W◼A◼G◼E◼WORK

2010 W.A.G.E. Survey

Work

Over the years W.A.G.E. has collected data, written texts and letters, made speeches, videos, and graphics, conducted research, taught and lectured. The materials catalogued below include writing and publications, the 2010 W.A.G.E. Survey, videos, a selected history of artist organizing, a reading list, and writing about W.A.G.E.

Writing

Two Paradoxes, One Reversal and an Impasse: On Organizing the Labor of Artists

_{A text published in Blackout 0: Art Labour, at the invitation of Art Work(ers), a research project by ECAV / Ecole Cantonale d'Art du Valais, November 2017.}

Why Labor Now

The announcement of seven newly certified organizations and some post-inauguration thoughts on why art institutions must confront both social and economic injustice. Circulated February 13, 2017.

What W.A.G.E. is Working On

^{An update on the development of WAGENCY, posted on wageforwork.com on January 19, 2017.}

An Open Letter to 'Artist'

^{An introduction to WAGENCY, circulated November 2016.}

What is Wrong with the Art World

^{A text commissioned (for free) by ARTnews in August 2016 in answer to the question: What is wrong with the art world and how would you fix it?}

An Open Letter to the New Museum

^{Written and circulated in response to the museum's announcement of expansion plans in May, 2016.}

W.A.G.E.N.C.Y.

^{An email exchange with the New Museum, W.A.G.E.'s contribution to Public Servants: Art and the Crisis of the Common Good, 2015. Published in 2016.}

On Value: Wages for Housework & W.A.G.E.

^{Written for and presented at We (Not I) at Artists Space, NY in October 2015, as part of a roundtable with Silvia Federici, Shawn(ta) Smith-Cruz, and Melanie Gilligan, facilitated by Marina Vishmidt.}

On Residency Programs

^{A text written for and presented at The Alliance of Artists Communities Annual Conference in October 2015, representing W.A.G.E.'s initial thoughts on guidelines for compensation within residency programs.}

Online Digital Artwork and the Status of the "Based-In" Artist

^{A text commissioned for SUPERCOMMUNITY, e-flux journal's contribution to the 56th Venice Biennale, 2015.}

On Merit

^{A text written for and read at The Artist As Debtor: Art in the Age of Speculative Capitalism in New York and at Public Assets: Small-Scale Arts Organisations and the Production of Value in London, 2015.}

On Charity

^{A speech given at a dinner at the Museum fur Moderne Kunst in Frankfurt on March 1, 2013 as part of artist Andrea Büttner's exhibition.}

W.A.G.E. FAQs

^{An illustrated PDF, #17 in Printed Matter's Artists & Activists series, published by Printed Matter, Inc., 2012.}

Dear Board of Directors

^{How to announce to your board that your organization is going to pay artist fees, 2012.}

Dear Dad

^{An intervention at the New Museum (all ethics have left the building and mother is turning in her grave), 2010.}

Dear Arts Administrator

^{An open letter to the institution from W.A.G.E., 2009.}

No Soul For Sale 1

^{As requested by X Initiative for publication in Charley Magazine, W.A.G.E. 'reviews' our participation in No Soul For Sale, 2009. No response, never published.}

No Soul For Sale 2

^{As requested by X Initiative for publication in Charley Magazine, W.A.G.E. 'reviews' our participation in No Soul For Sale, 2009. No response, never published.}

2010 W.A.G.E. Survey

A downloadable two-sided poster of the survey results in graphic form is available here.

Introduction

The purpose of the W.A.G.E. Survey was to gather information about the economic experiences of visual and performing artists exhibiting in non-profit exhibition spaces and museums in New York City between 2005 and 2010. The survey was distributed in two parts: one that gathered information about small to medium sized non-profit arts organizations and another that gathered information about large non-profit arts organizations and museums; the questions and structure of each were identical and only differed by their lists of institutions.

The survey was launched on September 22, 2010 and remained open until May 1, 2011. It collected responses anonymously, and was distributed via Web and Email outreach using W.A.G.E.'s mailing list, Facebook, various LISTSERVS, and an e-flux announcement. The combined reach of these mailings was to approximately 50,000 people. A total of 731 respondents provided data about Small to Medium Non-profit Institutions, while 246 respondents provided data about Large Non-profit Institutions and Museums.

This report was commissioned by W.A.G.E. and compiled by Sherry X. Xian of the Survey Research Institute at Cornell University. Her analysis combines the data of both surveys unless otherwise indicated and provides analysis only where significant differentiation within the data was noted.

Demographics

Demographic information is representative of the 977 respondents who began the survey but not necessarily of those who provided specific information about their payment experiences, since only 577 of those who answered demographic questions also exhibited in a non-profit arts institution between 2005-2010.

43% were between 31 to 40 years old.
60% were male and about 2% were transgender.
46% did not rent a studio outside of their residence.
26% spent less than $5,000 in annual studio rent.

Number of Artists who received Any Form of Payment

On average, the majority (58.4%) of respondents did not receive any form of payment, compensation or reimbursement for their participation, including the coverage of any expenses.

Number of Artists who received Any Form of Payment relative to the Number of Artists in the Exhibition

Respondents were asked to define the size of the exhibition within three different categories: solo exhibition, 2-5 artists and 6 artists or more. Results were compared using the number of artists in an exhibition as a factor.

For solo exhibitions, 73% reported that they received some form of payment while 27% received no payment.
For exhibitions involving 2-5 artists, compensation occurred 53% of the time.
For exhibitions with 6 or more artists, 69% did not receive any form of compensation.

Any Form of Payment by Institution

This data illustrates whether or not artists received any form of payment, compensation or reimbursement from specific institutions, including the coverage of any expenses. The institutions included in this table are those for which there were 4 or more respondents.

Significantly more respondents received some form of payment from:

Creative Time (87.5% vs. 12.5% who did not)
Sculpture Center (83% vs. 17% who did not)
Socrates Sculpture Park (86% vs. 14% who did not)
The Kitchen (100% received payment).

Significantly more respondents reported that they did not receive any form of payment from:

Exit Art (88.5% vs. 11.5% who did)
Performa (92.3% vs. 7.7% who did)

Type of Exhibition and Size of Artist Fee received

When respondents reported having received an honorarium or artist fee for their participation in an exhibition, separate from the coverage of any shipping, installation or travel expenses, they were asked to define the amount of within 9 ranges. The following notes any significant differences within those ranges.

For solo exhibitions, 26% received an artist fee anywhere between $2,000 and $4,999, while 19% did not receive any honorarium.
For exhibitions involving 2-5 artists, 47% received an honorarium between $100 and $500, while 22% did not receive any artist fee.
For exhibitions involving 6 or more artists, 48% received less than $300 honorarium, while 40% did not receive a fee.
Number of Respondents per Institution
P.S.1 Contemporary Art Center had the highest percentage of respondents (7%). This may have occurred because P.S.1 was listed on both surveys in error.
A total of 18% of respondents reported that they did not exhibit in any non-profit institution between 2005 and 2010.
18% of respondents exhibited in non-profit institutions not listed in the survey. These institutions were compiled and listed together in an 'Other' category.

Amount of Artist Fee Received by Institution

This analysis does not indicate differences in the size of the artist fee received in relation to the size of exhibition. It provides analysis of the artist fee received by specific institutions.

There was no significant difference between the ranges of payment between the two surveys, which were separated into Small to Medium Institutions and Large Institutions and Museums.
44% of those who exhibited at P.S.1. Contemporary Art Center, and 50% of those who exhibited at Queens Museum of Art reported that they did not receive an artist fee or honorarium.
All of those who exhibited at Smack Mellon received an artist fee or honorarium, with 43% receiving between $100 and $299, and another 43% receiving between $1,500 and $5,000.
59% of respondents who indicated that they exhibited in 'other' small to medium sized non-profit institutions received artist fees ranging from $25 to $300, while 18% did not receive any.

Coverage of Installation Expenses

Respondents were asked how much of their installation expenses were covered by the institution using four different categories: None, Partial, All, and Had No Expenses.

42% were fully covered by institutions for their installation expenses.
34% were partially covered.
10% were not covered.
The remaining 14% had no installation expenses.
Gender differences in the Coverage of Travel Expenses
69% of female respondents reported that they did not have any travel expenses, and of the remaining 31% who did, only 10% of them were partially or fully compensated for their expenses.
45% of male respondents reported that they did not have any travel expenses, and of the remaining 55% who did, 50% of them were partially or fully compensated for their expenses.

The 2010 W.A.G.E. Survey poster, designed by Common Space Studio and including a drawing by William Powhida, can be downloaded here. Published in 2012.

Videos

Made in response to an off-the-cuff remark by the Artistic Director of dOCUMENTA (13). 2013. We R not amused. Watch in full screen for best effect! Or view here.

Creative Time presents Democracy in America: W.A.G.E. at the Park Avenue Armory. 2008. Video by Benjamin Brown.

W.A.G.E. Womanifesto, broadcast on Manhattan Neighborhood Network, made as a Performa09 TV Commission with CIRCULAR FILE.

W.A.G.E. RAGE, broadcast on Manhattan Neighborhood Network, made as a Performa09 TV Commission with CIRCULAR FILE.

Dear Arts Administrator, broadcast on Manhattan Neighborhood Network, made as a Performa09 TV Commission with CIRCULAR FILE.

Precedent

1933: Public Works of Art Project (PWAP)

Prefiguring the Federal Art Project (FAP), the Public Works of Art Project (PWAP) was organized by the Civil Works Administration "to give work to artists by arranging to have competent representatives of the profession embellish public buildings." Lasting less than a year, it provided employment for approximately 3,700 artists who created nearly 15,000 works.

1934: Artists' Committee of Action

Fighting censorship and advocating for artists' interests and welfare, the Artists' Committee of Action was formed by Hugo Gellert, Saul Belman, Stuart Davis, and Zoltan Hecht soon after a protest they had organized in response to the destruction of Diego Rivera's pro-labor mural at Rockefeller Center.

1934: The Artists' Union

Based in New York City, The Artists' Union was a leading voice for unemployed artists, advocating within the Works Progress Administration-Federal Art Project (WPA/FAP) for more positions, better pay and working conditions, and lobbying against proposed cutbacks. Beyond the WPA/FAP, the Artists' Union fought censorship, lobbied for permanent federal funding for the arts, and for a Municipal Art Gallery in New York City in response to the destruction of Diego Rivera's mural at Rockefeller Center. After the gallery opened, they fought to remove a provision that excluded foreign-born artists from exhibiting work.

1935: Federal Art Project (FAP)

The visual arts division of the New Deal/Works Progress Administration provides employment for approximately 5000 artists across 48 states through the Federal Art Project until 1943.

1936: American Artists' Congress/Art Front

Organization founded in 1936 in response to the call of the Popular Front and the American Communist Party for formations of literary and artistic groups against the spread of Fascism. In May 1935 a group of New York artists met to draw up the 'Call for an American Artists' Congress'; among the initiators were George Ault, Peter Blume, Stuart Davis, Adolph Denn, William Gropper, Jerome Klein, Louis Lozowick, Moses Soyer, Niles Spencer and Harry Sternberg. Davis became one of the most vociferous promoters of the Congress and was not only the national executive secretary but also the editor of the organization's magazine, Art Front, until 1939.

1968: Canadian Artists' Representation/Le Front des artistes canadiens (CARFAC)

Established by Canadian artists in 1968, CARFAC is the national voice of Canada's professional visual artists, defending artists' economic and legal rights and educating the public on fair dealing with artists.

1969: Art Workers' Coalition

What preceded our efforts? The Art Workers' Coalition: read their Published Documents and Open Hearing Documents courtesy of Primary Information.

1969: Black Emergency Cultural Coalition (BECC)

In the New York Public Library's Archives: the Black Emergency Cultural Coalition was organized in January 1969 by a group of African American artists in response to the Metropolitan Museum of Art's exhibition, Harlem on My Mind.

1969: The Guerrilla Art Action Group (GAAG)

Formed in October 1969 by artists Jon Hendricks, Poppy Johnson, Silvianna, Joanne Stamerra, Virginia Toche and Jean Toche, GAAG used violent-non-violent direct action to attack and ridicule an (art) establishment corrupted by profit and private interest. Sound familiar? Blood Bath. Cockroach release. Letters. Manifestos. Licensing cards.

1971: Seth Siegelaub's The Artist's Reserved Rights Transfer And Sale Agreement

Until things change: use this document. Hans Haacke still does.

1972: Boston Visual Artists' Union

An artists' union forms in Boston and remains active until 1979. In 1977 members of the BVAU protest the $4 entry fee for "The Massachusetts Open" at Worcester Art Museum.

1972: International Wages for Housework Campaign

Founded in 1972 with the publication of Power of Women and the Subversion of the Community by Mariarosa Dalla Costa and Selma James, the International Wages for Housework Campaign demanded remuneration from the state for unwaged work in the home and community, asserting that the work women do outside of the market produces the whole working class - and thus the market economy, based on those workers, is built on women's unwaged work. Out of this movement came Black Women for Wages for Housework, Wages Due Lesbians, the English Collective of Prostitutes and WinVisible (women with visible and invisible disabilities).

1973: Hollis Frampton

Some things never change: The elucidating letter written to MoMA's Curator of Film by Hollis Frampton in 1973.

1974: Comprehensive Employment and Training Act (CETA)

An extension of the WPA, CETA was enacted in 1973 to train workers and provide them with jobs in the public service. Under it, artists were recognized as chronically unemployed and in 1974 the San Francisco Arts Commission initiated the CETA/Neighborhood Arts Program, employing artists as salaried, community-based cultural workers. Providing free performances, workshops, classes, and exhibitions, CETA artists were pivotal to the revitalization of neighborhoods by bringing with them critical funding that sustained small cultural organizations serving Black, Hispanic, Asian, and Native American communities. By the late 1970s CETA was the largest public funding source for the arts, employing over 10,000 artists nationwide with an annual budget in 1978 of 75 million. In New York, the formation of CETA Artists Organization (CAO) served to unify artist workers. While not recognized as a collective bargaining unit, it advocated for more jobs under CETA and to make the program permanent. It also worked with non-artist CETA workers, including District 37 Municipal Labor Union.

1975: The Second American Artists Congress

Almost 40 years after the first congress in 1936, Survival!, the second convening, is hosted by the Boston Visual Artists' Union, the largest individual artists organization in America.