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Community Art Center
[edit]The Community Art Center Program was developed as part of the greater New Deal program in 1936. The New Deal included a series of programs and public projects in which they funded visual arts. One of these programs was the Community Art Center Program. The first federally sponsored community arts center opened in Raleigh, North Carolina in 1936. The New Deal and its projects help establish over 100 community art centers throughout the nation.
The Community Art Center projects created jobs throughout the country. It also sustained jobs for thousands of Americans during and after the Great Depression and established environments where craft workers and artists worked, exhibited, and educated others. The project alone created more than 100,000 separate works, and many of which contain some of the nation's most valuable art. The day to day included art classes, marbling public halls and buildings, building schools, and other interests that motivated artists, or anyone in the field. The Community Art Center Project also provided interest in exhibitions by trying to encourage people to purchase their work. This project was specifically programmed to find local sponsors for artists and their art, and a location for them to work/present in. This is how the program got artists on the payroll.
Although the Community Art Center programs and their goals were to provide jobs for artists and other unemployed citizens in the U.S., it also left legacies in their communities. Post-Great Depression, even after the FAP dissolved, community art centers throughout the U.S. stayed afloat. For example, the Centennial Art Center in Nashville, Tennessee was one of the many original art centers in America as it started in 1933 but was later used as housing during the Civil Rights Movement in the 1960’s. Then, in 1972, the center's bathhouse and swimming pool was converted into what we know today, and officially back as the Centennial Art Center. Funding for these community programs was not easy in the beginning as city and state leaders would have their indifferences. In an interview with Miltred Baker, who was part of the College Art Association, stated that funding was rare for many states she looked over when the New Deal first began, and Community Art Projects were established. One of the states she mentions was Missouri as the board members would make it almost impossible to get anywhere and frustration between unemployed artists and the government increased.
On the other hand, Donald Goodall was a director of the WPA community art center in Utah during the 1930’s and early 40’s. Unlike Missouri at the time, Goodall mentions that the Utah State Institute of Fine Arts was extraordinarily well adapted in its structure for a sponsorship in the arts. In other words, it was possible to increase the state appropriation for the arts and its finances without the difficulty of procedural limitations.
Notable Community Art Centers in the U.S.
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Background
[edit]The Federal Arts Project (FAP) was funded under the Emergency Relief Appropriation Act of 1935. This was one of many projects organized in the New Deal under Franklin D. Roosevelt, and post-Great Depression. The FAP’s goal was to educate citizens all while providing jobs. Although the Community Art Center Program was a relatively small part of the FAP, it still projected its overall goals. Their goals were to employ out-of-work artists in public spaces so that they can create graphic designs, murals, paintings, take photographs, and many more. It was because of these goals the Community Art Center Program targeted areas that were rural/desert areas, poor urban neighborhoods, or other cities that were considered “culturally needy.” This was one of two goals while the first was to provide democratic access to culture.
It is clear this program has had an impact positively around the U.S. as it emphasized on the participation in the production process rather than simply appreciating the finished product. The traditional community art center program in the 30’s encouraged artists to work, and encouraged people to become artists. The people employed in these centers were teachers, former teachers, artists, and project bureaucrats. Over 10,000 artists either worked for a Community Art Center Program, or became notable for their impact and art. Generally, the Community Art Center Project not only brought art to people throughout America, but it also brought together people of diverse racial, religious, and cultural backgrounds through creativity.
Notable Artists
[edit]Berenice Abbott Gertrude Abercrombie Jack Markow Mercedes Matter Jan Matulka Hugh Mesibov Sheva Ausubel Henry Bannarn Belle Baranceanu Patrociño Barela Richmond Barthé William Baziotes Lester Beall Aaron Berkman Robert Blackburn Lucile Blanch Lucienne Bloch Aaron Bohrod Ilya Bolotowsky Adele Brandeis Louise Brann Edgar Britton Manuel Bromberg James Brooks Selma Burke Letterio Calapai Samuel Cashwan Giorgio Cavallon Daniel Celentano Dane Chanase Fay Chong Claude Clark Eldzier Cortor Arthur Covey Alfred D. Crimi Francis Criss Robert Cronbach John Steuart Curry James Daugherty Stuart Davis Adolf Dehn Willem de Kooning Burgoyne Diller Isami Doi Mabel Dwight Ruth Egri Jacob Elshin George Pearse Ennis Angna Enters Philip Evergood Louis Ferstadt Alexander Finta Joseph Fleck Seymour Fogel Todros Geller Eugenie Gershoy Enrico Glicenstein Bertram Goodman Arshile Gorky Harry Gottlieb Blanche Grambs Morris Graves Balcomb Greene Philip Guston Irving Guyer Abraham Harriton Marsden Hartley Knute Heldner August Henkel Ralf Henricksen Hilaire Hiler Louis Hirshman Donal Hord
Impact
[edit]Although the Federal Arts Project dissolved in 1943, its projects still have an impact to this day. The National Endowment for the Arts is the largest single funder of arts across America. The NEA accomplishes its funding for the arts by combining the majority of its funding with other local, state, and even federal agencies. Cities are getting grants to help expand and update centers throughout the U.S. The reason for such grants can come for multiple reasons. Recently in April of 2022, a community art center in Johnstown, Pennsylvania received a $13,000 grant for the services it provided for its small community. The grant was specifically used to expand the Log Art Theater Academy for the Cambria Community Art Center. The academy provides children and young adults who have interest in acting, singing, dancing, an environment to express themselves and experience performance art at an early age. Philadelphia has its own share of problems when it comes to graffiti and vandalism. Recently funding the Tacony Art Center to educate children on art and how they can express it in ethical ways by providing classes for free. Another art center in Philadelphia, Northern Liberties, is also getting funded for providing art classes and activities for kids with a lot of free time.
[1][2][3][4][5][6][7][8][9][10][11][12][13][14][15]
Images
[edit]![](http://upload.wikimedia.org/wikipedia/commons/thumb/8/8d/Eccles_Art_Center_Ogden_Utah.jpeg/220px-Eccles_Art_Center_Ogden_Utah.jpeg)
![](http://upload.wikimedia.org/wikipedia/commons/thumb/5/58/Harlem-Art-Center-Poster.jpg/220px-Harlem-Art-Center-Poster.jpg)
![](http://upload.wikimedia.org/wikipedia/commons/thumb/4/4b/Two_children_at_the_Harlem_Community_Art_Center_in_1939.jpg/220px-Two_children_at_the_Harlem_Community_Art_Center_in_1939.jpg)
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- ^ "Centennial Park Art Center - Nashville TN". Living New Deal. Retrieved 2022-05-16.
- ^ "[Photograph]: Bernard Berenson and Nicky Mariano, 1950s, Aline Saarinen Papers, Archives of American Art, Smithsonian Institution". Archives of American Art Journal. 33 (2). 1993-01. doi:10.1086/aaa.33.2.1557669. ISSN 0003-9853.
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(help) - ^ Chiango, Rose (2019-08-01). "Podcasts: The Archives of American Art Oral History Collection. Archives of American Art, Smithsonian Institution. https://www.aaa.si.edu/resources/podcasts". The Oral History Review. 46 (2): 421–422. doi:10.1093/ohr/ohz023. ISSN 0094-0798.
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- ^ Smith, Holmes (1913). "Problems of the College Art Association". The Bulletin of the College Art Association. 1 (1): 6. doi:10.2307/3046296. ISSN 0895-0571.
- ^ Chiango, Rose (2019-08-01). "Podcasts: The Archives of American Art Oral History Collection. Archives of American Art, Smithsonian Institution. https://www.aaa.si.edu/resources/podcasts". The Oral History Review. 46 (2): 421–422. doi:10.1093/ohr/ohz023. ISSN 0094-0798.
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- ^ Bosbyshell, Howell (2022). "THE ROSETTA STONE OF THE CENTRAL APPALACHIAN PIEDMONT IN PENNSYLVANIA: CHESTER CREEK TRAIL EXPOSURES". Geological Society of America Abstracts with Programs. Geological Society of America. doi:10.1130/abs/2022ne-375395.
- ^ Harris, Jonathan (1991-06). "NATIONALIZING ART: THE COMMUNITY ART CENTRE PROGRAMME OF THE FEDERAL ART PROJECT 1935 - 1943". Art History. 14 (2): 250–269. doi:10.1111/j.1467-8365.1991.tb00434.x. ISSN 0141-6790.
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(help) - ^ "VI. The Federal Emergency Relief Administration Communities", Tomorrow a New World, Ithaca, NY: Cornell University Press, pp. 131–145, 2019-06-30, retrieved 2022-05-16
- ^ Calo, Mary Ann (2005-10). "A Community Art Center for Harlem: The Cultural Politics of "Negro Art" Initiatives in the Early 20th Century". Prospects. 29: 155–183. doi:10.1017/s0361233300001721. ISSN 0361-2333.
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(help) - ^ Abell, Aina (2019-09). "Brain health supplements may not be worth the millions spent". Pharmacy Today. 25 (9): 24. doi:10.1016/j.ptdy.2019.08.012. ISSN 1042-0991.
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(help) - ^ Stites, Raymond S.; Films, Encyclopaedia Britannica (1948). "Brush Techniques". College Art Journal. 7 (3): 249. doi:10.2307/773135. ISSN 1543-6322.
- ^ Choi, Laura; Mattiuzzi, Elizabeth; Shrimali, Bina (2020-05-27). "Impacts of COVID-19 on Nonprofits in the Western United States". Federal Reserve Bank of San Francisco, Community Development Research Brief Series: 01–08. doi:10.24148/cdrb2020-03.
- ^ Rubin, Victor (2020-12-30), "Transforming community development through arts and culture", The Routledge Handbook of Placemaking, Routledge, pp. 464–474, ISBN 978-0-429-27048-2, retrieved 2022-05-16
- ^ Ancient Japanese and Chinese Brocades, Japanese Color Prints. The Anderson Galleries. 1915.
- ^ "Mildred Baker, "Oral History Interview", Archives of American Art, Smithsonian Institution, 1963 - Search". www.bing.com. Retrieved 2022-05-16.