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A NATIONAL CONVERSATION ABOUT ART, LABOR, and ECONOMICS INTRODUCTION – We Can See How the Collapse of the Economy Is Affecting Every- One

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A NATIONAL CONVERSATION ABOUT ART, LABOR, and ECONOMICS INTRODUCTION – We Can See How the Collapse of the Economy Is Affecting Every- One ART WORK A NATIONAL CONVERSATION ABOUT ART, LABOR, AND ECONOMICS INTRODUCTION – We can see how the collapse of the economy is affecting every- one. Something must be done. Let’s talk. No, it can’t wait. Things are bad. We have to work things out. We can only do it together. What do we know? What have others tried? What is possible? How do we talk about it? What are the wildest possibilities? What are the pragmatic steps? What can you do? What can we do? [Continues Inside] TAKE A COPY. MAKE AN EXHIBITION. FREE HOST A DISCUSSION IN YOUR TOWN. ART WORK A National Conversation About Art, Labor, and Economics 3 This Is Our Real Job 23 A Field Guide for the Future: 31 Personal Economy Temporary Services Introducing the Institute for Anonymous Applied Aesthetics 4 Art Versus Work Chris Kennedy A Letter from W.A.G.E Julia Bryan-Wilson W.A.G.E. Personal Economy 6 Two Diagrams: The Business of Art Tim Kerr 32 Lansing and Three Fires Territory: and The Non-Profit Art Practice Toward an Activist-based Indigenous Lize Mogel 24 Personal Economy Neo-Regionalism Anonymous Dylan A.T. Miner 7 The Boom is Over. Long Live the Art! Holland Cotter Under the Gun 33 Watch Where You Are Putting That Nato Thompson Pencil 8 Personal Economy Anthony Elms Anonymous Menu: Funding Emerging Art with Sustainable Tactics 34 Seven Years of Chaos 9 OurGoods.org FEAST Carolina Caycedo Jen Abrams, Louise Ma, Carl Tashian, Rich Watts, Caroline Woolard 25 Justseeds: Collectivism in a 35 License Action (Jan. 17 - 18, 1981) Culture Machine Guerrilla Art Action Group 10 Organize! What the Artists’ Union of Dan S. Wang the 1930s Can Teach Us Today 36 Global Mega-Merger Announced with Nicolas Lampert Probably not Peaches We Can Run the Economy Campaign Nance Klehm 16 Beaver Group 11 Small Business as Artistic Medium Robin Hewlett 26 Impractical Laborers, Unite! Red Lines & Death Vows: Mortgage ILSSA Co-Operators Politics in the 20th Century 12 Selected Moments in the History of Damon Rich Economic Art Personal Economy Compiled and written about by Anonymous 37 Personal Economy Temporary Services Anonymous 27 Epeios, a Sculptor 14 Send Me Your Money, By Chris Written by Cooley Windsor W&N Burden, recorded live on KPFK Radio, Illustrated by Futurefarmers W&N Los Angeles, March 21, 1979. Transcribed by Temporary Services 28 The U.C. Strike Teaching Artist Union Membership At Last, the Shit Hits the Fan in Card 18 State of the Union California Teaching Artist Union Gregory Sholette Brian Holmes 38 Money Drawings 19 Thoughts on Standardizing Fair 29 Lost South Harold Jefferies Artists’ Lecture Fees Adam Trowbridge and Harrell Fletcher Jessica Westbrook How Do You Respond to the Economic Depressions of the World? 20 Report on The City From Below Personal Economy Marc Herbst and Christina Ulke for the Scott Berzofsky and John Duda Anonymous Journal of Aesthetics & Protest Editorial For The City From Below Collective Organizers 30 We Patch Flats. Detroit. Compiled by Nick Tobier This Newspaper is an Exhibition 21 Micro Granting from the Bottom Up With contributions by Lolita Hernandez, Temporary Services InCUBATE Stacy Malasky, Nate Mullen, and Aaron Timlin 39 Distribution of This Paper 22 Think Big, Act Small Temporary Services Linda Frye Burnham like the Federal Arts Program was completely dismantled. difficult for your university to continue exploiting you. Union- THIS IS OUR REAL JOB We can also see ourselves at the bottom of a down- ize. Walk out. At least make sure to milk every resource you Temporary Services ward spiral that started with Ronald Reagan’s election. The vi- can, preferably to enable and supplement educational models cious greed and racism that propelled the “Reagan Revolution” that happen outside of these institutions. Scan those rare and We can see how the collapse of the economy is affecting ev- culminated in last year’s massive global financial collapse, the out of print library books and periodicals and put ‘em online. eryone. Something must be done. Let’s talk. No, it can’t wait. logical conclusion of the Reagan administration’s toxic ideologi- Check out A/V equipment and use it to put on free events for Things are bad. We have to work things out. We can only do it cal blend of business deregulation and trickle down fuck-you- everyone. Get as many guest lecturers paid through your class- together. What do we know? What have others tried? What is nomics (two perilous fantasies that we see for what they are). es as you can. Bring the visiting out-of-town lecturers to an possible? How do we talk about it? What are the wildest possi- Artists were easy targets and tools in the culture wars Reagan extra event space and encourage them to do a bonus talk for bilities? What are the pragmatic steps? What can you do? What and his allies unleashed to dismantle the New Deal and Great people who aren’t clued in to academic calendars around town. can we do? Society efforts at wealth redistribution and economic parity. Sow dissent. Teach the brave truth of poverty rather than the We know that larger numbers of people find them- We’ve often been amazed at the fact that so many students and sniveling, competitive lie of the Top 5%. Make everyone’s pay selves increasingly shut out of the American “promise” of wealth younger artists have no idea what kinds of great things received public knowledge – demand equity for all of us who create and security. The majority of committed and practicing artists government funding pre-Culture Wars and before the neutering the next generations of artists and thinkers. It is time for some have long given up these expectations in favor of having the of the National Endowment for the Arts. One can trace the ori- freedom to pursue their work. We’ve all made sacrifices for our leveling and accountability, even for you progressives in the art time, our work, and our own dreams. Let’s face it – being an art- gins of early encouragement for even a vast genre as Video Art schools. ist in the United States is difficult. Hell, just keeping your head through looking at the record of NEA funding in the 1970s. Now is a perfect moment to push for new ways of above water is harder for an increasing number of Americans, Capitalism works really really well – for a limited doing things, developing better models, and to question com- artists or not. Federal unemployment numbers are constructed number of people. With tighter constraints on business and mercial forms of art making and the commodification of human in such a way as to mask the real human toll and misery of wealthy people, the number of people who can sustain them- creativity and significance. It is also an excellent moment to joblessness in the U.S. The official number hovers around 10%. selves increases. Take away the constraints and less people ben- look backwards at old models that might be ripe for rework- We’re being told to get used to it, but we would rather explore efit. More of us can see this clearly now. It is sad that it takes ing, and the myriad strategies and support systems that artists ideas for reworking the economy to benefit everyone. Where such a big crisis to get people to reconsider the “status quo”. have invented in order to survive creatively and economically. is the discussion about how to sustain our entire country and We are in a moment very much like the Great De- It is a time to fight for a different future, better treatment, and not just our banks, corporations, and those who are privileged pression. Unfortunately, we cannot depend upon the creation a diminished role for the market in art discourse. Resistance enough to be in the top 10% of our “earners”? of governmental programs, the learning institutions, museums, to the status quo has been minimal. Artists for the most part The deeply irresponsible and criminal activities of the and archives, or even basic social planning to help ease the situ- are hiding and hoping things will get better. We must gather, men and women who wreaked havoc on the global economy, ation in the U.S. for artists. According to a report made in 2006 pool knowledge and resources, agitate, question, confront this ushering in the Great Recession (or whatever you want to call by the Economic Policy Institute, a nonprofit Washington, D.C. system and make alternative models using the creativity that it) have caused untold hardship for people already scraping by. based think tank, the top 5% of income earners in the United we reserve for other kinds of artistic production in more stable Bring us their heads! Or at least take their bonuses to fund the States own 60% of the average U.S. household net worth. Fur- times. arts, education, and health care. thermore, according to Recent Trends in Wealth Ownership (a book This newspaper asks us all to consider how to use this Things have become demonstrably worse for artists and research series by Edward N. Wolff of New York University’s moment to do several things: to work for better compensation, and arts organizations. A 2008 report from the National Endow- Economics department), a full 20% of the U.S. population owns to get opportunities to make art in diverse and challenging set- ment for the Arts tells of an astounding 63% increase in artists’ negative financial wealth. That means that 20% of us, artists, tings, and to guide art attitudes and institutions, on all levels, in unemployment from 2007 to 2008.
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