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is a living danger, today greater than ever, that the germs of intolerance may so infect our system that the ends and conditions of life, which are most essential to us as artists, may be smothered in the general sickness of our social system.

I therefore move that "whereas the present German government, judged by the Statements of their own leaders, has suppressed freedom of religion and freedom of thought, and 

Whereas they have exiled or caused to live in exile, many of their greatest scientists, writers and artists —

Be it now resolved that the Members of the Artists' Congress will take no part in the exhibition of paintings to be held in concurrence with the Olympic games in 1936, and they further urge all other American art societies and individual artists to refuse to exhibit in Germany, as a protests against the spiritual intolerance and suppression of free thought, which the present German government not only condones but openly boasts of.

(This resolution was unanimously adopted.)

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ARTISTS MUST ORGANIZE

HEYWOOD BROUN

I want to talk of the undoubted fact—of the vital fact— that the artists and writers of America must organize, and organize along trade union lines and principles. It is good to have meetings in which the artist gets up and states his opposition to Fascism. To make that opposition good, he must make good through organization; and I see no other way except the organization through labor lines. I think it is enough to say that the future of art in America must come through a closer contact with labor. 

I would not say that there had not been certain notable things done in art by Americans, but I am disappointed on the whole. I wrote a column the other day in which I stated, perhaps erroneously, that as soon as you cross the border in Mexico, you wherever there is a broad wall four or five Mexican artists to paint on it. I though perhaps that was due to a certain native genius in the Mexican artist. I am probably wrong about that. The reason seems to be in the unity of purpose art has with labor in Mexico. This statement is portably true because Mexican art exemplifies the life and thought of the Mexican people as a whole.

I wonder whether American art might not begin to step with labor. The highest prize given to an artist this year was a prize given to him by the United Mine Workers of America. As labor moves along the economic and the political front, it moves along the cultural front at the same time. There is the goal of the American artist.

What is the American artist fed on today? He is fed on what is called taste—the taste of the American people. I think we must get back to something better, greater than taste, and that is emotion; and where do you get emotion except out of the masses? So I say as a fellow artist, get together with labor. Get to know the aspirations, the ideals of the masses, and then art will be put back on earth. Then art will go ahead, lickety split, buckety bucket, here in America! 

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