The Swann Galleries auction provided insight into some of the varied Works Progress Association projects sponsored by the US between 1935 and 1943.
The “Recreate Responsibly” campaign draws inspiration from classic 1930s park promotions.
After their removal a decade ago during renovations, two Surrealist murals by Allen Saalburg are conserved and back on view at the Split Rock Golf House in Pelham Bay Park, the Bronx.
Two WPA murals at the University of Wisconsin–Stout are planned to be removed from public view due to their colonial views of Native Americans.
“When people hear the words ‘WPA murals,’ they envision the large and heroic figures they may have seen in post offices or other public buildings across America,” said Stephanie Wiles, the director of the Herbert F. Johnson Museum of Art at Cornell University.
From 1936 to 1943, around 2,000 posters were created as part of the Works Progress Administration (WPA).
When an employee at the Boston Public Library couldn’t find a Rembrandt etching in its Special Collections archive on April 8, it probably didn’t seem like too big a deal.
After its acquisition in 2012, the Metropolitan Museum of Art is debuting Thomas Hart Benton’s 1930s “America Today” mural not as a painting, but as a room.
In 2013, the National Gallery of Art began digitizing their enormous collection of roughly 18,000 watercolors from the Index of American Design.
The model is the message in Artists and Their Models, an exhibition currently on view at the Smithsonian’s Archives of American Art in Washington.
PHILADELPHIA — Art for Society’s Sake: The WPA and Its Legacy, on view at the Pennsylvania Academy of Fine Arts through April 6th, recalls an era in this country when the dissemination of art was a governmental duty, with the arts substantially funded on the federal level.