“How Are Artists Getting Paid?” Answer #5 Alternative Economies

5. Going Off the Grid / Alternative Economies “With a similarly revolutionary viewpoint, Occupy Wall Street’s Arts & Labor working group has, over the past two years, been engaging in serious questions about how to rethink and rebuild the contemporary relationship between art and labor. Ultimately, according to the OWS Principles of Solidarity, they hope to “imagine a new socio-political and economic alternative that offers greater possibility of equality.[…]”

read the entire article:

Photo from the spring 2013 strike by the San Francisco Orchestra. (Source)

How Are Artists Getting Paid?
by Alexis Clements on July 22, 2013
http://hyperallergic.com/75549/how-are-artists-getting-paid/

More info on A&L’s Alternative Economies:
http://www.artsandlabor.org/alternative-economies

 

Arts & Labor in the Age of Occupation

[With around 5+ subgroups each tacking different issues concerning the labor of artist, Art & Labor is perhaps the only arts working group within NYGCA that is still holding regular meetings. If you would like to join, they meet every Tuesday 7pm @ 60 Wall St, with the exception of the last week in every month when they meet on Wednesdays]

ARTS & LABOR IN THE AGE OF OCCUPATION
http://www.readperiodicals.com/201203/2635902591.html

Publication: Afterimage
Author: Schwendener, Martha
Date published: March 1, 2012

In the fifteen years I have been writing and publishing art criticism, I’ve seen a few shifts in the art world. There was the rise of participatory art and social practice, and a version of these that flourished at biennials labeled “Relational Aesthetics,” which a fellow critic, Howard Halle, recently called “conceptualism for oligarchs.”1 There was the rise of interest in performance and calls to end object-making – although an artist friend recently asked, “Does that mean we’re going to leave it to Nike, Sony, and Walmart to put all the objects into the world?”

And then came the worldwide Occupy movement, influenced by the Arab Spring, the European Summer, and, in the fall of 2011, Occupy Wall Street (OWS). I was not involved in earlier iterations of OWS, like Bloombergville, an encampment near City Hall in New York that started in the summer of 2011. I became involved with OWS shortly after September 17, when the occupation started, and some of the questions it raised, naturally, involved how it might relate to the present and future of art. Continue reading