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From 1936 to 1943, around 2,000 posters were created as part of the Works Progress Administration (WPA). An executive order signed on May 6, 1935 by President Franklin D. Roosevelt set up a federal assistance program so millions of the unemployed could get to work, including artists. The Library of Congress (LOC) holds over 900 WPA posters created to advertise the national parks, promote local cultural programs, and prevent drunk driving and syphilis. Their Work Projects Administration (WPA) Poster Collection (the WPA was renamed in 1939, although its acronym stayed the same) is the largest collection of such posters, and earlier this month they added new copyright-free examples to their Flickr page.
Much of the legacy of the WPA remains, in the highways we drive over or the murals hanging over us while we wait in line at the post office, but a lot of the art went missing, something the WPA Art Recovery Project has been trying to fix since it launched in 2001. The posters in particular were mass-produced for 17 states, mainly in California, New York, Illinois, Ohio, and Pennsylvania, and often disposed of after use. Artists were asked not to sign their names. Nevertheless the posters endure, as do their creators. The Posters for the People project, which published many of them in a 2008 book, identifies artists like Vera Bock, who was born in Russia and inspired by woodblock prints in her designs, the Bauhaus-trained Richard Floethe from Germany, and Tony Velonis of New York, who was influenced by Cubism and experimentation with printmaking techniques (the LOC has an interview with Velonis on its site).
All those distinctive styles of modernism found an unexpected outlet through the WPA, with advice on hygiene, ads for zoos and local marching band parades, or ominous, collage-style warnings like Robert Lachenmann’s “Don’t mix ’em” lithograph, in which a skull hovers behind a bottle of whiskey and a gas pump. The posters for the Federal Theater program, United States Travel Bureau, and other State Departments hold up surprisingly well with their direct messages and simple designs. At a time when unemployment was at almost 20%, these posters encouraged people to get out and explore their country and participate in local life in defiance of the hardships of the Great Depression.
Tabitha Arnold’s rugs pay tribute to organizers who lay their bodies on the line in the workplace, in the public square, and in the depths of private prisons.
The intentionality of Booker’s abstraction gives me the impetus to discuss something about the current zeitgeist that’s been on my mind for a while.
The Morgan Library & Museum Presents Another Tradition: Drawings by Black Artists from the American South
This exhibition celebrates the Morgan’s recent acquisition of drawings by Thornton Dial, Nellie Mae Rowe, Henry Speller, Luster Willis, and Purvis Young.
After years in the making, New Time opens at the Berkeley Art Museum and Pacific Film Archive.
The museum details the process of moviemaking, from its inception in storytelling all the way to its marketing. But interwoven into these exhibits are ugly truths.
Part of the John Michael Kohler Arts Center in Sheboygan, Wisconsin, the Art Preserve also functions as a curated collection facility and is filled with immersive installations.
The former panels, removed in 2017, featured images dedicated to Confederate Generals Stonewall Jackson and Robert E. Lee.