Through a wide range of artist projects and programs, Re:Working Labor asks us to locate our respective places in the global labor chain.
Two poets, veterans of university unionization campaigns, chart the growing crisis of the new intellectual working class
I can’t remember being so deeply frustrated by a book that I assumed I would like and find informative.
Not long ago we wrote about a study that took up the question of who is an artist, examining some of the ways in which defining creative workers is difficult. On Monday the National Endowment for the Arts (NEA) added to the conversation by releasing a new data set called “Keeping My Day Job: Identifying U.S. Workers Who Have Dual Careers as Artists.”
Four more artists have joined the boycott of the Biennale of Sydney, and the protest of arts organizations connected to Transfield, a company that manages mandatory offshore detention centers for asylum seekers in Australia, is growing.
How are artists who have been systematically denied fair wages and access to basic services like healthcare and unemployment protections gaining access to those things today?
For more than six months, the Fine Arts Museums of San Francisco have been in the news nonstop. Robert Flynn Johnson, the museums’ curator emeritus, summed it up pretty well when he called the museums’ situation “a state of Orwellian dysfunction.” And that’s just the news that’s been reported.
So far this year I’ve been to two different events that highlight different but related approaches to political organizing among artists here in New York. Just to clarify what I mean by organizing — literally bringing individual artists together into a larger community that can advocate for and create political change around some of the more pressing issues facing independent artists in the city (unstable housing, irregular employment, healthcare, etc), issues which many other groups in the city also face.