“what it means to bother to know someone … is really a story about what it means to be known.”
—Mandy Len Cantron, “To Fall In Love With Anyone, Do This,” NY Times, January 9, 2015
“members and allies of this ‘field’ must leverage what power we are given within the commercial and academic (and also increasingly civic) spheres as ‘cultural workers’ to position ourselves outside, and in resistance to, these hegemonic power structures. As artist-centric institutions, this means using radical forms of participation to forefront self-organized, inclusive and equitable structures – this means creating new social imaginaries.
If our failing institutions are based on market capitalist economy, authoritarian republics and eurocentricity – then our ‘alternative’ institutions by necessity must be based on decentralized cooperative economics, participatory democracy, equality and ecology.”
—Sarrita Hunn, “Artists for Artists’ Sake,” Temporary Art Review, October 19, 2015
“Someone who is highly self-aware knows where he is headed and why; so, for example, he will be able to be firm in turning down a job offer that is tempting financially but does not fit with his principles or long-term goals. A person who lacks self-awareness is apt to make decisions that bring on inner turmoil by treading on buried values.”
–Daniel Goleman, “What Makes a Leader,” Harvard Business Review, January 2004.
The simple answer is that you should get paid when someone is profiting from your labor.
…However, providing content or services to a friend without being compensated does not mean that one is being exploited. If the terms of the exchange are mutually agreed upon, and if one person isn’t immediately monetarily profiting from the labor of the other, then it may well be a fair exchange, and one that is part of how solidarity and community are built within the field. W.A.G.E. advocates for equitable compensation, not for the total monetization and commodification of every aspect of our lives; we leave that to neoliberalism.
—W.A.G.E. as quoted by Bean Gilsdorf, Help Desk: Support for Artists, Daily Serving, May 25, 2015
many artists who are commissioned by producers are already successful gallery based artists, being brought into the public realm with a support team in place.
The speakers acknowledge the need to change institutional structure in order to allow new forms of public art to emerge, and the need for artists, producers and curators to gain skills to make public art work in reality. Another change that might be interesting to explore is how public art could shift hierarchies, and allow artists at different stages of their career to develop projects they have already initiated.
—Katy Bienart, “Lighting the touchpaper: Public art as situation or spectacle,” Public Art (Now) blog, April 27, 2015
money problems are the best problems to have, because when you get some money it goes away. It would be worse if I felt that the work we’re doing was irrelevant.
—Lia Gangitano, founder of alternative art space Participant Inc., as quoted by Andria K. Scott, “Consider the Alternative,” New Yorker, Feburary 16, 2015
“…these hack crowdsourcing campaigns that certain agencies are selling to [companies]. There are lots of folks doing very cool things with user-generated content, but to ask professionals to compete against each other for potential ‘exposure’ is completely different. It’s demeaning…”
—Dan Casaro, as quoted by David Griner, “Meet the Hero Designer Who Publicly Shamed Showtime for Asking Him to Work for Free,” Adweek, August 19, 2014
Showtime holding a spec design contest to promote a Mayweather fight!? Please. What nerve! They’re raking it in hand over fist by overcharging fight fans for over-hyped, disappointing pay-per-view events. I’d love to see a contest where they’re obliged to use the most voted-upon entry, and only terrible art is submitted. Cheers to Dan Casaro, speaking up for designers everywhere.