92:(1960), had been purchased by the MoMA in 1963 and thus belonged to its permanent collection, Takis was unhappy with the museum's lack of consultation in choosing a work for exhibition which he considered no longer adequately represented his current artistic practice. The artist took his work into the museum's sculpture garden and remained there until he received confirmation from museum officials that his work would be withdrawn from the exhibition. The incident led to a series of meetings held at the
740:
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made to the MoMA were debated within the larger group that formed during the open hearing, and later refined and addressed to all New York
Museums. Artists and critics subsequently debated various subjects of contention including artists' rights, museum policy and broader political issues including the
188:
Museum staff should take positions publicly and use their political influence in matters concerning the welfare of artists, such as rent control for artists' housing, legislation for artists' rights and whatever else may apply specifically to artists in their area. In particular, museums, as central
273:
on 10 April 1969. The event was retitled "What Should Be the
Program of The Art Workers Regarding Museum Reform, and to Establish the Program of the Art Workers' Coalition." Some three hundred artists and members of the New York art community attended the hearing. The initial demands that had been
268:
Upon receiving AWC's 13 Demands, MoMA met and held a dialogue with artist representatives from AWC that was publicly acknowledged. Lowry and MoMA, however, refused to meet all of the specific demands of the AWC, such as the demand to hold a public hearing on the topic "The Museum's
Relationship to
891:
Museum of Modern Art sening of technical limitations and the waning influence of the machine-age aesthetics of the
Bauhaus. ... of his buildings. The exhibition is divided into a series of galleries holding furniture and objects .... York; The Museum of Modern Art, New York; Archives de Paris ...
173:
All museums should decentralize to the extent that their activities and services enter Black, Puerto Rican and all other communities. They should support events with which these communities can identify and control. They should convert existing structures all over the city into relatively cheap,
166:
The Board of
Trustees of all museums should be made up of one-third museum staff, one-third patrons and one-third artists, if it is to continue to act as the policy-making body of the museum. All means should be explored in the interest of a more openminded and democratic museum. Artworks are a
306:
did not comply, although, under pressure from the AWC, the
Metropolitan did postpone the opening of its American painting and sculpture show scheduled for that day, while the Guggenheim was picketed. The coalition's activities eventually led to changes in how museums interact with artists, a
39:– into implementing economic and political reforms. These included a more open and less exclusive exhibition policy concerning the artists they exhibited and promoted: the absence of women artists and artists of color was a principal issue of contention, which led to the formation of
246:
A registry of artists should be instituted at the Museum. Artists who wish to be registered should supply the Museum with documentation of their work, in the form of photographs, news clippings, etc., and this material should be added to the existing artists'
43:(WAR) in 1969. The coalition successfully pressured the MoMA and other museums into implementing a free admission day that still exists in certain museums to this day. It also pressured and picketed museums into taking a moral stance on the
177:
A section of all museums under the direction of Black and Puerto Rican artists should be devoted to showing the accomplishments of Black and Puerto Rican artists, particularly in those cities where these (or other) minorities are well
181:
Museums should encourage female artists to overcome centuries of damage done to the image of the female as an artist by establishing equal representation of the sexes in exhibitions, museum purchases and on selection
192:
Exhibition programs should give special attention to works by artists not represented by a commercial gallery. Museums should also sponsor the production and exhibition of such works outside their own premises.
222:
The Museum should hold a public hearing during
February on the topic "The Museum's Relationship to Artists and to Society", which should conform to the recognized rules of procedure for public hearings.
611:
537:
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A trust fund should be set up from a tax levied on the sales of the work of dead artists. This fund would provide stipends, health insurance, help for artists' dependants and other social benefits.
189:
institutions, should be aroused by the crisis threatening man's survival and should make their own demands to the government that ecological problems be put on par with war and space efforts.
195:
Artists should retain a disposition over the destiny of their work, whether or not it is owned by them, to ensure that it cannot be altered, destroyed, or exhibited without their consent.
916:
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The Museum should declare its position on copyright legislation and the proposed arts proceeds act. It should also take active steps to inform artists of their legal rights.
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in which the group that had supported Takis's action discussed issues relating to the political and social responsibility of the art community. The group included Takis,
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cultural heritage that belong to the people. No minority has the right to control them; therefore, a board of trustees chosen on financial basis must be eliminated.
307:
contribution to the art world that is considered lasting in spite of the coalition's short three-year existence. The AWC ceased its activities at the end of 1971.
660:
240:
The Museum should recognize an artist's right to refuse showing a work owned by the Museum in any exhibition other than one of the Museum's permanent collection.
228:
The Museum's activities should be extended into the Black, Spanish and other communities. It should also encourage exhibits with which these groups can identify.
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Rental fees should be paid to artists or their heirs for all work exhibited where admissions are charged, whether or not the work is owned by the artist.
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B. UNTIL SUCH TIME AS MINIMUM INCOME IS GUARANTEED FOR ALL PEOPLE, THE ECONOMIC POSITION OF ARTISTS SHOULD BE IMPROVED IN THE FOLLOWING WAYS:
595:
148:
In 1969, the AWC released their collectively written "Statement of
Demands" which was distributed as a pamphlet and later published in 1970.
269:
Artists and to
Society". After organizing a number of demonstrations in front of the museum, the group held an open hearing at the New York
279:
185:
At least one museum in each city should maintain an up-to-date registry of all artists in their area, that is available to the public.
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flexible branch-museums or cultural centers that could not carry the stigma of catering only to the wealthier sections of society.
57:, one of the most important works of political art of the early 1970s. The poster was displayed during demonstrations in front of
225:
A section of the Museum, under the direction of black artists, should be devoted to showing the accomplishments of Black artists.
151:
In 1970, AWC organized an art strike to condemn the death of university students killed by police during
Vietnam War protests.
612:"MoMA | From the Archives: Faith Ringgold, the Art Workers Coalition, and the Fight for Inclusion at The Museum of Modern Art"
538:"MoMA | From the Archives: Faith Ringgold, the Art Workers Coalition, and the Fight for Inclusion at The Museum of Modern Art"
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The Museum should include among its staff persons qualified to handle the installation and maintenance of technological works.
303:
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The Museum should exhibit experimental works requiring unique environmental conditions at locations outside the Museum.
40:
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Admission to all museums should be free at all times and they should be open evenings to accommodate working people.
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A percentage of the profit realized on the re-sale of an artist's work should revert to the artist or his heirs.
837:
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The Museum should appoint a responsible person to handle any grievances arising from its dealings with artists.
898:
https://www.moma.org/momaorg/shared/pdfs/docs/press_archives/4430/releases/MOMA_1970_Jan-June_0027_27.pdf?2010
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Documentation of Judy Walenta as a registrar at MOMA to explain inclusion in the list: Hector Guimard - MoMA
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A section of the Museum should be permanently devoted to showing the works of artists without galleries.
85:
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A committee of artists with curatorial responsibilities should be set up annually to arrange exhibits.
31:(AWC) was an open coalition of artists, filmmakers, writers, critics, and museum staff that formed in
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636:"Art Workers' Coalition demonstrates for artists' rights, 1969 | Global Nonviolent Action Database"
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The Museum should be open on two evenings until midnight and admission should be free at all times.
88:, with the support of friends, physically removed his work from the exhibition. Although the work,
62:
860:, ed. Blake Stimson and Greg Sholette (Minneapolis: University of Minnesota Press, 2007), 192–221.
846:, Vol. 30, No. 3. (Jul., 1995), pp. 481–511 and Vol. 30 No. 4 (Oct., 1995), pp. 705–728.
443:
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A. WITH REGARD TO ART MUSEUMS IN GENERAL THE ART WORKERS' COALITION MAKES THE FOLLOWING DEMANDS:
32:
145:. On January 28, 1969, the AWC presented MoMA's director Bates Lowry with a list of 13 demands.
842:
Francis Frascina, "Meyer Schapiro's Choice: My Lai, Guernica, MoMA and the Art Left, 1969-70",
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http://nvdatabase.swarthmore.edu/content/art-workers-coalition-demonstrates-artists-rights-1969
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The Power of Display: A History of Exhibition Installations at the Museum of Modern Art.
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661:"15 October 1969: Moratorium to End the War in Vietnam Demonstrations Around the World"
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in January 1969. Its principal aim was to pressure the city's museums – notably the
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The references used may be made clearer with a different or consistent style of
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The AWC grew out of an incident at MoMA during the exhibition curated by
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Alan W. Moore, “Artists’ Collectives: Focus on New York, 1975–2000,” in
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Collectivism after Modernism: The Art of Social Imagination after 1945
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Mary Anne Staniszewski MIT Press, 1998 - Art - 371 pages, p. 108
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Artists should be paid a rental fee for the exhibition of their works.
48:
36:
865:"The Art Workers Coalition (revisited): a call to participate"
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The 13 Demands that AWC submitted to Lowry were as follows:
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Art Workers Coalition 'Open Hearing' and 'Documents' online
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Kill for Peace: American Artists Against the Vietnam War.
711:"After All These Years, Alan Vega Is Still a Ghost Rider"
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Institutional critique: an anthology of artists' writings
278:. On 15 October 1969, the AWC organized a successful "
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Arts organizations disestablished in the 20th century
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Art Workers: Radical Practice in the Vietnam War Era
495:
Art Workers, Radical Practice in the Vietnam War Era
330:(visual artist, graphic designer, graffiti artist)
878:, No.1, April, 2012, pp. 246–274 (Italian).
590:. Cambridge (Mass.): MIT Press. pp. 88–89.
806:http://www.leftmatrix.com/artworkerscolist.html
79:The Machine at the End of the Mechanical Age.
8:
688:. University of Minnesota Press. p. 5.
800:http://primaryinformation.org/files/FOH.pdf
586:Alberro, Alexander; Stimson, Blake (2009).
501:. Berkeley: University of California Press.
917:1971 disestablishments in New York (state)
894:and Judy Walenta for skillful registration
886:https://www.moma.org/.../MOMA_1970_Jan-Jun
472:"The Art Workers Coalition: Not a History"
114:, American writer and independent curator
942:Arts organizations based in New York City
874:Sonia S. Braga, "Art Workers Coalition",
780:Learn how and when to remove this message
812:Artwords: Discourse on the 60s and 70s.
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937:American artist groups and collectives
922:Arts organizations established in 1969
7:
932:Organizations disestablished in 1971
912:1969 establishments in New York City
563:"Artists Can Build Power as Workers"
709:Holslin, Peter (10 February 2016).
686:Alternative Art New York: 1965-1985
25:
869:Journal of Aesthetics and Protest
294:and a large number of commercial
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844:Journal of Contemporary History
470:Lippard, Lucy (November 1970).
896:; Full article web citation:
659:Springer, James (1969-10-15).
514:Idea Art: A Critical Anthology
1:
159:The demands were as follows:
47:which resulted in its famous
561:Anania, Billy (2022-04-03).
492:Bryan-Wilson, Julia (2009).
814:Page 121, by Jeanne Seigal
155:Statement of Demands (1969)
41:Women Artists in Revolution
958:
81:On January 3, 1969, Greek
640:nvdatabase.swarthmore.edu
298:closed for the day. The
516:. Dutton. p. 102.
665:VIETNAM The Art of War
512:Lippard, Lucy (1973).
311:Notable former members
125:, American artist and
29:Art Workers' Coalition
271:School of Visual Arts
264:Subsequent Activities
65:at the MoMA in 1970.
18:Art Workers Coalition
849:Julia Bryan-Wilson,
684:Ault, Julie (2002).
479:Studio International
37:Museum of Modern Art
300:Metropolitan Museum
821:By Matthew Israel
282:of Art to End the
863:Kirsten Forkert,
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597:978-0-262-01316-1
389:Howardena Pindell
304:Guggenheim Museum
286:." The MoMA, the
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100:kinetic sculptor
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369:Naomi Levine
359:Leandro Katz
354:Frank Hewitt
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344:Hans Haacke
276:Vietnam War
182:committees.
112:Hans Haacke
45:Vietnam War
906:Categories
762:footnoting
670:2022-09-10
645:2018-10-22
621:2018-10-22
572:2022-04-21
547:2022-09-10
457:References
439:Ken Jacobs
379:Lee Lozano
339:Dan Graham
334:Leon Golub
318:Carl Andre
280:Moratorium
214:13 Demands
143:Carl Andre
139:minimalist
132:art critic
54:And babies
450:Alan Vega
364:David Lee
123:Liza Bear
120:Avalanche
770:May 2019
758:citation
716:vice.com
302:and the
98:American
63:Guernica
722:19 July
384:Len Lye
141:artist
69:Origins
51:poster
692:
594:
520:
290:, the
247:files.
106:German
49:My Lai
499:(PDF)
475:(PDF)
419:Takis
86:Takis
888:...
871:, 5.
804:3.
760:and
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690:ISBN
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518:ISBN
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