Page 24 - Studio International - December 1973

Photos: Marc-Jean Masurovsky

Board from staff membership, individuals 24 October. British artist Barry Flanagan, sympathetic towards PASTA/MOMA,
holding seats on that Board were abdicating whose one-artist show was scheduled to open at continued to work, choosing to honour their
their crucial responsibility to deal with the the Museum on 29 October, announced the own 'no strike' clauses. Thus, with management
strike concretely. Their behaviour seemed to postponement of his show until after the strike personnel and 'scabs' working, and most
invite the conclusion that status and tax and affirmed his support of the union's action. members of other unions remaining on the job,
advantages were, indeed, the Trustees' Flanagan's letter to Richard Oldenburg, the Museum stayed open for business.
primary interest - not the management of one posted that day, stated : And so the public entered the conflict,
of the most important museums in the world. `With regard to the internal problems of the having to choose between the striking workers
The choices confronting the union were Museum of Modern Art and the strike action (and the art community which supported them)
propriety or survival. In committing itself to the of PASTA/MOMA representing the museum on one side, and the Museum Trustees and
latter option, the union had no choice but to staff: administrators on the other side. Many people
keep battering at the facade of cultured 'An early postponement of the exhibition of stayed away from the Museum altogether and
progressivism maintained by Trustees and art work should have disqualified my direct attendance dropped considerably (some
administrators. (In fairness, it should be noted alignment in this dispute. However, I had to estimates from inside were a drop of from
that at least one Trustee was reported to be decline the personal assistance of William S. 5o% to 75%). Anyone approaching the Museum
playing an active role. Chairman of the Board Rubin, Director of Painting and Sculpture, was offered a detailed fact-sheet which
William S. Paley, while not present during to mount and hang the exhibits as explained the issues. Each person who chose to
negotiations, was reported to be one of the unsatisfactory, before postponement was enter the Museum, especially if he or she did not
primary architects of the Museum's communicated to the British Council who are the take a moment to study the issues, was harassed
negotiating strategy.) joint sponsors. As the situation and my position as much as legally possible. Some of these
As the days passed, the union's commitment become clearer, a statement of my opinion and people were bewildered, others indignant at the
remained firm and Richard Oldenburg's observation is called for. barrages of verbal abuse. Most simply could not
prediction that people would soon 'trickle in' to `When it is neither the policy nor the capability or would not understand the hypocrisy of
work proved erroneous. (Oldenburg, of management to give in its leadership, there crossing a picket line to 'enjoy art' when the
incidentally, steadfastly refused to participate lurks the bitter ingredient of government. I very people who selected, installed and
in negotiations or to speak to his striking staff, would like you to know of my support of this preserved that art were involved in a strike
a complete turnabout from his posture the year strike action; and postponement of the show is supported by artists themselves, including
before. After 14 weeks of negotiations and four a proper course of action in the light of the many artists represented in the Museum's
additional weeks of a strike, the union's circumstances.' permanent collection. Therefore, mingled wi
attorney had not even met the Museum's The British Council, co-sponsor of all a desire to inform the public was the desire to
Director.) exhibitions of work by British artists in the make museum-going as unpleasant and guilt-
Picket lines remained in force in front of the Museum's projects series, supported ridden an experience as possible. Museums like
Museum and at the delivery entrance on a Flanagan's position. the Modern may be privately owned, but their
24-hour basis, and picketers became While the Flanagan show was the first art constitutes a public legacy, the legacy of
increasingly militant. Many deliveries to the exhibition affected by the strike, the Museum's generations of artists and museum workers. Is it
bookstore warehouse were stopped by film projectionists decided at the outset to honour so surprising when museum workers finally say
picketers there, and attempts to establish a the picket lines, thereby forcing the suspension to the public: 'You owe us !'
`secret' warehouse were foiled when the union of MOMA's popular film programme, normally The conventional wisdom is and has been
located the new space the day after the Museum consisting of at least two and sometimes three that, just as it is necessary for artists to starve, so,
rented it. Meanwhile, mediation sessions screenings per day. Their decision was too, must museum workers accept their
called by the State Mediator on 16 and 17 courageous considering the presence in their exploitation without complaint.Workers in the
October produced no significant results. contract of a clause forbidding them to stay out arts are expected to be self-sacrificing and, above
While artists had been supporting PASTA/ because of a strike by another union. However, all, polite. Yet in 25 years, when so many
MOMA on the picket line from the outset, an members of other unions within the Museum products of today's society will be scrapped or
important announcement was made on (guards, custodians, etc.), while clearly obsolete, people will still come to museums to
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