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98 and 99 three factors are common enemies which impede the development of new cultural forms, logically enough the conclusions dealing with this problem were unanimously adopted by our Assembly in the following terms: The artists' means of struggle against imperialism, Fascism and war consist fundamentally of Trade Union organizations, an essential point of which is the defense of all rights won by the working class. The artists' means of struggle also include the open revealing of all crimes and criminal attempts practised against intellectuals and artists in fascist countries, and the waging of an intense campaign against the forces which are leading humanity toward a new massacre. The artist's economic problem was taken up in four papers touching on the following groups of artists; all workers in the Plastic Arts, Artist-Teachers, and workers in the popular arts. In connection with this discussion a very interesting paper was read on the subject, "The Artists' and Workers' Organizations." First of all we shall take up the problem of the artist-teachers in Mexico. Because of economic pressure the vast majority of artists are forced to lend their services as teachers of drawing and other manual arts in government as well as private schools. Because of the artist's lack of pedagogical training, however, a great deal of his work as teacher is sterile and his own creative energy becomes atrophied in this activity. The Assembly's conclusions on this problems were focused mainly on the necessity of removing artists without any pedagogical training from teaching jobs and instead, obtaining material and financial support for them to enable them to continue their work as creative artists. How do we propose to do this? The organization of artists into trade unions and the relation of these unions to all other working class organizations offers the preliminary key to our plan of action. The work of art is a commodity, subject like all other commodities to fluctuations on the market. Art galleries constitute the middle-man between the artist and his public, between producer and consumer. The crises through which art galleries are passing in the entire capitalist world, however, offers certain specific problems which must be clarified. The work of art has been considered an article of luxury accessible only to the leisure class. There is a no doubt that the acquisition of so-called articles of luxury takes place only after the primary necessities of life, such as food, clothing, habitation, etc., have been fulfilled. But is it true that work of art is an article of luxury to be enjoyed by a prviledged minority? Does not the work of art fill a higher function within the complexity of human relationships? We shall go a step further. What should be the real function of the artist and his work today? If we accept the fact that the organization of artists into trade union groups is necessary for the defense of their interests, and if this organization struggles for economic betterment, is it not logical that the most direct way of placing our work, our art, before the working masses, should be through a system of inter-trade-union cooperation? Therefore we adopted the following concrete proposals: The immediate establishment of a Cultural Section within trade unions and other syndicate organizations, these cultural groups to be under the leadership of members of the Artists' Union. The object of this Section will be to raise the cultural level of the masses by means of lectures, concerts, exhibitions, theatre performances, etc. Payment of the artists' services as well as the sxpenses entailed in the organization of this work, will be met by the works themselves by means of a cultural stamp to be sold at a minimum of five cents each. Each worker will be obliged to buy one stamp every month. The amount obtained by this assessment will be used to finance mural decoration in the different trade union headquarters, to publish book, pamphlets in accord with the Artists' Union cultural program, and to give theatre performances. All these activities will be directed by members of the Artists' Union all of whom will be paid for their work. This plan of cultural activity destine to penetrate the ranks of the masses, has enormous possibilities in Mexico. The League of Revolutionary Workers and Artists in Mexico and other organizations are already working toward the effective realization of this plan. It is not our task to resent the problems offered by this plan in details. You know your own environment and its particular problems. We want, however, to present the general idea for your consideration. The outstanding advantage of this plan lies in the fact that it gives the workers in every field of art an opportunity to carry on his own work within a constructive system of cooperation, intimately bound up with the problems and struggles of the working class. We are submitting a details plan of organization based on the general idea already expounded to the permanent committee of the America Artists' Congress for discussion and approval. Resolution The Chairman: I have commentary by no means irrelevant to make. United States Congressman Vito Marcantonio and other leaders were arrested in a demonstration of fifteen thousand WPA workers in this city this afternoon. I have before me a resolution which has been offered up by Mr. Blanch. The resolution reads as follows: Whereas, the American Artists' Congress is a body of creative workers gathered to defend their interests in cooperation with other progressive workers, and Whereas, the demonstration of fifteen thousand workers of the WPA in New YorK City today, February 15, in defense of their rights, was attached by the police, be it Resolved, that the Artists' Congress hereby declare its support of the WPA workers, and its condemnation of the arrests made of demonstrators and demand their immediate release. (The resolution was seconded and carried. Telegrams were sent to Mayor LaGuardia and Mr. Victor Ridder, New York WPA administrator.) **** A paper was read from the floor by Stuyvesant Van Veen on problems of the revolutionary artist.
