Summer Session – Value/Labor/Arts: The Manifestos

admin — Fri, 24 Jun 2016 07:00:21 +0000

This installment of our Summer Session considering labor comes from our sister publication Art Practical. In 2014, the Arts Research Center at the University of California, Berkeley, held a day-long practicum entitled Valuing Labor in the Arts, and today we’re sharing a collection of artists’ manifestos put together by organizers Shannon Jackson and Helena Keeffe. This article was originally published on April 3, 2014.

Art Workers’ Coalition. Courtesy of Primary Information.

The Art Workers’ Coalition (AWC) was a loose group of artists, writers, and members of the creative community formed in January 1969 after the artist Takis protested the Museum of Modern Art (MoMA) by removing his sculpture from their exhibition, The Museum as Seen at the End of the Mechanical Age. In the case with Takis, the artist was concerned with his ability to control the exhibition of his work after it had been sold (the museum had exhibited his work against his wishes because they owned it and felt that their right of ownership superseded his rights as an artist to control its exhibition). This initial protest was a spark that ignited the coalition—which gathered members and concerns exponentially throughout the early months of 1969. At the time, the Art Workers’ Coalition was concerned with the responsibility of museums to artists and aimed their efforts at building a dialogue between themselves and MoMA.

Read the full article here.

Value/Labor/Arts: The Manifestos

admin — Tue, 20 May 2014 07:00:18 +0000

From our friends at Art Practical, today we bring you a publication that is more archive than article: Value/Labor/Arts: The Manifestos was one part of the spectacular issue “Valuing Labor in the Arts” that was guest-edited by Shannon Jackson, Director of the Arts Research Center at UC Berkeley. Compiled by Jackson and artist Helena Keeffe, Value/Labor/Arts: The Manifestos presents seven “recent and… not-so-very-old manifestos of artists who found themselves asking how they wanted to be valued and wondering whether the available value systems were up to the task. Some worried about authorship and ownership, some about invisibility, some about whether an artists’ union could combat a highly individuating art market that kept artists from working with each other.” From the Art Workers’ Coalition of 1969 to today’s Working Artists and the Greater Economy (W.A.G.E.), this collection of declarations provides ample food for thought.

W.A.G.E., Artist Payment Graphic, excerpt from W.A.G.E. graphic poster of artist survey results, 2011.

W.A.G.E. (WORKING ARTISTS AND THE GREATER ECONOMY) WORKS TO DRAW ATTENTION TO ECONOMIC INEQUALITIES THAT EXIST IN THE ARTS, AND TO RESOLVE THEM.

W.A.G.E. HAS BEEN FORMED BECAUSE WE, AS VISUAL + PERFORMANCE ARTISTS AND INDEPENDENT CURATORS, PROVIDE A WORK FORCE.

W.A.G.E. RECOGNIZES THE ORGANIZED IRRESPONSIBILITY OF THE ART MARKET AND ITS SUPPORTING INSTITUTIONS, AND DEMANDS AN END OF THE REFUSAL TO PAY FEES FOR THE WORK WE’RE ASKED TO PROVIDE: PREPARATION, INSTALLATION, PRESENTATION, CONSULTATION, EXHIBITION, AND REPRODUCTION.

W.A.G.E. REFUTES THE POSITIONING OF THE ARTIST AS A SPECULATOR AND CALLS FOR THE REMUNERATION OF CULTURAL VALUE IN CAPITAL VALUE.

Read the full article here.

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Summer Session – Value/Labor/Arts: The Manifestos

Value/Labor/Arts: The Manifestos