Word: projects
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Dates: during 1930-1939
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...children, left while their mothers shop, get a chance to paint murals. Of the total attendance at community centres, more than half is composed of children and adults who actively participate in workshops and classes in local crafts such as Spanish-colonial woodcarving and embroidery in New Mexico. The Project has sent the centres 226 traveling exhibitions...
...nature to illustrate his theory of national art: "You don't often find mountains where there is no plateau." Hostile critics have rejoined that plateaus and genuine art movements alike are beyond the power of governments to create. But even such critics admit that the Federal Art Project has gone about its job in an orderly manner...
...month in Manhattan to $39 per month in Alabama, Mississippi and Florida. Top wage is now $98 per month, bottom wage, $45. By selecting plain, large quarters for rental, by mimeographing catalogues, manuals and books instead of printing them, and in general by going easy on creature comforts, the Project has not only saved money but has avoided artiness so completely that its various units in operation resemble sober workmen's guilds...
Centres. Beyond keeping artists at work under capable direction, Holger Cahill had two principal aims for the Art Project: 1) to clarify, by research, "the native background of the arts," and 2) to break up the big city monopoly on Art by getting people all over the U. S. interested in art as an everyday part of living and working. To accomplish the first aim, the Index of American Design was set up in January 1936, and to date has employed about 500 watercolorists and draftsmen in digging up old wood carving, weathervanes, costumes, toys, needlework, china, and other craft...
...idea of building up community art centres. They began in the South, where Holger Cahill had observed the greatest need. The First Federal-sponsored community centre was started by Director Parker in Raleigh, N. C., in January 1936. Since then Assistant Parker, operating from his office in the Project's old building on Washington's G Street, has planned and planted centres from Harlem to Key West and in ten western States. In all cases the project starts by getting the community itself worked up over the idea. Pleasant Mr. Parker or his live-wire field man, Daniel...