Federal Art Project:

A Works Progress Administration Program

1935-1943

Goal: To provide jobs for unemployed artists on relief rolls.

In 1935, the Works Progress Administration (WPA) developed the Federal Art Project (FAP). Holger Cahill, director of exhibitions at the American Museum of Modern Art (New York City) was hired to be the director of FAP. His section was based on his view of art as a form of folk expression.

There were three types of FAP activities:

1. Production of works of art--easel division, which emphasized nationalism and the redisovery of America in artwork subjects; mural division, where the focus was on works for public places with regional differences occurring (e.g. Chicago--realistic American scenes, New York City--abstract murals, and California--an Oriental theme); sculpture, where artists were encouraged to work in less expensive materials; and graphic arts, which produced posters for the government.

2. Art education including the establishment of community art centers. Art centers as institutions devoted to community education rather than practical training were rare before FAP. By December 1936, there were 25 art centers in the south and west. The heart of the community art center was its educational program through classes for adults and children.

3. Art research through the Index of American Design. The goal was to make an historical and pictorial record of the daily life of American people. They produced 20,000 index plates in six years of operation. Specific kind of designs studied included: textiles, glass, ceramics, copper, brass, to name a few and regional varieties such as the Shaker materials in New England.

The WPA Art Project changed its name several times: 1935-1939--Works Progress Administration's Federal Art Project (part of Federal One), 1939-1942--Art Program of the Work Projects Administration of the Federal Works Agency, 1942--Graphic Section of the War Services Division, and 1942-1943--Graphic Section of the Division of Program Operations.

To qualify for work on the project, artists had to meet not only professional standards as artists, but also the relief requirements of their state WPA relief board. After being selected to be on the project, artists underwent periodic review. They could be removed from a project if their financial status changed or if their work was unsatisfactory.

FAP artists were concentrated in urban areas. In 25 American cities with 20% of the populaiton, 75% of all FAP artists worked. In 1938, FDR criticized the directors of Federal One, including FAP's Director Holger Cahill, for not reaching the rural areas.

In 1942, most of the activities of the art projects were being directed towards World War II work. At this time Cahill setup a Central Allocations unit in Chicago to which all states could send their undistributed creative art. When word came that the projects were ending, the distribution of artwork became more intense. At this time, museums were invited to apply for art; a privilege they did not have before as they were seen as an additional source of patronage for the artists.

The art projects ended in mid-1943, when the government turned its attention towards World War II.

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