![]() “Our valued and engaging staff are the face and backbone of our museum, and in embracing this agreement, we are investing in the long-term vibrancy of an organization that was founded by artists and remains dedicated to the promotion of the arts as a public good in Los Angeles,” he said. MOCA Director Klaus Biesenbach pledged to negotiate “an equitable and sustainable” contract with Council 36. ![]() ![]() “We are thrilled the MOCA board will voluntarily recognize our union, and we look forward to working together to start a new partnership to serve our community through appreciation and education of the art we love.” That’s what organizing is all about: giving workers a voice on the job so that we can improve conditions for employees and the experience for our community,” said Christine Samples, a MOCA gallery attendant. “We care about MOCA and we want to make it better. The new agreement formalizes a bargaining unit that will negotiate a contract with MOCA, according to a joint news release both sides issued Friday. Additionally, a group of workers marched on the boss to present their demands, which included greater transparency in the workplace, higher wages and greater control over their own schedules. They demanded voluntary recognition and filed an election petition with the National Labor Relations Board. Two weeks ago, more than 120 MOCA staff members told museum leaders that they intended to join together for form a union through AFSCME District Council 36. Major art and architecture exhibitions are presented in skylit galleries leading off the sunken court.After workers at the Museum of Contemporary Art (MOCA) in Los Angeles sought a voice on the job, MOCA voluntarily agreed to recognize their union based on signed cards, precluding workers from having to hold an election. The sole compensation for the CRA’s stupidity is this jewel-like cluster of geometric forms, clad in rough-textured red sandstone, hunkered down amid the office towers. MOCA remains an oasis of low-rise tranquility with a deliberately different layout from traditional museums. At its opening, critics derided the building’s windowless, blank wall along the Grand Street sidewalk, but Isozaki deliberately designed the building to face inward towards the California Plaza development. East Asian traditions were referenced with the play between positive and negative (building and courtyard) space. Isozaki chose forms and shapes for the building that were vaguely traditional, but mostly abstract. Only four of its seven levels are above the street level.Īdministrative offices are located at the level of Upper Grand Street under a barrel-shaped roof. Under and around the courtyard are the public galleries. The entrance is marked by an arch leading to a subterranean terraced courtyard. Japanese architect Arata Isozaki created a contrast to the extreme heights of the Bunker Hill glass-and-steel high rise towers by designing MOCA as a sunken, red sandstone-clad space. In addition to private donations, funds for MOCA came from a 1.5 % allocation of budgets from Bunker Hill development projects required to go towards public art. When the Museum of Contemporary Art in Los Angeles (MOCA) opened its permanent quarters at California Plaza in 1987, Bunker Hill was a multi-level landscape of sprouting skyscrapers. © Installation view of URS FISCHER, April 21–August 19, 2013, at MOCA Grand Avenue, courtesy of The Museum of Contemporary Art, Los Angeles, photo by Brian Forrest Text by the Architects / MOCA
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