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Title : Arguments Pro and Con for Public Funding of the Arts
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Arguments Pro and Con for Public Funding of the Arts

Mabel Dwight Backyard

Mabel Dwight was one of the artists commissioned by Franklin Delano Roosevelt's New Deal jobs initiative. As presented in the FDR Presidential Library and Museum in Hyde Park, New York.  New Deal art programs were a productive solution for supporting creative people during economically troubled times. 

During the depths of the Depression, these programs employed artists, writers, and photographers, while also giving Americans access to art and culture. Traveling puppet shows, dance troupes, and musical performances visited every corner of the country, while muralists decorated libraries and government buildings. Were it not for the New Deal photography, Dorothea Lange's iconic 1936 photograph of the migrant mother never would have existed.

Federal support of the arts in the 1930s was an economic and cultural stimulus, and it was used as a tool for propaganda during the Cold War.

But government support is not the only mechanism for supporting art, even during tough economic times. It's good to remind ourselves that in the 1930s, artist-illustrators like Norman Rockwell were producing some of their best work, supported directly by the people through the mechanism of magazine subscriptions. 

The Case of the Stuttering Pig, 1937 ©Warner Bros Animation 

The 1930s was also the most generative decade in the history of animation, where Fleischer, Disney, Warner Bros. and other studios were perfecting the art form of animation in the economic context—and the selective pressure—of movie ticket sales. 

While many of the WPA artists and muralists are now forgotten, we remember those whose work grew and flourished in a commercial setting.

Norman Rockwell created The Four Freedoms completely on his own initiative, and at first the Office of War Information refused them. It took the response in the Saturday Evening Post to get the government to recognize their value.

Government agencies, unless they are remarkably enlightened, may lack the discernment to reward the worthy projects and to separate the wheat from the chaff. 

In a commercial marketplace, the public votes for the art it likes with its nickels. In a government subsidy program, appointed officials must decide on what is worthy of support. 

What role should the government play in supporting painters, sculptors and photographers? What goals should drive the process, and how should the funds be administered in a time when there are few shared artistic values? What should be the test of such programs....the quality of the art, or the benefit to society?

I can see both sides to the argument, and I'd love to hear what you think in the comments.

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Book: New Deal photography 

Previous posts: The CIA funded abstract art during the Cold War

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