Page 21 - Studio International - December 1973

Cocerning During our meetings in London and Amsterdam individual artist's achievements. It happens
the artists' union has frequently been a subject frequently, however, that members make the
the Dutch artists' for discussion. We in Holland offer our long mistake of thinking that their artistic problems
can be solved with the help of those colleagues
experience of more than 25 years with our
union artists' union `beroepsvereniging van beeldende who have kept the union in operation. Nothing
kunstenaars'.
could be less true: every artist recognizes his
In our last discussion in Amsterdam, the own problems in his studio and that is a battle
objectives and interests of an artists' union which he alone can solve. The union can and
were the subjects of our conversation and it was must be very critical towards society without
asked if the artists' union had any influence on being allied to any political party. The union
the development of art. The exact content of should operate as an artists' union but never try
that discussion I no longer remember — it could to resemble a political party. It can only act in
have been the late hour or the splendid wine — sympathy, or even declare its solidarity, with
which brings me now to a continuation of that particular points of a political programme when
conversation on paper, somewhat justified and they refer to the specific interests of artists.
clarified from my side. I shall attempt to After many years of formulation and
formulate what I meant to say at the time about deliberation within an ever changing political
the artists' unions in Holland, although the context, has the position of the artist really
article on this subject in Studio International improved ? Certain groups of artists claim that
(July/August 1973) gave such an incorrect and nothing has been achieved so far; I maintain
incomplete picture that I have no wish to discuss that the social position of the artist is firmly
this further. protected due to our efforts and that the working
Whether or not an artists' union can influence climate is comparatively favourable to the artist.
the development of art and/or stimulate art is This may sound rather smug and there are
irrelevant. As long as there is life there is art, certainly innumerable improvements to be
art is life and gives hope for survival. made, but my mild satisfaction must be seen
A union in principle influences nothing in principally in comparison with the difficulties
this respect. which exist for artists abroad.
During and after World War Two it became In a society motivated purely by economics,
clear to individual artists that their freedom art and culture are merely ciphers. Every
would be protected, and an explicit statement of attempt at breaking down the system is
their individual and collective interests would be identified, bent in another direction, wrapped
made only if they took a strong collective stand. up and presented as an economic, modish and
The first artist's union originated from that cultural article, and its original intention is
situation. completely lost.
There is little point in giving here a detailed With these facts, with the words 'art and
historical survey. Broadly, the union in Holland culture' on the banner of every political party
has been developed and continued through the and with all the democratization of art
efforts of the artists themselves and in fact too policy, which naturally has to cost nothing, we
much is required from each individual. have to find a way to a more creative world.
Consequently the activity is a bit spasmodic, but Every link in society possesses a particular
what can be expected from a union which has voltage and each is proportional to the other.
scarcely i000 registered members ? There The energy for the voltage is assembled
are members who can barely afford the through individual contribution. It is not of
annual contribution. A greater problem is direct importance to know how much energy
involving the members of the union; how are every individual produces, society should be
they to be motivated and made expert enough to made responsible for when the individual
collectively plead their cause in the outside cannot supply the optimum contribution.
world ? Often dry business matters can be It is one of the tasks of the union to
transacted over a pint but different arguments anticipate similar problems and discuss them.
are needed at the negotiating table. Yet the It should also be aware of social changes. The
fact that the artist feels responsible towards danger lies in the union losing itself quickly in
society and wishes to bear some responsibility social processes without either the group
forces him to formulate his own wishes and or the individual having understood the
desires. The task of the union is to canalize motivation.
points of departure, to co-ordinate and formulate If the artists' union in Holland wants to
a dialogue with society and those who govern continue to influence events, in however
society. limited a way, then it must learn to limit itself,
The union to the outside world is no more and to involve and motivate its members to a
than a group of individuals, defending their greater degree. Only then can problems such
collective interests and conferring with official as the relationship of art and society gain any
bodies, who could make an essential real meaning.
contribution to the position of the artist. Finally, let us not forget that the world was
[This article constitutes a reply to 'The artist as an From the inside, the union is the co-ordinator not made for the strongest — and who would
individual: The Artists' Union in Holland' by of individual and collective problems and it dare to say such a thing in an era when mothers-
Barry Martin, which appeared in July/August 4. formulates its own wishes and desires. It is milk has practically dried up ? q
1973, P. 2.] never responsible for the success or failure of an JOSUM J. WALSTRA

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