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The National Endowment for the Arts is slated to receive a budget of $146.02 million per the 2014 Omnibus Appropriations bill released by Congress late yesterday. The figure is down from the Obama administration’s proposed $154.47 million and roughly on par with 2013’s allocation of $146.26 million, although that sum dropped to ~$139 million after sequestration. The Omnibus bill is expected to pass Congress this weekend upon the conclusion of a short-term continuing resolution giving Congress additional time to finalize the legislation.
The funding level came as a relief to arts advocacy group Americans for the Arts, which wrote in an email to supporters today that the budget survived a “fractious appropriations process and a government shut-down that lasted 16 days” and “avoided the disastrous proposal” in the House of Representatives to slash NEA funding by 49%.
In a related development, the National Endowment for the Arts, the National Endowment for the Humanities, and a number of other federal cultural organizations will be vacating their current offices at the Old Post Office Pavilion in February 2014. The 114-year-old historic landmark’s new leaseholder, Donald Trump, will be converting it to the Trump International Hotel.
Below are the 2014 Omnibus bill’s major federal allocations to cultural groups alongside the Obama administration’s proposed budget and last year’s appropriation levels:
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Anarchist illustrator N.O. Bonzo produces decentralized media in a highly bureaucratic cultural landscape. Their illustrations, murals, and literature emerge in unexpected places, from the streets of Portland, Oregon, to the far ends of Reddit and Twitter, addressing relations of labor and identity in the workplace and on the streets. Growth and care are central themes…
This exhibition explores how images of the human body were used to provoke profound physical and emotional responses in viewers from the 15th through 18th centuries.
With scavenged materials, Amanda Maciel Antunes constructs a motherland.
Where are the directors taking the stage to acknowledge workers’ demands today?
The collaborative handmade paper- and printmaking center at the Pennsylvania Academy of the Fine Arts publishes new works by Liz Collins and Sarah McEneaney.
There is a debate whether the memory of Little Syria should be seized upon to tell truthful and positive stories about Arabs in the US, or whether any conflation between its history and contemporary politics is inappropriate.
The profile includes works by Egon Schiele, Amedeo Modigliani, Peter Paul Rubens, and a prehistoric Venus of Willendorf figurine.
These horrifying dolls definitely won’t murder you in your sleep.