This report was published in September 2001.

Table of Contents

Executive Summary

This report presents the findings of the Artists' Quake Aid (AQUA) relief fund and the conjoining artist surveys administered and conducted in Washington State after the February 28, 2001 Nisqually earthquake. It describes the process of creating and administering the relief fund and survey; makes observations about study findings; and recommendations for short and long term future actions; provides survey statistics; and includes prevention and crisis resources. The overall theme of the report is prevention and planning.

The goals of Artists' Quake Aid were: to provide a modest amount of relief to Washington artists and to assist them in getting their art-making process back on track, and to survey the losses suffered by artists, and use the collected information as a tool for advocacy and prevention.

The information compiled for this report resulted from the artist applications to the Artists' Quake Aid Relief Fund, work space questionnaires, funds accounting forms and follow-up surveys conducted five months after the earthquake as well as research conducted about key topics raised in the surveys.

The area of Seattle hardest hit by the 6.8 earthquake was the historic district of Pioneer Square. At one time, the district was home to countless artist studios and live/work spaces. Several old brick buildings in the area housed up to 40 artist studios and homes in each building. Although changing demographics have caused many of these buildings to close over the last three years, there are still an overwhelming number of working artists who have studios and rehearsal spaces in the area.

Several buildings that housed many artist work spaces experienced severe damage from the earthquake. Some have been condemned by the Department of Design, Construction and Land Use (DCLU), while others were closed temporarily for inspection. This left many artists out of their studios and some out of their homes as well. The earthquake left one building that housed over forty artist work spaces with a gaping hole in the exterior (see photo on page one). Since many of the artists had been in this building for over ten years, the effects of losing their spaces were devastating to their individual businesses, art careers and a vibrant artistic community.

Coincidentally, in the week before the earthquake, Pioneer Square was the location of a series of riots during the Mardi Gras celebration. The combination of the earthquake and riots left many artists wanting to flee Pioneer Square altogether.

In addition, several prominent Seattle art galleries located in the downtown Seattle and Pioneer Square areas suffered serious damage to artwork on display and in storage. Most of the damaged artwork was glass and ceramic. Some of these same artists suffered even more damage to their inventory in their own work spaces. Again, the impact on these artists was overwhelming, both financially and emotionally.

From the process of administering this relief fund, hearing directly from artists and compiling the information from the surveys, we were able to draw the following general conclusions:

• Many artists live and work in unsafe conditions.
  
  
• Many artists live so close to the edge financially that they cannot sustain a disaster of this kind.
  
  
• Government resources are often unattainable to artists who are not viewed as having a "business".
  
  
• Most artists do not carry earthquake insurance for their artwork as this insurance is difficult to find, very expensive, and has high deductibles. Further, the value of artwork is hard to determine.
  
  
• Many galleries do not carry earthquake insurance for artwork on exhibition or in storage, for the same reasons artists do not carry it, it is difficult to obtain and cost-prohibitive. Generally, artists are financially responsible in the event of natural disasters for their artwork while on display or in storage at their galleries.
  
  
• Glass & ceramic artists suffered the most substantial damage to artwork.
  

The Nisqually earthquake affected artists in a number of ways. Through the relief fund applications, we learned the key concerns for artists included:

• Damage to or loss of artwork & equipment
  
  
• Loss of work space
  
  
• Loss of work time
  
  
• Emotional trauma
  
  
• Breakup of artist communities
  

During the course of this project, many artists inspired and amazed us by their resourcefulness. They were able to find and use available resources in applying for grants, loans, unemployment or finding new work spaces. For others, recovery was not as easy. Not only could they not locate and use resources or find alternative work space, they found themselves depressed, alone, and traumatized by their losses. The relief fund follow-up survey asked artists what resources would be the most useful in preparing for future earthquakes and other catastrophes. Analysis of the artists' responses and observations led to the following short-term set of recommendations and actions:

• Artists in earthquake-prone areas need training in general earthquake preparedness.
  
  
• Artists in earthquake-prone areas need training and technical assistance specific to the storage of their artwork, equipment, supplies, materials, and original documentation.
  
  
• Artists who have insurance need to review what their insurance does and does not cover, in terms of artwork, space and equipment coverage.
  
  
• Artists in earthquake-prone areas need crisis services and disaster resource information.
  
  
• Artists who have contracts with galleries or presenters need to review their contracts to identify who is responsible for damage to artwork in the event of an earthquake.
  
  
• Artists who have their artwork at galleries need to work with their gallery to insure that their work is stored in the safest way possible when it is not being exhibited.
  

The damage caused by the earthquake has highlighted several larger concerns faced by artists in Seattle, surrounding counties, and in densely-populated urban areas nationally. Following is a list of key issues and long term recommendations for arts advocates:

About work space:

Continue to advocate for safe, affordable work space for artist

Develop technical assistance and information about attaining artists' equity in permanent work spaces.

Encourage City and County legislative bodies to create more buildings zoned for work-only spaces.

Promote the important role that artist communities have to artists' productivity and the greater cultural health of Seattle and other cities.

Regarding Disaster Awareness, Preparedness and Relief/Recovery

• Lobby insurance companies to offer affordable, lower-deductible earthquake insurance to artists for their artwork, work spaces and equipment.

• Encourage private foundations to set up disaster assistance funds.

• Solidify federal disaster relief funding specifically for artists and arts organizations (as in the cases of the NEA Chairmanâs relief funds for artists and arts organizations impacted by the Nisqually earthquake and the Houston, Texas flood

• Identify non-profit organizations, regional foundations, or state arts agencies to act as ongoing administrators of the proposed federal disaster relief fund.

• Launch a permanent, regional emergency assistance fund for artists.

While it is difficult to find positive outcomes of a disaster such as the Nisqually earthquake, there are a few strands of silver lining. Perhaps most important, thankfully there was no loss of life. Secondly, we can learn from the experiences of the artists who were impacted by the earthquake. We can identify the needed resources and begin the necessary planning that will help prepare artists for possible future disasters.

Finally, this incident may bring to the forefront what has been a persistent and deteriorating problem ö the need for affordable, safe, artist work space. Related to this issue is the importance of the community created by artists working in buildings with other artists. More than one large building housing many artist work spaces was permanently condemned after the earthquake.

There is much to be learned through this natural disaster.

Questions arise such as:

Where might artists turn in crisis, and what are the resources available to them?

How might organizations and agencies facilitate artists trying to recover from such a devastating event?

How might the AQUA relief fund program be used as a model to advocate for an ongoing emergency fund for artists?

Finally, what steps can next be taken to highlight a growing awareness of key issues for artists such as the need for affordable, safe work spaces?