By Donna M. Binkiewicz
The nationwide Endowment for the humanities is usually accused of embodying a liberal time table in the American govt. In Federalizing the Muse, Donna Binkiewicz assesses the management and objectives of Presidents Kennedy via Carter, in addition to Congress and the nationwide Council at the Arts, drawing an image of the most important avid gamers who created nationwide arts coverage. utilizing presidential papers, NEA and nationwide data fabrics, and diverse interviews with coverage makers, Binkiewicz refutes persisting ideals in arts investment as a part of a liberal schedule by means of arguing that the NEA's origins within the chilly battle period coloured arts coverage with a exceptionally average undertone.
Binkiewicz's learn of visible arts promises unearths that NEA officers promoted a modernist, summary aesthetic particularly simply because they believed this type of sort might most sensible exhibit American fulfillment and freedom. This firstly led them to overlook many modern artwork types they feared may be perceived as politically not easy, reminiscent of pop, feminist, and ethnic arts. The supplier was once unable to stability its investment throughout various artwork varieties prior to dealing with severe funds cutbacks. Binkiewicz's research brings vital historic viewpoint to the perennial debates approximately American artwork coverage and sheds mild on provocative political and cultural matters in postwar America.
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Extra resources for Federalizing the Muse: United States Arts Policy and the National Endowment for the Arts, 1965-1980
0007 percent. Grants to individual states would be measured in thousands of dollars. S. economic growth during the 1950s and early 1960s was su≈ciently strong to quiet the loudest cries against government spending on the arts. Eventually, lingering opposition to providing ﬁnancial support to artists and arts programs was also overcome. Rep. ) countered opposition arguments by saying, ‘‘I doubt if economic success is a proper or meaningful test of the value of the arts, and especially the ﬁne arts.
It immediately drew attention to the United States’ artistic success during the post–World War II era. ≤ Yet much more than idle praise for the arts resounded in Kennedy’s response to a questionnaire from the publication Musical America. Beneath the overt commendation lay a subtle challenge for American culture. The reference to Sinclair Lewis’s landmark 1925 novel Babbitt evoked images of early twentieth-century American nouveaux riches who believed they had achieved a certain level of prominence.
Pell gained an inﬂuential position in the Senate when Sen. π≥ This committee was chosen because the arts were deemed a part of the ‘‘general welfare’’ referred to in the Preamble to the Constitution, and arts measures were increasingly linked to public welfare and education committees as they made their way through Congress. The creation of this subcommittee was a key factor that united arts supporters in a more substantial base. In the late 1950s and early 1960s, Thompson, Javits, Humphrey, and Pell successfully challenged some of the obstacles that had generated longstanding opposition to arts legislation.