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Love in this case has been out of the window most of the time and in its underwear. It is difficult in this buyer-seller atmosphere which habitually exists to strike an equitable balance between the two parties. But such a balance must be found in order for art to grow on a large scale and to become an important cultural force in American.
Seemingly here is an example of irresistible force (the artist) meeting an immovable object (the museum), but this is not so. This conference has disproved that. Where understanding and light exists, mountains can be moved.
An analysis of the two opposing forces reveals that they can be made to run on parallel and constructive lines. With effort and thought on all our parts they can be harnessed into a strong team for mutual and universal benefit.
Up to now the weight of responsibility felt by the museum had been so heavy on its shoulder that it has been hard for it to make an objective judgment. The grandeur and secure position held by its art treasures of the past has made the museum hesitant to place contemporary art on an equal footing.
On the other hand the artist has been so eager to obtain recognition that he has been inclined not to see the forest for the trees. In other words his purpose as a creative artist has tended to be warped by his need for approbation by the powers that be.
How to move the mountain?
On the part of the museum, it must unbend from this fevered search for the great genius of today living in our midst and more, relinquish its concern over the genius of tomorrow. There even greater dangers lie.
For in this search the museum may, nay must lose contact with tradition, which is its cultural foundation.
What the museum can only do is to encourage talent on a large scale. It must sow its seed over the maximum amount of soil area. Let the discovery of today's and tomorrow's genius be left to posterity.
This rainbow is never unveiled to the generation of the present.
On the artist's part, he must realize that no amount of eagerness for his own success will bring him nearer to his ultimate goal of perfection. He must remain true to himself-no great artist is a slender reed swaying to the lulling winds of opportunism.
His creative power lies in his ability to sense and reflect his age. He must have an unwavering point of view and pursue it steadfastly.
As Van Gogh wrote: "You can't be at the Pole and the Equator at the same time. You must choose your line."
The Cezannes, the Van Goghs, and the Daumiers stuck to their point of view, and new worlds of beauty were made-stuck to their line regardless of the opinion of their contemporaries. By this I do not mean that the artist is to scorn the understanding of the museum and the people. A wholesome attitude as to the intrinsic or fundamental value of recognition by his fellow man adds dignity and stature to the individual and inspires him.
If the museum will accept more responsibility for all artists of talent, and the artist in turn, not being abased, feels a sense of dignity and equality with the museum, then and then only, the two can meet and enlarge their complete orbit of influence on society.
We must not forget the part to be played by the government, which has so great a responsibility towards culture in the country. An example to it must be set by a complete state of harmony between the artist, the museum, and the people. Proof of what an important part can be played by government in an art renaissance has been shown in the world position of French art today. Without detracting from the high esthetic standards set by the modern French artists, a modern miracle of salesmanship and publicity has been accomplished by the French through teamwork between government, dealer, artist and museum. The same in a minor way is true of Mexico.
Art cannot thrive on apathy, whether it comes from museum, critic, people or government.
Indifference, neglect and watered-down tolerance must be transformed by our thought and work into a passionate flame, a flam the heat of which is felt in everyday life-in mass terms.
Our gains today are merely surface scratchings to what our concerted efforts and those of the people who come after us will bring.
If we are to reach our ultimate goal, conference such as the present one will do much to generate energy.
What should be our goal?
A world where the museum, the people and the artist are one.
Where the economic responsibility is one.
Where human equality as well as esthetic equality exists.
Where black and white and yellow men and women have equal opportunities for recognition and for the development of their individualities, talents and beauties.
A world where true freedom of expression exists along with personal liberty and freedom of opinion.
A world where art is as common as bread to the people and where bread is as common to the artist as art."
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If there were no Artists Equity, such a conference would have remained entirely in the field of speculation and research. the list of resolutions might have proved of great interest to a scholar writing a cultural history of the twentieth century a hundred years hence. However, as it stands now, the Museum Committee of Artist Equity Association with Dorothea Greenbaum and Leon Kroll as co-chairman certainly has its work cut out for it.

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ARTIST EQUITY BUREAU REPORT
So you don't think it is worthwhile to keep Equity Bureau informed of your activities? The summer has brought forth the first really tangible evidence that our agency is workable and can be expanded to serve an ever increasing number of artists.
Syd Fossom let us know that he was in the market and has started work in St. Louis at Washington University after having done a stint in Minneapolis.
Reese Brandt joins Everett Spruce in Texas.
Adolf Dehn is to be guest watercolorist at the Norton Gallery School in Palm Beach.
Max Beckmann will do an additional criticism at the American Art School on Broadway in New York.