mother tongues.

3 Data Use and Access Laboratories, "Tabulations of Artists
and Persons in Comparative Occupations in the United States:
1970" (prepared for the National Endowment for the Arts,
January 1977), Tables 1-12.

_i_

results of the 1970 Census recompiled by DUALabs to
provide breakdowns on the locations of minority artists
in specific 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 Re-
ports 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 the Census, Census of Population

1970, Detailed Characteristics, Final Report PC(1)-D1,
U.S. Summary, Table 293, "Detailed Occupations of the
Experienced Civilian Labor Force, by Sex, for Regions";
U.S. Bureau of the Census, Census of Population 1970,
Subject Reports, Final Report PC (2) -7A, Occupational
Characteristics, Table 34, "Residence in 1965 for the
Experienced Civilian Labor Force by Occupation, Race,
Spanish Origin, and Sex, 1970" and Tables 35 to 37
"Region of Residence in 1965 for Persons in the Experienced
Civilian Labor Force, who moved between Regions, by Oc-
cupation and Sex: 1970"; and Data Use and Access Labora-
tories, "Interstate and Inter-regional Migration of Artists
Based on the Printed Results of the 1970 Census" (prepared
for the National Endowment 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, archi-
tects, authors, dancers, designers, musicians, composers,
painters, sculptors, 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.

Minority 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, black artists were the
only minorities who were found in a considerably lower pro-
portion 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 field 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 public relations and publicity
writers . ) The percentage of minorities in the labor force of
each artist occupation is 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

3.6% Black * T
T

1.8% Other*

3.7% Spanish

1.6% Other*

ARTIST**
LABOR FORCE

TOTAL
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.

-4-

Table 1
Minority Composition of Artist Occupations, U.S., 1970

Occupation

Dancers

Actors

Musicians/Composers

Photographers

Designers

Architects

Painters/Sculptors

Radio/TV Announcers

University Teachers of

Art, Music, Drama
Authors

Other Artists/Entertainers
(not elsewhere classified)

All Artist Occupations

All

Spanish-

Minorities

Black

American

Other*

19.5%

7.8%

6.8%

4.9%

12.2

4.8

5.4

2.0

11.7

7.0

3.7

1.0

8.8

3.3^

3.7

1.8

8.5

2.2

4.1

2.2

8.1

2.1

3.0

3.0

7.5

2.3-"

3.3

1.9

6.5

2.7

3.0

.8

5.0

2.9

1.0

1.1

4.4

2.1

1.7

.6

13*5

4.4

6.1

3.0

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/TV announcers. In contrast,
Spanish-American artists were most numerous in the designer
occupation, which was the largest artist occupation in terms
of the total number of minority artists.

-5-

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-6-

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 up only two-tenths of a
percent of all artists in the 1970 labor force. Their numbers
were very small 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 occupation 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 occupational
classification. Thus, this report does not include the number
of native Americans (or other minority persons) who worked
as craftsmen.

Although not the subject of this report, artists of other
ethnic backgrounds also showed some interesting occupational
tendencies in 1970. Most artists of European and Asian
ethnicities were concentrated in the designer occupation.
Artists of Italian birth or parentage made up 5% of all
designers in the 1970 U.S. labor force; Russian artists were
strong in both the writing and design fields, composing 4%
of authors and 4% of designers; and artists of German ethni-
city composed 3 1/2% of all architects in the labor force.

Among artists whose families had been in the U.S. for at
least two generations and who were not black or Spanish,
there was a greater tendency to work as radio/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 of white, older-
generation Americans. About 40% of all designers in the U.S.
labor force were either black, Spanish, foreign-born, or
first-generation American.

-7-

EARNINGS

Earnings from the year 1969 were examined for all "established"
artists — those who were in the same artist occupation in
both 1965 and 1970, who were at least 30 years of age, and
who had worked 40 weeks or more during the year. These estab-
lished 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 non-
minority artists. In 1969, the median income for an estab-
lished white artist in the the U.S. was about $11,000. For
the established minority artist, median income reached $9,300
or 84% of the earnings of established white artists. 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 minority groups in 1969, at
about $8,000 and $8,200, respectively. Asian-Americans were
the only minority artists to achieve median incomes nearly
comparable to white artists. Figure 2 shows this comparison.

Figure 2

Median Incomes among Established Artists
by Race/Ethnicity , U.S., 1969

WX1X LC

black

Spanish

Indian

Asian

$11,000

$10,700

$9,050

$8,200

$8,000

-s-

The earnings gap between established minority 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 are ranked
in Table 3 according to the earnings of established minority
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 Established Minority
Artists in Fach Artist Occupation. U.S.. 1969

Median Minority Earnings
Occupation* as a Percent of

Median Non-Minority Earnings

Radio/TV Announcers 108%

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 established minority 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 occupa-
tion. 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 artists 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. More 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 like white artists, moved into
the South in greater numbers than they moved out. The West
gained the most black artists. Net interregional migration
during the five-year period 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 those 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.

-10-

The direction of interregional migration was similar to
artists overall, with the western and southern regions show-
ing net gains as Spanish-American artists moved to (or
returned to) regions with general concentrations of Spanish-
Americans. The Northeast region had the largest net loss. By
1970, net interregional migration from the five-year period
accounted for about 2% of all Spanish-American artists in
the South. The effect in other regions was negligible. Move-
ments from one state to another between 1965 and 1970 were made
by 11% of Spanish- American artists.

-11-

WOMEN IN THE ARTS

POPULATION SIZE

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 university teachers of art, music, or drama. Appendix
Table E gives the breakdown by occupation.

There were more than twice as many men as women in artist
occupations in 1970, and the proportion of women in the
arts was lower than in the total labor force. Women made 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
which women clearly outnumbered men; the ratio was more than
six to one. Among actors, women were represented in a pro-
portion nearly identical to their proportion in the total
population — 52%. But among architects and radio/television
announcers, there were few women in 1970. Figure 3 illus-
trates the level of female participation in each artist
occupation.

Figure 3
Male - Female Composition of the Artist Occupations, U.S., 1970

FEMALE

Dancers

Actors

Painters/Sculptors

87%

| 52%

44%

University Teachers of Art,Music,Drama

Musicians/Composers

Authors

Designers

Photographers

Radio/TV Announcers

Architects

40%

39%

36%

| 30%

1 19%

|9%

MALE

13%

48%

56%

60%|

61%

64%

70%

81%

%

-12-

EARNINGS

In 1970, women who were established artists - that is, who
were 30 years old, who had worked in the same artist occupa-
tion 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:/ median annual
incomes were at about $12,000 for such men and $5,500 for
such women. These established artists included 19% of all
women artists in the labor force and 38% of all men artists
in the labor force. Thus, half the proportion of women be-
came established artists as did men. Earnings among women
artists were considerably below the earnings of black and
minority artists, as described in Section II. More than
30% of all established women artists had annual incomes of
less than $3,000 per year, compared with only 5% for establish-
ed 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 the Arts has previously re-
ported that unemployment in eight artist occupations in 1970
was higher for women than for men — at about 7% for women
compared with 4.2% for men.*

In every artist occupation 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 fe-
male architects and designers, median incomes were 30% lower
than the earnings of men in those fields. The musician oc-
cupation gave women the lowest earnings of any artist field.
With median incomes less than $2,000 per year, established
women musicians earned about one-fifth the incomes of men who
were established in the field. The radio/TV announcer occupa-
tion 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 in-
comes for 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 other selected oc-
cupations 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

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.^

" U.S. Department of Labor, "Trends in Weekly and Hourly Earn-
ings for Major Labor Force Groups," Press Release No. 77-955,
November 2, 1977, Table 1, p. 4.

-14-

Table 4

Percentage Comparison

of Earnings

of

Established Men and

Women

Artists in Each

Artist Occupation, U.S.,

1969

Median

Earnings of Women

Occupation

as

a Percent

of

Median Earnings

of Men

Architects

68%

Designers

67

Actors

63

Authors

62

Dancers

61

University Teachers of Art, Music,

, Drama

59

Photographers

51

Painters/Sculptors

51

Radio/TV Announcers

32

Musicians/Composers

21

All Artist Occupations v 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 lived in 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 the states.

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 likely to move long distances as
were men artists between 1965 and 1970, but their patterns
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 of women 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 artists, nearly identical to
the figure for men artists.

-16-

APPENDIX

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-19-

Table C

State Residence of

Employed Black

Artists, U.S., 1970

State

Number

Percent

New York

3r909

21.0

California

2,417

13.0

Illinois

1,358

7.3

District of Columbia

968

5.2

Pennsylvania

951

5.1

Texas

895

4.8

Michigan

830

4.5

Ohio

690

3.7

Maryland

678

3.6

New Jersey

663

3.6

Louisiana

552

3.0

Florida

473

2.5

Virginia

427

2.3

Georgia

427

2.3

Massachusetts

354

1.9

Missouri

335

1.8

Alabama

324

1.7

North Carolina

315

1.7

Tennessee

298

1.6

Indiana

208

1.1

South Carolina

203

1.1

Connecticut

162

.9

Washington

136

.7

Mississippi

125

.7

Colorado

113

.6

Oklahoma

109

.6

Kentucky

103

.6

Minnesota

72

.4

Kansas

64

.3

Wisconsin

61

.3

Oregon

58

.3

Delaware

45

.2

Arkansas

40

.2

Arizona

34

.2

Nebraska

29

.2

Iowa

28

.2

New Mexico

28

.2

Vermont

22

.1

Nevada

22

.1

West Virginia

22

.1

Hawaii

22

.1

Rhode Island

14

.1

Alaska

6

.03

South Dakota

5

.03

Wyoming

5

.03

Utah

5

.03

New Hampshire

4

.02

Maine

0

.00

Idaho

0

.00

Montana

0

.00

North Dakota

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).

-20-

Table D

State Residence of

Employed Spanish-

•American Artists, U.!

3., 1970

State

Number

Percent

California

7,419

40.1

Texas

2,617

14.1

Florida

1,611

8.7

New York

1,412

7.6

Illinois

535

2.9

New Mexico

523

2.8

Arizona

406

2.2

Colorado

406

2.2

Virginia

299

1.6

Michigan

295

1.6

Maryland

293

1.6

Louisiana

215

1.2

Ohio

204

1.1

Nevada

184

1.0

Massachusetts

183

1.0

Missouri

177

1.0

New Jersey

173

.9

Connecticut

172

.9

District of Columbi

a 159

.9

Georgia

148

.8

Washington

129

.7

Oklahoma

100

.5

Kansas

97

.5

Minnesota

72

.4

Tennessee

72

.4

Hawaii

61

.3

Indiana

56

.3

Wisconsin

56

.3

Oregon

51

.3

Pennsylvania

50

.3

Utah

48

.3

Alabama

47

.3

Nebraska

47

.3

North Carolina

46

.2

Rhode Island

32

.2

Kentucky

26

.1

Maine

23

.1

South Carolina

18

.1

Mississippi

11

.1

Alaska

10

.1

Montana

9

.05

Arkansas

7

.04

Idaho

7

.04

South Dakota

6

.03

Delaware

5

.03

Iowa

0

.00

New Hampshire

0

.00

North Dakota

0

.00

Vermont

0

.00

West Virginia

0

.00

Wyoming

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 E

Persons 16 Years Old and Over in Artist Labor Force and
Labor Reserve, by Occupation and Sex, U.S., 1970

Occupation Male Female Total

Actors

Architects

Authors

Dancers

Designers

Musicians/Composers

Painters/Sculptors

Photographers

Radio/TV Announcers

University Teachers of
Art, Music, or Drama 20,800 13,620 34,420

Other Artists & Entertainers
(not elsewhere classified) 54,160 26,073 80,233

TOTAL 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).

11,316

12,114

23,430

59,420

2,797

62,217

20,003

11,447

31,450

1,577

10,112

11,689

91,583

39,056

130,639

76,364

48,087

124,451

72,623

56,392

129,015

63,634

14,452

78,086

22,496

2,078

24,574

-22-

Table F

Median Incomes by Occupation and Sex for Artists Age 30
and Over Who Worked 40 Weeks or More in 1969 and Were
in the Same Occupation in 1965 and 1970, U.S., 1970

Occupation Male Female

Actors $12,780 $8,000

Architects 15,140 10,250

Authors 11,870 7,410

Dancers

Designers

Musicians/Composers

Painters/Sculptors

Photographers

Radio/TV Announcers

University Teachers of
Art, Music, or Drama

All Artist Occupations

Source: Data Use and Access Laboratories, "Tabulations of
Artists and Persons in Comparative Occupations in the United
States: 1970," Supplemental Tables T001-T004 (prepared for
the National Endowment for the Arts, January 1977,
revised November 1977) .

11,500

7,000

12,480

8,420

9,110

1,960

11,130

5,670

10,180

5,150

10,990

3,510

13,420

7,900

$11,980

$5,510

-?3-

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

State

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

Massachusetts

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

1.1

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

• ^

Arkansas

557

• "

Rhode Island

554

• "

West Virginia

543

• "

Mississippi

500

• "

New Mexico

493

• "

Maine

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

139

.1

Wyoming

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).

N

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Second printing. August 1979
Produced and distributed by Publishing Center for Cultural Resources. 152 West 42 Street. New York City 10036. Price (incl. postage): $2.50