Week Four of a Five-Part Series on Self-Managed Arts Spaces. Read Part Three here.
In the world of arts funding, traditional systems have often reinforced hierarchical structures that limit the freedom of individual artists and smaller organizations. For years, artists have depended on grants from government bodies, corporate sponsorships, and top-down institutional support to finance their creative work. However, there has been a noticeable shift in recent times—one that is changing the way artists are funded and supported. A growing emphasis on community-supported arts, mutual aid funding, and alternative economies is offering a more decentralized model that provides greater independence and reduces reliance on conventional funding methods.
One such model gaining momentum is community-supported art, which invites local communities to become directly involved in supporting creative projects. Through crowdfunding platforms and grassroots campaigns, artists can bypass traditional grant application processes and connect directly with their audiences. These methods offer transparency and foster collaboration, resulting in a shared sense of ownership. Contributors feel a deeper connection to the work because they have actively supported its creation.
“Art has always been a reflection of the community,” explains Jamie Bell, coordinator of the Art Borups Corners Winnipeg-based Arts Incubator. “Shifting away from traditional funding structures has allowed us to experiment and create work that really resonates with our audience.” Our programs have been moving away from relying on government grants in favor of a mutual aid model, where community members contribute to sustaining programs. “Instead of waiting for an institution or corporation to fund us, we’ve built a system based on trust and reciprocity,” he says.
This shift has been especially beneficial for artists from marginalized communities, who have historically faced barriers in accessing traditional funding channels. Mutual aid funds and alternative economies allow artists to support one another, creating a more inclusive and equitable ecosystem. In some cases, artists engage in barter economies, trading their work for goods or services, further reinforcing their independence. These approaches enable organic redistribution of wealth and resources, empowering smaller, independent artists who might otherwise remain dependent on unreliable funding cycles.
Since adopting this model, the group has financed exhibitions, artist residencies, and youth outreach programs using a mix of crowdfunding, private donations, and community-sponsored events. The organization has also seen increased engagement, with more community members attending events, volunteering, and contributing financially. For Bell, the most important outcome of this shift is the empowerment of the community. “Everyone now has a stake in the success of our programs. This is a model that could work in other communities as well.”
The influence of these alternative funding models is starting to reshape the broader arts landscape. In decentralizing funding, artists and organizations are able to create more meaningful and sustainable work that reflects the communities they serve. The relationship between the artist and the audience becomes less transactional and more collaborative, building a sense of shared responsibility.
Looking ahead, it remains to be seen whether these new funding models can fully replace traditional systems or if they will merely supplement them. While there are challenges, including maintaining long-term stability and consistency in community-based funding, the ongoing success of these alternative models suggests that they may be more than a passing trend. They could very well represent the future of arts funding in Canada and beyond.
This is part four of a five-part series. Part five will be available next week.