Contrat pour la Préservation des Droits de l'Artiste sur Toute Oeuvre Cédée
4, [4] pp. Large folded sheet, holes punched as issued. Brussels: Herman Daled, [1971].
The scarce French version of Seth Siegelaub’s fabled “Artist’s Contract.” The document originally appeared in English, designed by Cristos Gianakos and published by the School of Visual Arts in 1971. It was subsequently translated into German, Italian, and French. The French translation was done by Michel Claura and then published by collector Herman Daled.
“Commonly called the Artist’s Contract, this template agreement was initiated by Siegelaub and drafted by Robert Projansky after Siegelaub carried out what he described as ‘extensive discussions with over five hundred artists, dealers, lawyers, collectors, museum people, critics’ and others in the art world, to find out if they believed such a contract would be effective. Siegelaub, in the wake of the debates and lectures on the subject of artists’ rights organized by the Art Workers’ Coalition, was inspired to take this action by European legislation, most notably the French notion of droit de suite, to give artists greater control over the conditions of exhibition and reselling of their work sold or donated to collectors or institutions. The contract’s fifteen percent clause, which granted them a significant share of the added value if their work was resold, remains the primary point of contention in a debate that continues to the present day.”
In excellent condition.
❧ L. Coelewij & S. Martinetti, eds., Seth Siegelaub: Beyond Conceptual Art (2016), pp. 226-27 (all four versions pictured).
The scarce French version of Seth Siegelaub’s fabled “Artist’s Contract.” The document originally appeared in English, designed by Cristos Gianakos and published by the School of Visual Arts in 1971. It was subsequently translated into German, Italian, and French. The French translation was done by Michel Claura and then published by collector Herman Daled.
“Commonly called the Artist’s Contract, this template agreement was initiated by Siegelaub and drafted by Robert Projansky after Siegelaub carried out what he described as ‘extensive discussions with over five hundred artists, dealers, lawyers, collectors, museum people, critics’ and others in the art world, to find out if they believed such a contract would be effective. Siegelaub, in the wake of the debates and lectures on the subject of artists’ rights organized by the Art Workers’ Coalition, was inspired to take this action by European legislation, most notably the French notion of droit de suite, to give artists greater control over the conditions of exhibition and reselling of their work sold or donated to collectors or institutions. The contract’s fifteen percent clause, which granted them a significant share of the added value if their work was resold, remains the primary point of contention in a debate that continues to the present day.”
In excellent condition.
❧ L. Coelewij & S. Martinetti, eds., Seth Siegelaub: Beyond Conceptual Art (2016), pp. 226-27 (all four versions pictured).
Details
Title
Contrat pour la Préservation des Droits de l'Artiste sur Toute Oeuvre Cédée
Author
SIEGELAUB, Seth
Condition
Unknown