The 'Real Job' Exhibit: Challenging the Stigma That Art is not ‘Real Work'

Creative jobs are often dismissed as “not real jobs,” perceived as little more than a glorified hobby with minimal financial reward. I. Industry professionals have complained that this sentiment has discouraged individuals from pursuing a career path within the industry, causing stagnation that leads to a lack of new high-quality talents. The Real Job exhibit in Counihan Gallery, Brunswick, Australia, seeks to examine this stigma more closely—while also questioning whether the art industry itself might be contributing to the problem.

The exhibit brought together 16 artists in 2023 to explore what it truly means to make a living from art. It delves into the overlooked aspects of the industry, investigating everything from institutional biases to gender pay gaps—factors that reinforce the idea that art is not a “real job.” By shedding light on artists' struggles, the exhibition aims to shift public perception, encouraging a more empathetic view of art as a profession. It also provides industry professionals with an opportunity to reflect on the roles they have played in sustaining such a system. In advocating for fairness in the art industry, the message of the Real Job exhibit is closely intertwined with the United Nations Sustainable Development Goal of Decent Work And Economic Growth.

Exhibition curator Madeleine Thornton-Smith, who is an artist herself and also a committed unionist, shared in an interview with Brunswick Voice that the industry is suffering due to irregulation, insufficient funding, and fear of retributions amongst workers. All issues that a union could potentially help tackle.

One piece, Union Banner by Nina Ross and Stephen Palmer, embodies this spirit. The piece is a large, almost 2-metre-long tapestry that spells out “Union of Working Artists,” a fictional declaration that embodies hope for a future where artists can be unionized to help tackle industry problems and push art institutions to treat their workers better.

In the same interview with Brunswick Voice, Thornton-Smith also spoke about how the exhibition title is also based on a particularly contentious internet spat she had. The encounter  began when the Australian Broadcasting Company (ABC) shared coverage about a struggling creative writing student, which received a flood of hate comments stating that the student should go and get “a real job” instead. 

Thornton-Smith proceeded to share her experience of travelling to France, where people had a more supportive attitude towards creatives. This led to her receiving demeaning hashtags that called for her to get a real job and proclaimed that art is a hobby.

In response, she created not only The Real Job exhibit but also a series of slip-casted ceramic pieces that spell out the horrible stigma people have shared towards artists, showing that in the eyes of society, art can never be a real job no matter how much you earn. One ceramic piece spells out “hobby,” embodying the sentiment that “art is just a hobby,” which is thrown at artists who people believe do not earn enough. This piece is paired with another that spells “sell out,” referring to the sentiment that “they’re such a sell out,” which is thrown at artists who people believe earn too much.

Since putting together The Real Job exhibit in early 2023, Thornton-Smith continues to advocate for a regulated visual arts industry. This includes doing various interviews, speaking in panels and even working with the National Association for the Visual Arts (NAVA) to consult the Australian Government’s Fair Work Commission in reviewing existing award coverage and minimum standards for the arts and culture sector.

The Real Job exhibition and Thornton-Smith’s advocacy continue to challenge societal perceptions and advocate for a more equitable art system. Her efforts urge the public and industry insiders to rethink their roles in sustaining these biases, prompting much-needed conversations about fair wages, institutional accountability, and the future of artistic careers. As creativity continues to shape culture and society, ensuring that artists are fairly compensated and respected is not just an industry issue—it is a collective responsibility.