THE NATIONAL ENDOWMENT FOR THE ARTS 1965 2000 A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS President Johnson signs the National Foundation on the Arts and the Humanities Act, establishing the National Endowment for the Arts and the National Endowment for the Humanities, on September 29, 1965. Foreword

he National Foundation on the Arts and the Humanities Act The thirty-five year public investment in the arts has paid tremen­ Twas passed by Congress and signed into law by President dous dividends. Since 1965, the Endowment has awarded more Johnson in 1965. It states, “While no government can call a great than 111,000 grants to arts organizations and artists in all 50 states artist or scholar into existence, it is necessary and appropriate for and the six U.S. jurisdictions. The number of state and jurisdic­ the Federal Government to help create and sustain not only a tional arts agencies has grown from 5 to 56. Local arts agencies climate encouraging freedom of thought, imagination, and now number over 4,000 – up from 400. Nonprofit theaters have inquiry, but also the material conditions facilitating the release of grown from 56 to 340, symphony orchestras have nearly doubled this creative talent.” On September 29 of that year, the National in number from 980 to 1,800, opera companies have multiplied Endowment for the Arts – a new public agency dedicated to from 27 to 113, and now there are 18 times as many dance com­ strengthening the artistic life of this country – was created. panies as there were in 1965.

Now, at thirty-five years of age, the NEA continues to carry out its Our arts are the hallmark of the creativity and diversity that make public service mandate through its commitment to fostering America strong. The Arts Endowment works diligently to make the America’s creativity and investing in our living cultural heritage. arts central to the lives of individuals, families and communities. By supporting artistic excellence, forging partnerships, building In the words of William James, “The greatest use of a life is to more livable communities, promoting lifelong arts education, and spend it on something that will outlast it.” As we enter a new improving access to the arts for all citizens, the agency strengthens millennium, the National Endowment for the Arts is nurturing our American democracy at its core. nation’s creativity and cultural heritage, advancing the nation’s cultural legacy for many future generations. This Chronology updates earlier versions published on the 20th and 30th anniversaries of the Arts Endowment, compiled to show how the agency came into being and evolved. It is not meant to be a definitive history of Federal arts support. Rather, it is an abbrevi­ ated version of the history and achievements of the Endowment. Bill Ivey, Chairman

THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS 5 Chronology (1780-1965)

1780 Act of Congress to provide “such books as may 1879 be necessary for the use of Congress.” Art and John Adams, in a letter to his wife, writes, “I Representative Samuel J. Cox (D-NY) intro­ music are included in the early collection. must study politics and war, that my sons may duces a Joint Resolution in Congress to estab­ have liberty to study mathematics and philoso- lish “a council on arts matters.” No action is 1817 phy, geography, natural history and naval archi­ taken. tecture, navigation, commerce, and agriculture, The 14th Congress commissions John Trumbull in order to give their children a right to study to paint four Revolutionary War scenes to hang 1891 painting, poetry, music, architecture.” in the Capitol Rotunda, the first Federal support President Benjamin Harrison signs legislation of the visual arts. establishing the National Conservatory of 1785 Music in New York City. One year later it Thomas Jefferson writes to James Madison: 1826 opens with Antonin Dvorak as its first artistic “You see I am an enthusiast on the subject of John Trumbull, President of the American director. the arts.” Academy of Fine Arts, proposes to President John Quincy Adams a “Plan for the Permanent 1897 1788 Encouragement of the Fine Arts by the National A Congressional proposal is introduced for a President George Washington declares that Government.” National Office of the Arts. No action is taken. both “arts and sciences are essential to the 1846 prosperity of the state and to the ornament and 1899 happiness of human life.” After 10 years of deliberation, Congress accepts the bequest of the late James Smithson, and The Utah Arts Institute is established, the first state-created arts council in the nation. 1790 establishes the Smithsonian Institution. Establishment of the United States Marine Band 1859 1906 marks the first Federal support of a permanent The Federal government accepts the donation of musical ensemble. President James Buchanan appoints a National the oriental art collection of Charles Lang Freer, Arts Commission to promote the arts, but it is who also provides for a building and endow­ 1800 disbanded two years later because of a lack of ment. The Freer Gallery, part of the Smithsonian Congressional appropriations. The Library of Congress is established by an Institution, opens to the public in 1923.

6 THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS Chronology (1780-1965)

1909 1935 1938 President Theodore Roosevelt appoints a 30- Public service employment programs are Senator Claude Pepper (D-FL) introduces a bill member Council of Fine Arts, but it is shortly established under the Works Progress for the creation of a Bureau of Fine Arts. The disbanded due to lack of funds. Administration: the Federal Writers Program, bill is not reported out of committee. the Federal Theater Project, the Federal Art 1910 Project, and the Federal Music Project. More 1948–49 than 40,000 artists are directly employed by On May 17, President Taft and the Congress The country’s first local arts agencies are estab- the government. establish the Commission on Fine Arts “to lished: the Quincy Society of Fine Arts in advise generally upon questions of art.” It deals Illinois and the Winston-Salem Arts Council 1937 primarily with the architectural appearance in North Carolina. of Washington, D.C. Andrew W. Mellon donates his art collection to the United States, pledges funds for construc- 1949 1913 tion of the National Gallery of Art, and creates Congressman Jacob K. Javits (R-NY) introduces an endowment for the Gallery, which opens to House Joint Resolution 104 in the 81st Congress The National Institute of Arts and Letters is the public in 1941. to provide for a national theater, national opera incorporated under a Federal charter by an Act and national ballet. Javits stresses that he is not of Congress. The American Academy of Arts 1937 talking about a physical structure, but rather “an and Letters is incorporated three years later, integrated, country-wide organization aided by and both organizations merge in 1976. In Congress, Representative William I. Sirovich (D-NY) introduces legislation to establish a the Federal government.” The Resolution is not reported out of committee. 1934 Department of Science, Art & Literature to be headed by a Cabinet-rank officer. Later in the 1951 President Franklin D. Roosevelt establishes the year, Representative John M. Coffee (D-WA) Treasury Department’s Section on Painting and introduces a bill to establish a Bureau of Fine President Harry S. Truman asks the Commission Sculpture, the first government bureau involv- Arts. Neither proposal is reported out of com- on Fine Arts to investigate ways in which the ing the arts, which assigns artists to decorate mittee. arts could be helped by the Federal government. Federal buildings around the country.

THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS 7 Chronology (1780-1965)

1953 1958 March 1962 The Commission on Fine Arts reports to President Eisenhower signs P.L. 85-874 to President Kennedy appoints August Heckscher President Dwight D. Eisenhower, recommend­ establish a national cultural center for the per- as his Special Consultant on the Arts and asks ing that a cultural center be established in forming arts. Thirteen years later, the John F. him to prepare a report on the relationship Washington, D.C., under the jurisdiction of the Kennedy Center for the Performing Arts opens between the arts and the Federal government. Federal government. in Washington, D.C. January 14, 1963 1955 1960 Senator Javits (R-NY) introduces S. 165 President Eisenhower, in his State of the Union The New York State Council on the Arts is “to establish a United States National Arts address, advocates the establishment of a Foundation.” Initial co-sponsors are Senators founded by Governor Nelson Rockefeller. Federal Advisory Commission on the Arts: Joseph Clark (D-PA), Hubert Humphrey “In the advancement of the various activities (D-MN), and Claiborne Pell (D-RI). which would make our civilization endure and February 9, 1961 flourish, the Federal government should do Representative Frank Thompson (D-NJ) intro­ April 11, 1963 more to give official recognition of the impor­ duces H.R. 4172 to establish an advisory coun­ Senator Humphrey introduces S. 1316 “to tance of the arts and other cultural activities.” cil on the arts, within the Department of Health, establish a National Council on the Arts and a Education and Welfare, that would coordinate 1955 private and government arts activities. Hearings National Arts Foundation to assist the growth are held, but the bill is defeated in the House. and development of the arts in the United Numerous bills to support the arts are intro­ States.” Initial co-sponsors are Senators Clark, duced in Congress over the next several years, September 2, 1961 John Sherman Cooper (R-KY), Javits, Russell B. but no action beyond limited hearings is Long (D-LA), Lee Metcalf (D-MT), Pell, Jennings President John F. Kennedy appoints Roger L. taken. Nelson Rockefeller, then Randolph (D-WV), Abraham Ribicoff (D-CT), Undersecretary of Health, Education and Stevens as Chairman of the Board of Trustees of and Hugh Scott (R-PA). Welfare, pushes for the establishment of a the National Cultural Center. National Council on the Arts but is unsuccess­ ful with Congress.

8 THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS Chronology (1780-1965)

May 28, 1963 nition of the place of the artist. If art is to nour- Foundation to assist in the growth and develop- ish the roots of our culture, society must set the ment of the arts in the United States.” August Hecksher submits his report, The Arts artist free to follow his vision wherever it takes and the National Government, which recom- him. January 23, 1964 mends the establishment of an Advisory Council on the Arts and a National Arts “I look forward to an America which will President Lyndon B. Johnson signs Senate Joint Foundation to administer grants-in-aid. reward achievement in the arts as we reward Resolution 136, renaming the National Cultural achievement in business or statecraft. Center as the John F. Kennedy Center for the June 12, 1963 Performing Arts and designating it as Kennedy’s “I look forward to an America which will official memorial in Washington. By Executive Order 11112, President Kennedy steadily raise the standards of artistic accom- establishes the President’s Advisory Council on plishment and which will steadily enlarge cul- May 13, 1964 the Arts. The President is assassinated before tural opportunities for all our citizens.” members can be appointed. President Johnson names Roger L. Stevens as Special Assistant to the President on the Arts, December 20, 1963 “We have agencies of the Government which are the first full-time arts advisor. concerned with the welfare and advancement of After hearings chaired by Senator Pell, science and technology, of education, recreation, Chairman of the Senate Special Subcommittee August 20, 1964 and health. We should now begin to give similar on the Arts, the Senate passes S. 2379 which H.R. 9586, to establish a National Council on attention to the arts.” combines provisions of the two earlier bills, the Arts, passes the House of Representatives S. 165 and S. 1316, to establish a National Council by a vote of 213 to 135. The Senate passes the October 26, 1963 on the Arts and a National Arts Foundation. bill the following day on a voice vote. At the dedication of a new library at Amherst January 8, 1964 College and as a tribute to the poet Robert September 3, 1964 Frost, President Kennedy says: In the House, Representative Thompson intro- The National Arts and Cultural Development duces H.R. 9586 and H.R. 9587, both “to pro- Act of 1964 is signed by the President, estab- “I see little of more importance to the future of vide for the establishment of a National lishing the National Council on the Arts, pro- our country and our civilization than full recog- Council on the Arts and a National Arts viding for a chairman, the Secretary of the

THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS 9 Chronology (1780-1965)

Smithsonian ex officio, and 24 other members February 23, 1965 Arts: Problems and Prospects which lists a number of recommendations, including one to “recommend ways to maintain and increase President Johnson appoints 24 members and the cultural resources of the Nation and to one ex officio member to the National Council that states: “. . . while private support should encourage and develop greater appreciation on the Arts. remain dominant, the Federal government — and enjoyment of the arts by its citizens.” One together with state and local governments — month later, an appropriation of $50,000 is March 10, 1965 should give strong support to the arts, including approved for the National Council on the Arts. the performing arts, by appropriate recognition President Johnson asks the 89th Congress to of their importance, by direct and indirect establish the National Foundation on the Arts December 2, 1964 encouragement, and by financial cooperation.” and Humanities. Nancy Hanks is director of the Special Studies President Johnson breaks ground for the Project staff that compiles the report. Kennedy Center. “This Congress will consider many programs which will leave an enduring mark on “No act of Congress or Executive Order can American life. But it may well be that passage April 9–10, 1965 call a great musician or poet into existence. But of this legislation, modest as it is, will help The first meeting of the National Council on we can stand on the sidelines and cheer. We secure for this Congress a sure and honored the Arts convenes at the White House with can maintain and strengthen an atmosphere to place in the story of the advance of our civi­ President Johnson swearing in the members: permit the arts to flourish, and those who have lization.” talent to use it. And we can seek to enlarge the “Our civilization will largely survive in the Administration bills are introduced in both access of all our people to artistic creation.” works of our creation. There is a quality in art Houses of Congress by Pell and Thompson. which speaks across the gulf dividing man from February–March 1965 man and nation from nation, and century from March 11, 1965 century. That quality confirms the faith that our Special subcommittees of both Houses of Roger L. Stevens is appointed Chairman of the common hopes may be more enduring than Congress (chaired by Pell in the Senate and National Council on the Arts by the President. our conflicting hostilities. Even now men of Thompson in the House) hold hearings on leg­ affairs are struggling to catch up with the islation to establish a National Arts Foundation. March 19, 1965 insights of great art. The Rockefeller Brothers Fund issues the results The stakes may well be the survival of civiliza­ of a two-year study entitled The Performing tion.”

10 THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS Chronology (1780-1965)

June 10, 1965 “Art is a nation’s most precious heritage. For it is in our works of art that we reveal ourselves, The Senate debates and passes an amended and to others, the inner vision which guides us S. 1483 to establish a National Foundation on as a nation. And where there is no vision, the the Arts and Humanities. people perish.”

June 24–27, 1965 Under this new law, Arts Council membership is increased to 26. The Chairman of the The second meeting of the National Council on National Council on the Arts, Roger Stevens, the Arts is held in Tarrytown, New York. becomes first Chairman of the Arts Endowment. Henry Allen Moe becomes the first Chairman September 15, 1965 of the National Endowment for the Humanities.

The House passes S. 1483, with amendments. The Foundation is composed of the National The following day, the Senate agrees with Endowment for the Arts, the National House amendments and passes legislation Endowment for the Humanities, and the establishing the National Foundation on the Arts and the Humanities as an umbrella for the Federal Council on the Arts and the National Endowment for the Arts and the Humanities, an interagency committee of National Endowment for the Humanities and Federal officials. The Foundation has no admin­ their respective Councils. istrative or programming identity separate from its components. Each of the two Endowments is September 29, 1965 served by a respective advisory body, the National Council on the Arts and the National President Johnson signs P.L. 89-209, the Council on the Humanities. National Foundation on the Arts and the Humanities Act.

THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS 11 FISCAL YEAR 1966 JULY 1, 1965-JUNE 30, 1966

ith its first appropriations bill The Council also requests a feasibility study which results in the W signed October 31, 1965, the establishment of the American Film Institute in 1967. Programs of National Endowment for the Arts individual grants for choreographers to create and produce dance starts its fiscal year with only eight works and theater performances for secondary school students are months remaining, a budget of $2.5 launched. million, and fewer than a dozen employees. On December 20, 1965, Vice President Hubert Humphrey pres­ ents a check for $100,000, representing the Endowment’s first Over the course of the first year, six grant, to the American Ballet Theatre. The New York Herald active programs begin: Music, Tribune reports: Dance, Literature, Visual Arts, Martha Graham, shown here in Theater and Education. Some 22 Lamentation in 1930, was one “The Treasury of the United States has saved a national treasure. institutions and 135 individuals are of eight master choreographers Not directly, perhaps, but the taxpayers, through the government’s supported in the agency’s first recently established National Council on the Arts, saved the funded. Roger Stevens says: “We year. Photo by Soichi Sunami. believe that the time has come for American Ballet Theatre from extinction.” our society to give not merely ceremonial honor to the arts, but genuine attention and substantive support.” The National Council on the Arts holds its fourth meeting, this time in Washington, D.C. The Martha Graham Dance Company is The third meeting of the National Council on the Arts is held on recommended for funding to make its first national tour in 15 November 13-15, 1965, in Tarrytown, New York. The Council dis­ years, and a grant also goes to the Robert Joffrey Ballet. cusses whether to use outside panels and resolves that the Chairman “appoint committees of interested and qualified persons or organiza­ “Dialogues on the Art of Poetry,” a poets-in-the-schools pilot proj­ tions to advise the Council with respect to projects, policies or spe­ ect, is launched by the Literature Program in school systems in cial studies as may be undertaken by the Council from time to time.” New York City, Detroit and Pittsburgh.

12 THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS Roger Stevens announces the receipt of $100,000 from the Martin Foundation, the first donation to the special Treasury Account, established under the Endowment’s legislation and requiring a 3-to-1 match in non-Federal to Federal funds.

At the fifth meeting of the Council, the Federal-State Partnership Program, mandated by law to begin in Fiscal Year 1967, is launched, with $2 million to be made available to all 50 states and special U.S. jurisdictions. The first grants for non-profit pro­ fessional theaters are recommended, and funds are set aside for The first Arts Endowment grant went to the American Ballet Theatre, shown here in a production of art in public places. The Council discusses and later recommends Symphonie Concertanta. Photo by Martha Swope. ways to involve the United States in international arts events. A matching grant is made to provide a United States exhibit, assem­ bled by the National Collection of Fine Arts of the Smithsonian Institution, at the September 1966 Biennale in Venice.

THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS 13 FISCAL YEAR 1967 JULY 1, 1966-JUNE 30, 1967

or its first full fiscal year of operation, the Endowment budget ative writers, three pilot museum projects, opera touring, public tel­ F is $7,965,692 and new programs in Architecture, Planning & evision programs and others. Design, Federal-State Partnerships, and Public Media are added. Expenditures include $1,007,500 for Theater, $892,780 for Performing Arts — The Economic Dilemma, by Professors William Education and $39,500 for Folk Arts. A Music Advisory Panel is J. Baumol and William G. Brown, is published in November by established. The Twentieth Century Fund. The book supports the earlier Rockefeller Report and adds the sobering conclusion that “the Chairman Stevens warns that “there is need of the performing groups for contributed funds is likely to at the present time, in the performing continue to grow ever larger.” arts alone, an income gap of about $20 to $23 million per year. This At the December meeting of the National Council, an initial fund figure will reach at least $60 million of $1.3 million is set aside for an American Film Institute and a by 1975.” Stevens adds that “the series of grants is made in the field of architecture and design. A Federal government cannot, and program of individual grants for painters and sculptors is should not, be expected to carry the launched. total burden. This must be a coopera­ tive effort, to include private enter­ Five months later at its May meeting in Tarrytown, New York, the prise, foundations, state and municipal Council formally recommends that the American Film Institute be support, regional organizations and established with $1.3 million from the Endowment and matching individual contributions.” Grace Paley, the renowned private donations of $1.3 million from the Ford Foundation and short story writer, received a $1.3 million from the member companies of the Motion Picture Fellowship from the Literature The National Council, at its sixth Program early in her career in Association of America. The Music Program’s Audience meeting in Washington, D.C., recom­ 1967. Photo by Gentil & Development Project is established to fund presenters of local Heyers, ©1994. mends the first grants to individual cre- concert series for young or unknown artists, and grants are recom-

14 THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS mended to assist individual composers. The Literature Program offers assistance to non-commercial presses.

The American Film Institute is established on June 5, 1967 as a non-profit, non-government corporation with George Stevens, Jr., as Director and Gregory Peck as Chairman of the Board. The AFI is to preserve and develop the nation’s artistic and cultural resources in film.

On June 20, 1967, President Johnson requests the Federal Council on the Arts and the Humanities to prepare a report on the status of the nation’s museums. The Federal Council commissions the American Association of Museums to undertake this project. Created by the Endowment in 1967, the American Film Institute has been at the forefront of preserving America’s rich film heritage, including Broken Blossoms (1919) starring Lillian Gish.

THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS 15 FISCAL YEAR 1968 JULY 1, 1967-JUNE 30, 1968

he Endowment’s budget is $7.2 conversion of the old Bell Tmillion and grants are made to 187 Telephone Laboratories on New individuals and 276 organizations. York’s Lower West Side into a Reauthorization for two more years national artists’ housing center. of operation is approved by Congress An Endowment matching grant despite some criticism about aiding with the J.M. Kaplan Fund the arts during the nation’s growing makes this project possible, and involvement in Vietnam. groundbreaking for Westbeth takes places on June 21, 1968. The creation of the play The Great Two endeavors are added: a dance Six regional dance companies White Hope by Howard Sackler was supported by a Theater Program grant. Dancer Judith Jamison of the touring program and grants for muse­ are recommended for support. James Earl Jones, center, appears with Alvin Ailey American Dance ums to purchase the works of living Jane Alexander and cast in the original Theater, one of the exemplary At the next meeting of the production by Arena Stage in Washington, companies supported by the American artists. The “American D.C. Photo by Fletcher Drake. Dance Program since the 1960s. Musical Digest” is launched with the Council in Washington, D.C., Photo by Jack Mitchell. Endowment’s support to strengthen support for literary festivals and grants to young writers is recom­ music criticism through excerpting, mended. The Endowment helps establish the Theatre Development translating and reprinting articles and reviews on American music Fund, and arts demonstration projects in New York City, Buffalo, and musicians from local, national and international publications. Minneapolis and Louisville are funded in partnership with the The first grant for regional arts programming goes to the Federation newly formed AFL-CIO Council for Scientific, Professional and of Rocky Mountain States for an audience development project. Cultural Employees. During that same autumn, at the instigation of David Rockefeller and other corporate leaders, the Business The ninth meeting of the National Council on the Arts is held in Committee for the Arts is established under the chairmanship of July, 1967 in Los Angeles. Part of the discussion focuses on the C. Douglas Dillon to stimulate corporate support for the arts.

16 THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS FISCAL YEAR 1969 JULY 1, 1968–JUNE 30, 1969

he Endowment’s budget is $7.8 million with $326,750 going that year, Leonard Garment is named T to Architecture,$641,627 going to Dance, $526,450 going to Special Consultant to the President, Education, $332,000 going to Literature, $861,620 to Music, and his duties include the arts and the $222,200 to Public Media, $1,007,600 to Theater, $336,800 to humanities. Visual Arts, $469,550 to Coordinated Arts, and $1.7 million to Federal-State The Rockefeller Foundation matches Partnership. Formal panels now adjudi­ an $85,000 grant from the Public cate applications in the majority of Media Program to the National programs. A $100,000 transfer from the Educational Television Network to Office of Education in the Department complete the presentation of four Merce Cunningham, shown of Health, Education and Welfare to the plays by four resident professional the­ here in Solo (1973), was another American dance Endowment’s Education Program initi­ ater companies on public television. giant to receive support in ates a program placing visual artists in the 1960s. Photo by Jack Mitchell. secondary schools. In November, the Conditions and Needs of America’s Museums (The Belmont Report) is sent Silhouetted against a dra­ to President Johnson by the Federal matic sky, La Grande Vitesse Council on the Arts and Humanities. by Alexander Calder graces downtown Grand Rapids, Michigan, through a 1967 On January 20, 1969, Richard M. grant from the Visual Arts An Art in Public Places grant from the Program. Photo by Jim Nixon is sworn in as President of the Visual Arts Program made possible the Starkey. United States. Roger Stevens’ term dedication of Isamu Noguchi’s Black expires as first Chairman of the Sun in Seattle in 1969. Endowment on March 11. In June of

THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS 17 FISCAL YEAR 19 70 JULY 1, 1969–JUNE 30, 1970

he Endowment budget, prepared under advanced in freedom and in comprehension of the tough and T Chairman Stevens, is $8,250,000. This soaring qualities of the spirit. This is not possible without the arts. includes $4.25 million for programs, $2 They are not a luxury; they are a necessity.” million for state block grants, and an addi­ tional $2 million for the Treasury Account. On December 10, 1969, President Nixon in a special message to Building on the success of the visual artists- Congress says: “The attention and support we give the arts and the in-residence project in 1969, the Artists-in- humanities, especially as they affect our young people, represent a Schools Program receives $900,000 from vital part of our commitment to the quality of life for all Americans.” the U.S. Office of Education and brings more than 300 artists to elementary and President Nixon asks the Congress to reauthorize the two Endow­ secondary school students in 31 states. ments for another three years. Alice Walker, author of The Color Purple, received an Endowment The Music Program expands to include A grant to the College Entrance Discovery Award on the Examination Board supported the basis of her first novel in pilot projects for jazz and orchestras. The 1970. Photo by Jean Endowment provides $600,000 from the establishment of three innovative Weisinger. Treasury Account, matching private dona­ Advanced Placement Courses, two tions, to establish the National Opera Institute, a project initiated in the visual arts and one in music. by Roger Stevens during his chairmanship. This is the first time that the arts have been included in the Board’s On October 6, 1969, Nancy Hanks is sworn in as Chairman of the program for high school seniors, The Sheldon Memorial Art Gallery Endowment by President Nixon. She says: “The arts, defined which provides college credit and in Lincoln, Nebraska received a broadly, possess enormous potential for stimulating humaneness, advances students immediately grant from the Visual Arts Program economic health and new life in our communities. It is part of the beyond the introductory courses to open its new sculpture garden. Photo courtesy Sheldon Memorial essential idea of our country that the lives of the people should be offered college freshmen. Art Gallery.

18 THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS FISCAL YEAR 19 71 JULY 1, 1970–JUNE 30, 1971

he first budget under Chairman Nancy Hanks is $15.1 mil- only on the Federal T lion, almost double that for Fiscal Year 1970. The Museum level, but on the state Program is launched, as is the Expansion Arts Program for profes­ and local levels as sionally directed, community-based arts activities. A full program well. And increasingly, of support for symphony orchestras is put into place. The Visual governments at all lev­ Arts Program formalizes support for photography. els see this not only as a responsibility but Existing peer panels are expanded and additional panels are estab­ also as an opportunity lished for the Literature, Museum, Expansion Arts, Public Media — for there is a grow- and Special Projects Programs. As American Samoa matches its The Michigan Artrain brought works of art to ing recognition that small towns and communities around the country first grant, all 55 eligible state and during the 1970s. few investments in the jurisdictional arts agencies* are, quality of life in for the first time, receiving Basic America pay off so handsomely as the money spent to stimulate State Grants. the arts.”

On May 26, 1971, President The President directs all federal agencies and executive depart­ Nixon addresses the Associated ments to see how the arts can benefit their programs and how Councils of the Arts meeting in their programs might assist artists. Washington, D.C.: “The important The Harlem School of the Arts * American Samoa, District of Columbia, Guam, Puerto Rico, U.S. Virgin Islands received support from the thing now is that government has Endowment’s Expansion Arts accepted support of the arts as Program to fund its community- based programs. Photo courtesy one of its responsibilities — not Harlem School of the Arts.

THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS 19 FISCAL YEAR 19 72 JULY 1, 1971–JUNE 30, 1972

he Endowment’s budget President Nixon, acting on the responses to the 1971 survey of T nearly doubles again — Federal agencies and executive departments and on the advice of to $29,750,000 — and existing the National Council on the Arts, announces government initia­ programs are expanded. Full pro- tives in design. The Arts Endowment is the lead agency for the grams of support are established Federal Design Improvement Program, to help upgrade Federal for opera companies and for jazz. architecture, design and graphics. The Dance Program expands to offer assistance for regional Lee Provancha Day performs in Sanctus, with choreography development of resident profes- by Bruce Marks, for Ballet West, a sional companies. The Museum dance company based in Salt Lake Program launches a major effort City that performs throughout the Western States. Photo by Vinnie Fish. to support conservation and renovation projects, enabling museums to preserve and care for their collections more effectively. The Public Media Program expands to include regional film cen­ ter support. Sculptor Harry Donohue in his studio working on his piece Civic Duty for the 1972 New There are now 10 advisory panels. Nancy Hanks notes that panel Hampshire’s White Mountains Art & Music Festival, supported by the Expansion Arts members will serve on a rotating basis with terms of approximate­ Program. ly three years. Under this new system, the first rotation occurs in July of 1972.

20 THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS FISCAL YEAR 19 73 JULY 1, 1972–JUNE 30, 1973

he Endowment’s budget is now $38.2 Tmillion. Advisory panels now num­ ber over 200, including such well- known individuals as Zelda Fichandler and Harold Prince in theater, Roy Lichtenstein and George Segal in visual arts, Julian “Cannonball” Adderly, Rise Stevens, Robert Shaw and Gian-Carlo Photographer Lee Friedlander received a Menotti in music, and Toni Morrison Fellowship from the Visual Arts Program in 1973. This work is entitled Japan 1981. and Kurt Vonnegut, Jr. in literature. After receiving a 1973 Photo courtesy of the artist. Fellowship from the Visual Of Mice and Men, by The Visual Arts Program offers Arts Program, photographer John Steinbeck, toured the William Wegman went on to Midwest in the 1973 Craftsmen’s Fellowships. The Artrain, renown for his whimsical production by the Guthrie begun in Michigan in 1971 and sup- portraits featuring Theater Company, Weimaraners. Photo courtesy featuring Peter Michael ported by the Endowment, moves west of the artist. Goetz as Lennie. Photo to visit 30 towns in New Mexico, courtesy Guthrie Theater Company. Arizona, Colorado, Utah, Idaho, Montana, Wyoming and Nevada.

On April 2–3, 1973, the First Federal Design Assembly, sponsored by the Federal Council on the Arts and the Humanities, is held to increase the awareness by Federal administrators of the impor­ tance of good design.

THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS 21 FISCAL YEAR 19 74 JULY 1, 1973–JUNE 30, 1974

he Endowment’s budget rises A Bicentennial Committee T to $60,775,000. Programs are of the National Council is allocated $46 million, state arts established. Nancy Hanks agencies $8.3 million, and $6.5 says: “As we approach the million goes to the Treasury 200th birthday of this nation, Account. President Nixon signs it is important to give thought another reauthorization, and to the kind of country we Nancy Hanks is appointed for a want to be in our third The final mural by Thomas Hart Benton, second four-year term. During her century and beyond, and to Sources of Country Music, created with an Endowment commission, was the deepening purpose of Laurie Anderson received support first term, the budget increased by finished by the artist just months before early in her career through a Visual 637 percent. the arts in this projection for his death. Photo courtesy Tennessee Arts Commission. Arts Program Fellowship and is our future society.” now known around the world as a composer/performer of multi-media A new effort is launched to exhibitions. Photo by Robert expand and coordinate In the spring of 1974, a Mapplethorpe. Endowment support for the folk special $1 million two-year arts. The City Options program is started to promote community grant is made to the cooperation in the design of future environments. The Artists-in- Metropolitan Opera in New Schools Program grows to 1,750 artists working in elementary and York City. This grant serves secondary schools in every state and special jurisdiction. as a precursor of the Challenge Grant Program. The National Council on the Arts adopts a resolution encouraging A young Garrison Keillor waits to go on stage as part of Minnesota Public Radio’s greater accessibility of cultural activities for disabled individuals. Prairie Home Companion, created The Endowment publishes Museums USA, the first comprehensive through a 1974 grant. Photo courtesy Minnesota Public Radio. statistical study of the nation’s museums.

22 THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS FISCAL YEAR 1975 JULY 1, 1974–JUNE 30, 1975

s it begins its tenth year, the Endowment’s budget has risen to the state arts agencies. Each of A$74,750,000. More than 14,000 applications pour in from all the 50 states and five jurisdic­ over the country. Staffing is more than 250 people. tions is eligible to receive at least $200,000 to support local programs. Encouraged by the success of earlier specials featuring the American Ballet Theatre and the Alvin Ailey American Dance The two-year City Spirit program Theatre, an Endowment grant to the Educational Broadcasting is launched, with $2 million Corporation (WNET-TV) initiates the “Dance in America” series on available in matching grants for cities, towns and neighborhoods The Jazzmobile, supported through public television. The series premieres in January 1976 with a fea­ the Endowment’s Music Program, is ture on the Joffrey Ballet. to strengthen and showcase their mobbed by scores of music lovers in own cultural heritage and this 1975 scene. Beginning in Fiscal Year 1975, creativity. instead of authorizing a specific dollar amount for the In August 1974, President Gerald R. Ford is sworn into office. In state arts agencies as the origi­ an August 23rd letter to Nancy Hanks on the upcoming, second nal legislation had done, the Federal Design Assembly, President Ford says: “I firmly believe reauthorization stipulates that that, in order to inspire the people’s pride in their Government, no less than 20 percent of all we must provide them with manifest evidence of its vitality, cre­ program funds must go to the ativity and efficiency by setting the highest standard in architectur­ Stone Enclosure: Rock Rings is a com­ missioned work on the campus of state arts agencies and al design, environmental planning and visual communication.” Western Washington University by “regional organizations,” with Nancy Holt, a 1975 Visual Arts Program 75 percent of this amount The National Assembly of State Arts Agencies is incorporated on Fellowship recipient. being divided equally among September 12, 1974 to represent the common interests of the 55

THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS 23 state and jurisdictional arts agencies. It was preceded by the North American Assembly of State and Provincial Arts Agencies, an affiliate of the Associated Councils of the Arts established in June 1968.

Later that fall, the Arts Endowment and the Exxon Corporation announce a joint venture to help Affiliate Artists develop young conductors for positions as music directors of American symphony orchestras. Exxon’s partnership with the Endowment is later extended to public television programs and other efforts.

Two young aspiring artists, among the millions of children reached through the Endowment’s Arts in Education Program.

24 THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS FISCAL YEAR 1976 JULY 1, 1975–JUNE 30, 1976 TRANSITION QUARTER JULY 1, 1976–SEPT. 30, 1976 he Federal government changes the parameters of its fiscal The Arts: Years of Development, Time T year so that it now begins on October 1 and ends the follow­ of Decision, a report on the two-day ing September 30. The Endowment’s budget is $82 million for symposium at the LBJ Library, is later Fiscal Year 1976, and an additional $34 million is appropriated published by the LBJ School of Public for July 1–September 30, 1976 as the “Transition Quarter.” Affairs at the University of Texas.

Congressman Sidney R. Yates (D-IL) assumes chairmanship of the In December, President Ford signs U.S. House Appropriations Subcommittee with responsibility for into law S. 1800, the Arts and the Endowments. Artifacts Indemnity Act, authorizing the Federal government, under cer­ The tenth anniversary of the Endowment tain circumstances, to indemnify art, artifacts and other objects to be The Arts Indemnity Program is celebrated on September 29–30, 1975 insures masterworks, such as at the Lyndon B. Johnson Library in exhibited internationally. Vermeer’s Girl with a Pearl Austin, Texas. Participants include the Earring (17th century), traveling from their home collections National Council on the Arts, Lady Bird abroad to the U.S. This painting Johnson, Nancy Hanks, Hubert Humphrey, from the Royal Cabinet of Paintings Maurishuis, The Jacob Javits, Kirk Douglas, James Wyeth, Hague, traveled to the National Robert Merrill and scores of others. Gallery of Art, Washington, Beverly Sills points out that although the D.C. Photo courtesy Royal Cabinet of Paintings Endowment’s budget has increased, “we Maurishuis. Leontyne Price in the title role of Verdi’s Aida at the cannot be complacent or satisfied The Arts Endowment was an early Metropolitan Opera in because there are a great many cities in supporter of the Smithsonian Institution’s New York City. Photo by this country that don’t give one nickel Festival of American Folklife. From the J. Heffernan. toward their own cultural institutions.” 1976 festival, a Ghana weaver plies his craft. Photo by C. Desmarani.

THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS 25 FISCAL YEAR 19 77 OCT. 1, 1976–SEPT. 30, 1977

he Endowment budget is $94 million and more than 300 far beyond the modest Federal funds expended. One Federal dol­ T panelists help judge the merits of applications from the field. lar can generate three or four private dollars, and 75 percent of The Media Arts Program sets up the Short Film Showcase to help those private contributors are likely to contribute again.” present the works of independent filmmakers in commercial movie houses nationwide. Nearly 20 years later, Nancy Hanks’ expectations are exceeded. The Challenge Grant Program stimulates roughly eight dollars for On October 8, 1976, President Ford signs into law reauthorization every Federal dollar invested. for the Endowment for four more years. Chief Congressional spon­ sors are Congressman John Brademas (D-IN) and Senator In January 1977, Jimmy Carter becomes President of the United Claiborne Pell. Congress estab­ States. Nancy Hanks serves the remainder of her second term. lishes the Institute of Museum Services to provide general After 18 months of work, the operating support to museums. National Assembly of State National Council members, for Arts Agencies’ Federal-State the first time, require Senate Study Committee released in confirmation. May a recommendation that “an ongoing, structured Challenge Grants are process of policy planning Spoleto Festival U.S.A. audiences authorized. Nancy Hanks between the Endowment attend an afternoon concert notes: “Regardless of who the and the state arts agencies The 1977 touring production of at Charleston’s historic Dock Street Madame Butterfly produced by the Theatre, dating from 1736. The successful applicants are, the be established on a formal, Cincinnati Opera Company. Photo by Spoleto Festival U.S.A. was founded Endowment has injected a stim­ Endowment-wide basis.” Sandy Underwood. with Endowment support in 1977. Photo by William Struhs. ulus into the arts that will be felt

26 THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS The first White House Conference on At the August 12–14 meeting of the National Council on the Arts, Handicapped Individuals on May 23–27, a report from a year-long reassessment of the Federal-state partner- 1977 focuses attention on the accessibili­ ship calls for expansion of the partnership concept to include ty of cultural programs and facilities and Federal, state, regional and local public arts agencies; leadership the participation of disabled individuals in national arts advocacy; and leadership in addressing the needs in the arts. of new and minority constituencies.

On July 16–17, the National Support the Arts Conference is held in Washington, D.C. to “find ways to help local arts insti­ tutions help themselves in their efforts to Vaquero captures the gain long-term stability and independ­ spirit of the West in Moody Park, Houston, ence,” Nancy Hanks tells the conference. an Art in Public Places commission and the work of Visual Arts Later that summer, the first Round I Fellow Luis Jimenez. Challenge Grants are announced. Fifty- nine grants benefitting 66 organizations are funded at $27,345,000 over two years. In August, as one of her last acts at the Endowment, Nancy Hanks establishes a Task Force on the Education, Training and Development of Professional Artists and Arts Educators.

THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS 27 FISCAL YEAR 1978 OCT. 1, 1977–SEPT. 30, 1978

he Endowment’s budget extend our T stands at $123,850,000. On imaginations. October 2, 1977, Nancy Hanks They sharpen leaves the Chairmanship of the our eyes and Endowment at the close of her ears and minds second term. During her eight toward oppor­ years, the Arts Endowment budget tunities for new increased 1,400 percent. insights.”

Vice President Walter Mondale’s Chairman wife Joan is named Honorary Biddle stresses Chairperson of the Federal In Live From Lincoln Center, the world-renowned tenor “access to the Luciano Pavarotti dazzles millions of public broadcasting Recipient of a Composers Fellow- Council on the Arts and the best—access ship from the Music Program in viewers in a telecast from the Metropolitan Opera House. 1978, Morton Subotnick. Photo Humanities and takes an active Photo by Francesco Scavullo. for all courtesy Walker Art Center. role in promoting the arts. Americans to art of the highest quality.” During Fiscal 1978, he removes grant In November, the Endowment encourages the establishment of a ceilings to give the advisory panels more discretion in recom­ 23-member task force to determine the needs of the Hispanic arts mending grant amounts. The agency’s administration is now community in the U.S. and to recommend ways to strengthen its organized around three deputy chairmen: for Programs, Policy & culture and relationship with the agency. Planning, and Intergovernmental Activities. He also places limits on the terms of office for program directors. Livingston L. Biddle, Jr. is sworn in on November 30, 1977 as third Chairman of the Endowment: “The arts. . . embark us on the The Folk Arts Program, once part of Special Projects, is made a oceans of self-discovery. They quicken our awareness. They separate program to support the preservation and presentation of

28 THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS traditional arts. The Opera-Musical Theater Program is created to help “broaden the concept of music theater and to make this art form available to an expanding audience.”

The Office of Minority Concerns is begun to act as liaison between the Endowment and minority arts groups and artists. The number of grant applications reaches nearly 20,000.

In the summer of 1978, the National Assembly of Community Arts Agencies, a committee within the Associated Councils of the Arts since the early 1970s, becomes an independent organization that represents the interests of local arts agencies. In 1982, it changes its name to the National Assembly of Local Arts Agencies. William Shakespeare’s The Tempest at the Mark Taper Forum in Los Angeles. Featured in the 1978 production are (clockwise from bottom) Michael Bond, Stephanie Zimbalist, Brent Carver and Anthony Hopkins. Photo by Jay Thompson.

THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS 29 FISCAL YEAR 19 79 OCT. 1, 1978–SEPT. 30, 1979

he Endowment budget stands at $149,585,000, and the agency The Commonwealth Council T involves more than 500 panelists and 325 staff members. for Arts and Culture of the Annual state appropriations for the arts have increased from $2.7 Northern Mariana Islands million in 1966 to more than $80 million. The number of local arts becomes the 56th agency to agencies has increased from about 150 in 1966 to some 2,000. receive annual Basic State Grant support. The second The Opera-Musical Theater Program is launched. The International round of Challenge Grants is Communications Agency (later the United States Information announced, and 102 awards Agency) and the Arts Endowment agree to work together on totaling $30,730,500 are made The Meet the Composer program, start­ ed in 1979, has helped thousands of American arts programs abroad. to benefit 125 organizations. young artists work with composers in residence. Shown here is Robert Sierra, In December 1978, the composer with the Milwaukee The Music Program recog­ Symphony Orchestra, rehearsing high nizes choruses and chamber Endowment establishes a Task school students in his Idilio. Photo music as separate categories Force on Community Program courtesy Meet the Composer, Inc. of need and support. A Policy to examine and make National Council on the recommendations on the rela­ Arts/National Assembly of tionship between the State Arts Agencies Joint Endowment, state and local Policy Commission is estab­ arts agencies and arts organi­ lished to advise the National zations. The Goodman Theatre in Chicago mounted a 1979 revival of Richard Council on policy issues Wright’s powerful drama, Native Son, involving the public arts directed by Gregory Mosher and featur­ Lorin Maazel and the Cleveland ing Meshach Taylor as Bigger Thomas. agency partnership. Orchestra in performance and Photo courtesy The Goodman Theatre. on television. Photo by Peter Hastings.

30 THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS FISCAL YEAR 19 80 OCT. 1, 1979–SEPT. 30, 1980

he Endowment’s budget is $154,610,000. A White House fellowships and the funding of T reception marks the 15th anniversary of the Endowment, and residencies. Chairman Biddle says: “Nothing is more enviable — or daunting — than the opportunity to make a practical reality out of a vision­ The Office of Federal-State ary dream. Yet today we see the phrases of the legislation that cre­ Partnership splits into two offices: ated the National Endowment for the Arts 15 years ago translated State Programs, which gives block into goals, programs and accomplishments.” grants to state and regional arts agencies, and Partnership The Inter-Arts Program formalizes Coordination, which works with its support of arts presenters, other Federal arts programs, state, artists’ colonies, services and inter- regional and local arts agencies and disciplinary arts projects. The Folk professional arts organizations. The Arts Program announces the Artists-in-Schools Program evolves establishment of National Heritage Short story writer extraordinaire into the Artists-in-Education Program Raymond Carver was the recipient Fellowships to honor exemplary of a Literature Program fellowship with grants to state arts agencies for traditional artists. The Music in 1980. Photo courtesy of Tess artists’ residencies in schools and Gallagher. Program offers support for festi­ other settings, pilot learning projects vals, recordings of American and other technical services. music, professional training, and Spalding Gray, writer and performer, solo recitalists. The Theater The first Advancement Grants, ranging from $20,000 to $150,000, received an Endowment Fellowship Program extends its support of are given to a select group of Expansion Arts organizations that in 1980. Photo courtesy International produce excellent work in their field but need help to develop as Production Associates. playwrights, directors, designers and other theater artists through institutions.

THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS 31 At a White House reception for the arts on April 2, President Jimmy Carter says: “[G]overnment can provide nourishment to the ground within which these ideas spring forth from the seeds of inspiration within the human mind.”

Two of America’s legendary dancers, Pearl Primus (in Hard Time Blues, 1943), and Katherine Dunham (in Rara Tonga, 1937) bridge the generations as choreographers in the early 1980s. Photos by Gjon Mili, courtesy Joe Nash Dance Collection.

32 THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS FISCAL YEAR 19 81 OCT. 1, 1980–SEPT. 30, 1981

he Endowment’s budget is $158,795,000. The agency is reau­ also charged with finding ways to bring T thorized through Fiscal Year 1985. The Media Arts Program more non-governmental professionals, pri­ launches support on a regional basis for individual media artists. vate groups and individuals into the A record number of applications to the agency—27,000—is Endowment’s decision-making process received. and to recommend ways to improve the management, organization and structure After the inauguration of President Ronald Reagan, the White of the two Endowments and the Federal House Conference on Aging is held on February 1–3, 1981. The Council on the Arts and the Humanities. Endowment sponsors a symposium focusing on the demand for and character of arts and humanities programs for older Americans.

Novelist William Kennedy On June 5, 1981, President credits his 1981 Fellowship Reagan appoints a Presidential from the Literature Task Force on the Arts and Program with allowing him to complete his Humanities to review the pur­ prize-winning novel, poses, activities and records of Ironweed. Cover courtesy Penguin Books. the Arts and Humanities Endowments. Co-chaired by

Poet, essayist and novelist Annie Dillard actor Charlton Heston, Hanna received a Literature Program H. Gray, President of the The Vietnam Veterans Memorial, Fellowship in 1981. Photo by Rollie University of Chicago, and McKenna. designed by architect Maya Lin, Daniel J. Terra, Ambassador- was made possible through the wisdom of a Design panel at the At-Large for Cultural Affairs, the Task Force is asked to find meth­ Arts Endowment. Photo courtesy ods of increasing private support for the arts and humanities. It is Cooper Lecky Architects.

THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS 33 FISCAL YEAR 19 82 OCT. 1, 1981–SEPT. 30, 1982

ue to the rising Federal budget deficit, the Endowment’s that coordination and coopera­ D budget is cut 10 percent to $143,456,000. tion among Federal, state and local arts agencies be strength­ The first National Heritage Fellowships in the Folk Arts honor 15 ened. outstanding folk artists. Later that fall, with the help of Endowment grants, the National Assembly of State Arts Agencies publishes All In accepting the Task Force in Order: Information Standards for the Arts, which includes the Report, President Reagan says: National Standards for Arts Information Exchange. The Standards “The Endowments, which began in 1965, account for only Georgie Sicking of Fallon and Richard provide a basis for coordinated information management in the arts. Smith of Carson City share their verses 10 percent of the donations to at the Cowboy Poetry Gathering, an On October 14, 1981, at a White the arts and scholarship. annual event in Elko, Nevada, support­ ed through the Folk & Traditional House luncheon, President Reagan Nonetheless, they have served an Arts Program. Photo by S.R. Hinrichs. introduces to the Presidential Task important role in catalyzing addi- Force on the Arts and the tional private support, assisting excellence in arts and Humanities Frank Hodsoll, Deputy letters, and helping to assure the availability of arts Assistant to the President, as his and scholarship.” nominee for Chairman of the Arts Endowment. The Task Force Report On November 13, 1981, following Senate confirmation, Frank recommends that the existing struc­ Hodsoll is sworn in as the fourth Chairman of the Endowment by ture of the Endowments be kept; Chief Justice Warren E. Burger. Former Chairmen Stevens, Hanks that the professional panel review and Biddle are present for the ceremony, which occurs at the The great Dizzy Gillespie was hon- systems be continued; that adjust­ beginning of the 70th meeting of the National Council on the Arts. ored in 1982 with the American Jazz Masters award from the Music ments in the tax code be made to Chairman Hodsoll stresses that the Endowment’s mission is to Program. Photo by Martin Cohen. stimulate private philanthropy; and “foster the excellence, diversity and vitality of the arts and to help

34 THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS broaden the availability and appreciation of such excellence, diversity and vitality.” Hodsoll also prepares for longer-range sup- port of the Challenge and Advancement Programs, improving and streamlining the Endowment’s administration and strengthening the public-private partnership.

On June 15, 1982, President Reagan establishes the President’s Committee on the Arts and the Humanities to help stimulate increased private support and to promote recognition of excel­ lence in these fields. The Committee is comprised of up to 34 Federal and non-Federal members. Its Chairman is Andrew Heiskell, and the Vice Chairmen are Armand S. Deutsch and W. Barnabas McHenry. The National Heritage Fellowships were initiated in 1982. Among the first hon­ orees was santos maker George Lopez of Cordova, New Mexico. Photo by T. Harmon Parkhurst, courtesy Museum of New Mexico.

THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS 35 FISCAL YEAR 19 83 OCT. 1, 1982–SEPT. 30, 1983

he Endowment’s budget rises slightly to $143,875,000. Program begins assisting regional arts organizations in the provi­ T President Reagan says: “We support the work of the National sion of fellowships for emerging visual artists. Endowment for the Arts to stimulate excellence and make art more available to more of our people.” On January 7, 1983, the Endowment’s second Chairman, Nancy Hanks, dies after a long battle with cancer. Three weeks later, on The Endowment initiates the Test Program of Support for Local January 26, President Reagan requests Congress to name the Old Arts Agencies, to encourage more local government support for Post Office complex, which is to be the new home of the two the arts while improving administration and planning. The Endowments, the Nancy Hanks Center. On February 15th, the Literature Program starts a project that publishes short stories in President signs Public Law 98-1, the first bill of the new Congress, newspapers. stating: “This desig­ nation is particularly Curriculum-based, sequential arts education from kindergarten apt since the renova­ through 12th grade becomes a priority for Chairman Hodsoll. A tion of the Old Post series of regional meetings is scheduled, and discussions with the Office, its occupancy J. Paul Getty Trust and others are begun to bring television more this year by Federal directly into the arts education process. cultural agencies and commercial enter­ The Challenge II Program is begun, and previous Challenge prises and its exhibits Program recipients are eligible again for support. The purpose of are due in large Challenge II is to stimulate improved balance sheets for the very measure to the fore­ best arts institutions. Advancement Grants are opened up to all the sightedness, persua­ discipline fields. A new Dance on Tour Initiative begins in the siveness, intellect and vigor of Nancy A visitor at the Museo del Barrio in New York takes Inter-Arts Program to assist state and regional arts agencies in in the special exhibition on African influences in increasing dance presentations nationwide. The Visual Arts Hanks.” Puerto Rican art. Photo by Jose Gomez.

36 THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS The Old Post Office Building is dedicated as the new home of the two Endowments, the President’s Committee on the Arts and the Humanities, the Institute of Museum Services, and the Advisory Council on Historic Preservation on April 19, 1983.

At a White House luncheon on May 17 organized by the President’s Committee, President Reagan honors 12 artists and patrons for service to the arts. The President also asks Frank Hodsoll to explore with Congress the possibility of creating a medal to honor artists and patrons of the arts.

The first National Symposium on Access to Cultural Programs for disabled and older individuals is sponsored by the Endowment and held July 13–16 at Indiana University in Bloomington.

A 1983 Fellowship from the Literature Program helped novelist Bobbie Ann Mason write In Country, a prize-win­ ning novel that was later made into a motion picture. Cover courtesy Harper & Row, Publishers.

THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS 37 FISCAL YEAR 19 84 OCT. 1, 1983–SEPT. 30, 1984

he Endowment’s budget is $162,223,000. Working in collabo­ dance companies to create new T ration with the American Film Institute, the Endowment helps work. A Touring-Commissioning establish the National Center for Film and Television Preservation. Initiative for major interdisciplinary work is begun in the Inter-Arts The Locals Test Program, in its first year of operation, distributes Program. The Office of International $2 million in Federal funds, which are to be matched by $9.7 mil- Activities is formalized. lion in newly appropriated state and local funds. Folk Arts Apprenticeships The American Association of are begun Fundraising Counsel reports that in through state arts 1983 private contributions to cultural agencies. The activities increased to $4.08 billion, Carmen de Lavallade and Leo Theater Program an increase of 36 percent and $1 bil­ by Moneta J. Sleet, Jr. (1960) begins a new lion over 1981. Individuals contin­ was part of the exhibition ued in 1983 to provide the bulk of “A Century of Black Ongoing Photographers” at Atlanta’s High Ensembles cate­ this support. Museum of Art in 1984. gory to assist groups of theater On May 31, 1984, President Reagan signs into law legislation for artists working the National Medal of Arts, authorizing the President to award up together over to 12 medals a year to “individuals or groups who in the Excellence in Federal Sam Maloof, an artist who design achievements, such works in wood, received time. The Dance President’s judgment are deserving of special recognition by rea­ as the design for the Linn an Endowment Visual Arts Program starts a son of their outstanding contributions to the excellence, growth, Cove highway, were rec- Fellowship in 1984 and a support and availability of the arts in the United States.” The ognized by the first MacArthur Fellowship in project placing Presidential Design 1985. Photo courtesy of choreographers Medals are to be based on recommendations of the National Awards in 1984. the artist. with repertory Council on the Arts.

38 THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS FISCAL YEAR 19 85 OCT. 1, 1984–SEPT. 30, 1985

he National Endowment for the Arts is 20 years old. Its President Reagan presents the first T budget is $163,660,000. The Expansion Arts Program starts a Presidential Design Awards to 13 Community Foundation Initiative to secure new private funds for Federal projects in a variety of design smaller arts organizations. The Music Program consolidates and areas. At a ceremony on January 30, strengthens its support for music presenters nationwide. 1985, the President states: “I believe it is fair to say that good design On December 11, 1984, Charlton Heston is appointed as Chairman unites art with purpose, and is an of the Arts Endowment’s 20th Anniversary Committee, created to essential part of all that goes to make focus attention on the our nation without peer.” growth of public-private partnership support for During the Academy Awards presen­ the arts since the tation on March 25, 1985, the Endowment’s founding in National Endowment for the Arts The National Medal of Arts, 1965. In January 1985, receives a special “Oscar” for its designed by Robert Graham, 20-year service to the arts. The first was first awarded in 1985, the First Lady Nancy Reagan Endowment’s 20th anniversary agrees to serve as National Medals of Arts are present­ year. Honorary Chair of the ed on April 23, 1985 to seven artists Committee, which and five arts patrons at a White includes leading artists House luncheon. Sharon Lockwood, Wilma Bonet and Audrey and arts patrons who have Smith, part of the San Francisco Mime Troupe, perform Women Who Work in the Steelmills in served as members of the On August 3, 1985, the National Council on the Arts reviews a a 1985 production. Photo by Jeffrey Blankfort. National Council on the concept paper on arts education which proposes broadening the Arts. scope of the Artists-in-Education Program. The primary objective

THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS 39 of the proposed change is to encourage arts education as a basic part of the curriculum, kindergarten through high school.

During the presentation of the “Emmy” Awards on September 22, 1985, the National Academy of Television Arts and Sciences rec­ ognizes the Arts Endowment on its 20th Anniversary. President Reagan recognizes National Arts Week, September 23–29, to cele­ brate the arts on the occasion of the Endowment’s 20th anniversary. Choreographer Mark Morris, Tlingit performer Gary Waid beats the recipient of a 1985 Dance Program Frank Hodsoll is nominated for a raven and eagle drum for the Naa Fellowship, in One Charming second term as Chairman. Kahidi Theater, celebrating Native Night. Photo by Lois Greenfield. Alaskan culture, under the aegis of the Sealaska Heritage Foundation. On September 29, 1985, the National Endowment for the Arts cel­ Photo courtesy of Naa Kahidi Theatre. ebrates its 20th anniversary.

40 THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS FISCAL YEAR 19 86 OCT. 1, 1985–SEPT. 30, 1986

he Endowment’s budget is reduced to $158,822,240 pursuant The Media Arts Program Tto the Balanced Budget and Emergency Deficit Control Act of funds a new television series 1985. On December 20, 1985, the Endowment is legislatively on American artists, American reauthorized through Fiscal 1990. More than 4,500 grants are Masters. Its first season made for an aggregate of $146.6 million. Nearly 600 panelists includes profiles of architect convene to make the first round of recommendations. Philip Johnson, writer Katherine Anne Porter, comic Buying Time, an anthology Charlie Chaplin, singer Billie celebrating 20 years of writ­ Holiday, musical director James Levine, composer ing by Literature Program Traditional artist Bea Coaxum Fellowship recipients, is pub­ Aaron Copland, painters exhibits her hand-crafted baskets lished by Graywolf Press. Thomas Eakins and Georgia woven with Georgia Sea Island grass. O’Keeffe, and playwright The Office for Special Eugene O’Neill. It also features the collaborative process among playwright Arthur Miller, director Volker Schloendorff and the cast A 1986–87 grant to the Playwrights Constituencies in partnership Horizons Theater supported the creation with arts service organizations of the film version of Death of a Salesman. of Alfred Uhry’s Driving Miss Daisy. publishes three books: Design Shown here are Darrie Lawrence and William Hall, Jr. in the Repertory Theatre for Aging, Profiles in the Arts, Chairman Hodsoll announces that beginning in FY 1988, the of St. Louis’s 1991 production. Photo and The Arts and 504, which Artists-in-Education Program will be broadened with the goal of courtesy of Repertory Theatre of St. encouraging serious and sequential study of the arts as a part of Louis. serve as tools for arts organi­ zations to reduce physical, basic education. In the first year of the AIE Program’s new category attitudinal and programmatic barriers keeping older and disabled of Arts-in-Schools Basic Education Grants, 42 states apply for support. Americans from participating fully in the arts.

THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS 41 FISCAL YEAR 19 87 OCT. 1, 1986–SEPT. 30, 1987

he Endowment’s budget is $165,281,000. The NEA’s Research and the humanities teach us who T Division Note #28 reports that for two years running, admis­ we are and what we can be. They sion receipts for nonprofit performing arts events exceed those for lie at the very core of the culture of spectator sports. which we’re a part, and they pro- vide the foundation from which we The National Assembly of State Arts Agencies reports that state arts may reach out to other cultures so appropriations for Fiscal Year 1987 reach $216.6 million, a record that ours may be enriched by—as high. The National Assembly of Local Arts Agencies estimates that well as itself enrich—other endur­ The Endowment established the city and county government support of the arts will increase 109 ing traditions. We honor the arts Mayors Institute on City Design in percent from 1986 to 1988. not because we want monuments 1987, bringing together civic and design professionals to enhance the to our own civilization, but because quality of the built environment. The Dance Program sup- we are a free people. The arts are Here Alexandria, Virginia mayor ports reconstructions of among our nation’s finest creations Patricia Ticer explains a proposed railyard redevelopment to Macon, Nijinsky’s and Stravinsky’s and the reflection of freedom’s Georgia mayor Tommy Olstead (L) ballet The Rite of Spring, light.” and real estate developer John Clark. Photo by Daniel Grogan which had not been per- Photography. formed in 75 years, by the Joffrey Ballet.

A student from the All-City High School Orchestra receives pointers from New During the National Medal of York Philharmonic violinist Judith Nelson Arts ceremonies on June 18, prior to their 1987 joint concert. Photo by 1987, President Reagan says: Carol Bernson. “Why do we, as a free peo­ ple, honor the arts? The arts

42 THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS FISCAL YEAR 19 88 OCT. 1, 1987–SEPT. 30, 1988

he Endowment’s budget is Statistics: 1987 and the 1982 and 1985 surveys of public participa­ T$167,731,000. tion in the arts.

In March 1988, the first 16 state The Inter-Arts Program initiates, arts agency planning grants are with support from the made, fostering collaboration Rockefeller Foundation, the with state education agencies to National Task Force on make the arts more basic in Presenting and Touring the education. Performing Arts. Administered by the Association of Performing In May 1988, the Endowment Arts Presenters, its goal is to help publishes Toward Civilization, Singing in a role written especially for strengthen the field of presenting her, mezzo-soprano Frederica von which argues that basic arts edu- Stade stars in the Dallas Opera’s world and relationships among present­ cation is suffering serious neglect premiere of Dominick Argento’s The ing organizations, artists, audi­ in the United States. This two- Aspern Papers, broadcast on the PBS ences and communities. series Great Performances in 1988. year study on the teaching of the Photo by Phil Schexnyder. arts in our nation’s schools An extensive evaluation of the warns, “the artistic heritage that is ours, and the opportunities to Test Program of Support for Local contribute significantly to its evolution, are being lost to our young Arts Agencies confirms the capac- B.D. Wong and John Lithgow in ity of Federal dollars to increase M. Butterfly, the Broadway success people.” More than 180,000 copies are sold or distributed. by David Henry Hwang, a Theater public arts funding at state and Program Playwrights Fellowship The Arts in America, an inventory of the nation’s artistic resources, local levels. The Endowment recipient. Photo courtesy Eugene O’Neill Theater. is published by the NEA in the fall. Previous NEA sources of statis­ establishes the Locals Program as tical data prove helpful in its publication: A Sourcebook of Arts a full Endowment program. The

THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS 43 pilot stage of the program, begun in 1983, saw an Arts Endowment investment of $6 million generate $24.9 million from city and county governments and $16.5 million from state arts agencies and other sources.

The Challenge III Program is inau­ gurated, providing $9.1 million in grants for 25 projects throughout Louisville Orchestra Music Director Lawrence Leighton Smith in a rehearsal the country for their ability to with Isaac Stern for the 1988 opening advance the arts nationally. gala concert. Photo by Richard Bram.

Sister Rosalia Haberl, a German- American bobbin lacemaker, was one of 12 recipients of the 1988 National Heritage Awards supported through the Folk & Traditional Arts Program.

44 THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS FISCAL YEAR 19 89 OCT. 1, 1988–SEPT. 30, 1989

he Endowment’s budget is $169,090,000. jointly funded by three Endowment Programs, helps states and T regions to sponsor dance company residencies and performances, Chairman Hodsoll resigns on February 28, 1989 after serving particularly in smaller communities nationwide. nearly eight years. Hugh Southern is appointed Acting Chairman. In the spring of 1989, contro­ The Expansion Arts Program begins a Rural Arts Initiative, helping versy over two photographers’ state arts agencies to regrant funds for strengthening rural arts works that appeared in institu­ organizations. Similarly, the States Program begins awarding small tions funded by the Arts grants of up to $25,000 for projects developed by state arts agen­ Endowment begins a public cies in response to the needs debate over the types of proj­ of rural communities. The ects supported by the agency. States Program also begins An Independent Commission an effort to encourage new to review the process by collaborations between the which the Endowment distrib­ states and regions and the utes grants is established by Endowment’s discipline Congress. A House-Senate programs. conference committee bars the funding of art that is Musician Phil Baker enjoys a laugh with International Activities are “obscene,” as defined by the students in a concert in Clear Lake, South Dakota, as part of the 1989 strengthened and made a part Supreme Court’s 1973 Miller The acclaimed documentary film Hoop Touring Arts Teams, a rural arts initiative of the Office of Policy, v. Sullivan decision. Dreams, directed by Steve James, received Media Arts Program support in funded by the Endowment. Photo cour- Planning and Research. tesy South Dakota Arts Council. 1989, five years before it was released. Dance on Tour, an effort Photo courtesy of Fine Line Features.

THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS 45 FISCAL YEAR 19 90 OCT. 1, 1989–SEPT. 30, 1990

n its 25th year, the Endowment’s budget rises to $171,255,000. central component, because I creativity will be the currency John Frohnmayer is sworn in as the fifth Chairman of the National of the 21st century.” Endowment for the Arts in October 1989. On July 9–10, 1990, the At a ceremony in the White House on November 17, 1989, Endowment and the Mid President Bush awards the National Medals of Arts, noting: “Art Atlantic Arts Foundation convene the first regional In the studios of Boston’s WGBH, opens entire new worlds for each of us, letting us see and hear and Margot Stage narrates a Descriptive even feel life through the mind of someone else—from new per­ conference devoted to access, Video Services script for The American spectives. And instead of seeing a single world, we can see as bringing together 260 arts Experience. Descriptive Video Services, funded through an Endowment many worlds as there are artists and writers, dancers and musicians.” administrators to discuss Challenge Grant, provides narrative ways to make the arts more links for the blind. Photo courtesy WBGH. In a speech at the Corporate available to older and Council for the Arts in Seattle disabled individuals. on June 29, 1990, Chairman Frohnmayer says: “In this Senior Fellowships in Literature are technological age, we must awarded to poet Denise Levertov and prepare our schools to help prose writer Wallace Stegner in recogni­ our children understand and tion of their achievements.

American Jazz Master Cecil Taylor works appreciate the aesthetic with students at the New England dimension of our lives. We Conservatory as part of a 1990 Music must be prepared to use Charles Johnson, a 1980 Literature Program grant. Photo by Denise Marcotte. Fellowship recipient, won the National creativity not as an adjunct to Book Award for his 1990 novel Middle our education, but as its Passage. Cover courtesy Antheneum.

46 THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS FISCAL YEAR 1991 OCT. 1, 1990–SEPT. 30, 1991

he Endowment’s budget is The Endowment publishes T$174,080,737. Arts on Television: 1976–1990, a history of the On November 5, 1990, Congress Media Arts Program’s Arts on reauthorizes the Endowment for Television category that has Fiscal Years 1991 through 1993. supported dozens of series Twenty-five percent of program and individual programs on funds are reserved for state and public television. In addition, regional arts agencies and anoth­ a report co-funded by the Cornerstones Community Foundation has received long-time Design Program er five percent is set aside for Dance Program and the support to save historic adobe churches these agencies to address the Andrew W. Mellon Foundation, in New Mexico, such as the Apostal The Angel (Ellen McLaughlin) needs of underserved communi­ Images of American Dance: Santiago in Maes, San Miguel County. appears to foreshadow amazing Photo by Jim Gautier. ties, particularly in rural and events in the 1991 world premiere Documenting and Preserving of Angels in America at San a Cultural Heritage, is distrib­ inner-city areas. New emphasis is Francisco’s Eureka Theater, support­ placed on arts education. ed through the Theater Program. uted, pointing to the urgency Photo courtesy Eureka Theater. of coordinated efforts to docu­ Panel reforms remove even the appearance of conflicts of interest ment and preserve America’s on the part of the Endowment’s panelists. Modified panel struc­ unique dance heritage. tures, including split panels and multi-year applications, are adopted. Consequently, the number of panelists grows from 792 in 1990 to 947 in 1991. The Chairman is granted authority to Students join Nelson Sosa during a per­ formance of Latin American music in a approve all applications except those on which the Council makes program of Urban Gateways: The Center a negative recommendation. for Arts in Education. Photo by Avis Mandel.

THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS 47 FISCAL YEAR 19 92 OCT. 1, 1991–SEPT. 30, 1992

or the sixth consecutive year, the Endowment’s budget rises The Chamber Music Rural Residency Pilot Program sends cham­ Fslightly to $175,954,680. Chairman Frohnmayer resigns effec­ ber ensembles featuring young musicians to live and work in rural tive April 30, 1992. From May 1992 through January 19, 1993, communities in Iowa, Kansas and Georgia. Anne-Imelda Radice is Acting Chairman.

Throughout 1991, staff from the Inter-Arts Program meet with hun­ dreds of artists, presenters and representatives of service organiza­ tions to gather their views on a new program to present the per- forming arts and commission new work. In January 1992, Inter- Arts becomes the Presenting & Commissioning Program.

In January 1992, the Dance (first version), a 1909 painting by Henri Matisse, was part of a special Endowment publishes a set of exhibition of the master Impressionist brochures developed for the mounted by the Museum of Modern Art, parents of young children New York. Photo by Eric Pollitzer. Collection, The Museum of Modern Art, through a cooperative effort New York. Gift of Nelson A. Rockefeller with five national arts educa­ in honor of Alfred H. Barr, Jr. tion associations. The Working with young students at the brochures contain helpful drums, jazz percussionist Max Roach ideas to get children involved shows how different rhythmic patterns The Chamber Music Rural Residency can be layered to create a composition in in the visual arts, music, Program sent small ensembles to live, part six of Behind the Scenes, the first dance, theater and creative work and perform in rural communities in Kansas, Iowa and Georgia in 1992. national television series for children on writing. the visual & performing arts. Photo by Pictured is the Ying Quartet in Jessup, Martha Swope Associates/Carol Rosegg. Iowa. Photo courtesy Cedar Arts Forum.

48 THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS FISCAL YEAR 1993 OCT. 1, 1992–SEPT. 30, 1993

he Endowment’s budget is $174,459,382. With the inaugura­ to model programs of accessi­ T tion of President William Clinton, a new administration bility for disabled and older begins. During much of this period the function of chairman people published by the resides with Madeleine Kunin, Deputy Secretary of Education, American Association of who delegates practical, day-to-day authority to Ana M. Steele, Museums. The agency publish­ Acting Senior Deputy Chairman. es Dancemakers, a research study on the dire economic straits of choreographers, and The Office of International Activities becomes the International The Fisk Jubilee Singers, in their 1871 Program. Through its partnerships as well as direct grants, the Generation of Fellows, an inaugural tour, became the first group to International Program provides funding for 185 projects in 1993. anecdotal history of the impact bring the spiritual to the concert stage. Their story is told as part of National One of its first concrete achievements is the creation of the of Endowment grants to indi­ Public Radio’s 26-part series Wade in the U.S./Canada/Mexico Creative Artists’ Residencies. ArtsLink, which vidual artists. Moving Around: Water: African American Sacred Music Partnerships at Work in Dance Traditions, supported through the Media fosters exchanges by U.S. Arts Program. Photo courtesy of Fisk artists and arts administrators on Tour, published for the University Archives. and their counterparts in Endowment by Dance/USA, Eastern and Central Europe summarizes successful dance and the former Soviet Union, touring projects by dance is expanded. companies and presenters.

In cooperation with the Hank Dutt, David Harrington, John Institute of Museum Services, Sherba and Joan Jeanrenaud are the the Endowment funds The The Bill T. Jones/Arnie Zane & Kronos Quartet, one of the nation’s finest Company dancers tour the country music ensembles performing new works. Accessible Museum, a guide to sold-out performance halls. Photo by Christine Alicino. Photo courtesy Walker Art Center.

THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS 49 FISCAL YEAR 19 94 OCT. 1, 1993–SEPT. 30, 1994

or Fiscal Year 1994, the Endowment’s budget stands at ally generates 1.3 million jobs, F$170,229,000. $36.8 billion in expenditures, $790 million in local govern­ On October 8, 1993, Jane Alexander is sworn in by Supreme ment tax revenues, $1.2 billion Court Justice Sandra Day O’Connor as the sixth Chairman of the in state government tax rev­ Arts Endowment. As part of her pledge to Congress, she sets out to enues, and $3.4 billion in survey the state of the arts in America. Within her first 14 months Federal tax revenues. Fiddle students pose for a group in office, Chairman Alexander visits 130 different communities in portrait at the Augusta Heritage all 50 states and Puerto Rico. Center, Davis and Elkins College in The arts are among the first disci- West Virginia. Photo by Mark plines to develop educational Crabtree. The first federally sponsored national arts conference, Art-21: Art goals and standards as part of the Reaches into the 21st Century, is held in Chicago, Illinois, April Goals 2000 education reforms, 14–16, 1994. Over 1,100 participants meet to discuss national and they are published as the National Standards for Arts Education. arts policy centered around four themes: “The Artist in Society,” A consortium of national arts education associations, in conjunction “Lifelong Learning through the Arts,” “The Arts and Technology,” with the Endowment, focuses on what every young American and “Expanding Resources for the Arts.” President Clinton address­ should know and be able to do in dance, music, theater and the es the conference via video: “Each of us is born into a society that visual arts. The Goals 2000 Arts Education Planning Process begins passes along its values through its culture. And that’s why the in the summer of 1994. National Endowment for the Arts was established three decades ago: to enliven creative expression and to make the arts more Design for Accessibility: An Arts Administrator’s Guide is intro­ accessible to Americans of all walks of life.” duced on July 28, 1994, the fourth anniversary of the Americans with Disabilities Act. Produced in partnership with the National An economic impact study published by the National Assembly of Assembly of State Arts Agencies (NASAA), the book assists Local Arts Agencies estimates that the nonprofit arts industry annu­ Endowment grantees and others in making their programs and

50 THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS facilities fully accessible to people with disabilities and older adults. The Arts Endowment and NASAA disseminate 800 free copies of the Guide to grantees through the state arts agencies.

The Research Division publishes Trends in Artist Occupations: 1970–1990, which uses U.S. Census figures to show a 127 per- cent increase in the number of artists over that 20 year period, for a total of over 1.67 million artists in the U.S.

In Chicago, banners for Art-21: Art Reaches Into the 21st Century, the first national confer­ ence on the arts sponsored by the Federal government, are displayed. Photo by Eric Futran.

THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS 51 FISCAL YEAR 1995 OCT. 1, 1994–SEPT. 30, 1995

he National Endowment for the Arts is now 30 years old. The technology. The Special TEndowment’s budget is $162,311,000, following successive Constituencies Office is reductions by Congress, including a rescission in funds late in the re-named the Office of year. The Endowment’s staff is being reduced as well. AccessAbility to reflect its mission of making On October 13, 1994, at a luncheon in honor of the National the arts more accessible Medal of Arts recipients, Chairman Alexander names all the for­ to all Americans. The mer members of the National Council on the Arts as Ambassadors Office of Policy, for the Arts. Planning and Research is re-organized as the Congressman Ralph Office of Policy, Regula (R-OH) assumes Research and Chairmanship of the House Technology, and plans Turtle Mountain Chippewa John LaFountaine Appropriations Subcommittee commence to create an during his week-long Arts Plus artist-in-schools residency at Warren Elementary in Helena, with responsibility for the Endowment site on the Montana under the auspices of Helena Presents. Endowments. Senator Slade World Wide Web. Photo courtesy Helena Presents. Gorton (R-WA) assumes

Designers and civic leaders discuss Chairmanship in the Senate. On January 23, 1995, the series American Cinema premieres on options for the rebuilding of downtown public television as part of the Endowment’s millennium celebra­ Oklahoma City after the bombing of the The International Program tion of American art in the 20th century. Murrah Federal Building as part of a charrette organized and run by the publishes World Arts: A Guide Design Program. to International Arts Exchange Congress begins deliberations on reauthorization of the Arts and and makes the information Humanities Endowments and the Institute of Museum Services. available through on-line At a Congressional hearing on the future of the Arts Endowment,

52 THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS Chairman Alexander declares: “A great nation supports and encourages the education of all its people. A great nation recog­ nizes that the life of the spirit, of the human mind, is what endures through the passing on from generation to generation a heritage that says: this is who we are, this is who we were, and this is who we will be in days to come. That heritage is manifested through the arts, the humanities and the sciences. That heritage is what we seek to keep alive at the Endowment for the Arts.”

Chairman Alexander accepts a Tony Award on behalf of the agency in recognition of the Endowment’s role in the growth of Ceramic students attempt slab work regional theater in the U.S. in the studios of the Manchester Craftsmen’s Guild on the north side Based on funding levels appropriated by Congress, the of Pittsburgh. Photo by Lonnie Graham. Endowment begins planning for a major re-structuring.

For the first time in its history, the National Heritage Fellowship awards presentation is held at the White House, hosted by First Lady Hillary Rodham Clinton.

On September 29, 1995, the Endowment celebrates its 30th anniversary.

THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS 53 FISCAL YEAR 1996 OCT. 1, 1995-SEPT. 30, 1996

996 is a pivotal year for the National Endowment for the Arts. Masters awards are retained. Congress 1The budget is cut by 39 percent to $99.5 million – down from also prohibits seasonal or general $162.5 million the previous year. With a backdrop of concern operating support grants, allowing about a balanced budget, artistic expression and the grantmaking only project support to organizations. process, Congress debates the appropriate Federal role for arts Restrictions are imposed on allowing funding. grantees to subgrant to third party organizations and artists. After a year-long budget battle with the President, which includes two The agency restructures its grantmaking operation from 17 discipline-based pro- Federal government shutdowns, Lindsay Cummings portrays Congress votes to phase out funding grams to four categories: 1) Creation & the orphaned Addie Loggins in for the agency over a two-year period. Presentation; 2) Heritage & Preservation; the musical Paper Moon at the Goodspeed Opera House, The House of Representatives 3) Education & Access; and 4) Planning recipient of an Opera-Musical announces a plan to eliminate the & Stabilization. Applicants are limited to Theater grant, in East Hadaam, one proposal per year. Connecticut. Photo by Diane Endowment. Sobolewski.

The agency reorganizes itself and the The Endowment unveils its World Wide Web site, providing The Repertory Dance Theatre of Salt Lake City, which staff is cut by 47 percent, from 279 to detailed application guidelines, staff listings, research materials received one of 118 Dance 148. and links to other arts information sites. Program grants in 1996, performs the Utah Centennial Landscape Suite. Photo by Congress places specific prohibitions New Leadership Initiatives create collaborative partnerships of Kristan Jacobsen, Deseret News. on the agency. All individual artist national significance with other Federal agencies, arts organiza­ grants are eliminated with the exception of Literature Fellowships. tions and foundations, such as an agreement with the U.S. Forest The honorific National Heritage Fellowships and American Jazz Service to support arts programs in rural areas.

54 THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS Coming Up Taller: Arts and Humanities Programs for Children and Youth At Risk, a joint research publication of the Endowment and the President’s Committee on the Arts and the Humanities, is released at a White House ceremony. The study reveals how local artists and educators can help turn around the lives of young people.

The Rockefeller Foundation publishes the report Looking Ahead: Private Sector Giving to the Arts and the Humanities, summarizing funding trends to cultural organizations. It states that, despite sig­ nificant growth in foundation giving in the 1980s, the National Endowment for the Arts remains the largest, single funder of the arts in the United States.

The Open Studio project in partnership with the Benton The New Hampshire Symphony Foundation is established, bringing free public Internet access to Orchestra, recipient of a 1996 grant, arts organizations in all 50 states and establishing a mentoring performs under James Bolle at the Sainte program for artists and arts organizations to develop and maintain Marie Church in Manchester. Photo by Tom Stearns. Web sites.

THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS 55 FISCAL YEAR 19 97 OCT. 1, 1996-SEPT. 30, 1997

he agency receives an appropriation equal to the prior year at the year 2000 a national T$99.5 million. celebration of the American spirit in every Fiscal Year 1997 marks the first year the changes mandated by community – a celebra­ Congress and planned by the Endowment’s administration the pre­ tion of our common vious year are implemented. culture in the century that has passed, and in The various grant pro- the new one to come in grams through which a new millennium, so the designated state and that we can remain the Jane Dumas, Celia Silva and Manuela Aguiar world’s beacon not from tribe Kumeyaay are twining with the jun­ regional arts agencies cus technique at the June 1997 California Indian had previously received only of liberty, but of Basketweavers Gathering in Thousand Oaks, funds – Basic State creativity…” California, supported by an NEA grant. Photo by Linda Yamane. Grants, Arts-in-Education Partnership Grants, Through a $225,000 Leadership Initiative, the Arts Endowment The African-American Dance Ensemble of and Underserved helps the YMCA establish literary arts centers in neighborhoods Durham, North Carolina dances in the lamban Communities Set-Aside across the country through the YMCA’s National Writer’s Voice style, indigenous to the Sene Gambis area of West Africa. The Ensemble received a Heritage Grants – are consolidat­ program. & Preservation grant in 1997. Photo by ed into Partnership Rebecca Lesher. Agreements. The President’s Committee on the Arts and the Humanities issues Creative America, a report about the importance of the arts and President William Jefferson Clinton acknowledges the arts in his humanities for a democratic society. It calls for a national 1997 State of the Union address, challenging “…all Americans in Millennium Initiative celebrating and strengthening support for the the arts and humanities to join with our fellow citizens to make nation’s cultural life at the turn of the millennium.

56 THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS The Endowment releases Artists in the Work Force: Employment & Earnings. The study indicates that the number of working artists has increased 127 percent since 1970. It also reports that artists earn less than other professionals and frequently work more than one job to stay above the poverty line, despite averaging over four years of college education.

Six regional summits boosting cultural tourism are launched to forge partnerships between the tourism industry and the cultural community. The Endowment works with a cadre of federal agen­ cies, national service organizations and corporations to promote Wenyi Hua, internationally regarded as the premier and strengthen cultural tourism. artist in kunqu, one of China’s oldest and most refined forms of opera, and recipient of a 1997 National Heritage Fellowship. Photo courtesy of The Endowment publishes Imagine, a resource and information Wenyi Hua. guide to help parents provide arts education to their children.

THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS 57 FISCAL YEAR 1998 OCT. 1, 1997-SEPT. 30, 1998

fter a House vote to eliminate the Endowment’s funding, a was a great privilege to be front and center to the kaleidoscope AHouse-Senate conference finalizes the Fiscal Year 1998 of the arts in America.” Kathryn Higgins, U.S. Department of budget at $98 million. Labor Deputy Secretary, becomes Acting Chairman and Scott Shanklin-Peterson, Senior Deputy Chairman, manages ongoing Congress mandates that state arts operations. agencies receive 40 percent of agency program funds, up from 35 William J. Ivey is nominated by President Clinton to be the sev­ percent. Congress also imposes a enth Chairman of the Arts Endowment and is confirmed unani­ 15 percent cap on total grant mously by the Senate. He is sworn into office on May 28, 1998. funds awarded to organizations in any one state, excluding projects ArtsREACH, a new pilot of national or multi-state signifi­ program, encourages commu­ cance. It further mandates the nity partnerships between arts National Council on the Arts be and non-arts organizations to reduced from 26 to 20 persons, develop or implement cultural Voices of Youth project interns dis­ with six being Members of play their work at the Western plans. It offers direct grants in Congress who serve in a non- Folklife Center in Elko, Nevada. twenty states where organiza­ The Center received a 1998 grant voting, ex-officio capacity. to train sudents from Nevada tions received five or fewer Congressional representatives first Basque, ranching, mining and such grants in the last two Architect Frank Gehry receives the 1998 attend a National Council meeting Native American communities in years. National Medal of Arts from President photography and sound recording. Bill Clinton and First Lady Hillary in March. Photo by Bruce Hucko. Rodham Clinton at a White House cere- The 1997 Survey of Public mony. Photo by Neshan Naltchayan for the National Endowment for the Arts. Jane Alexander, Chairman of the Endowment since 1993, steps Participation in the Arts is down at the end of her four-year term in October. She states, “It released. It indicates that

58 THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS Americans enjoy the arts in record num­ The NEA releases its American Canvas report, summarizing bers: 50 percent of America’s citizens, or six privately funded forums across the country that convened 97 million people, attended an arts activity representatives from the arts, education, business, government, during the previous year. consumer organizations, civic groups, religious organizations and foundations. It calls on artists and communities to expand the The Folk & Traditional Arts Infrastructure definition of American culture, support the nonprofit arts, develop Initiative addresses the needs of folk arts innovative partnerships, meet community needs, and educate practitioners by providing funds for field young people in the arts. research, professional staff support and folk art exhibitions and performances The Office of AccessAbility organizes the first national forum on nationwide. careers in the arts for people with disabilities, in cooperation with the U.S. Department of Health and Human Services, Social The Guthrie Theater in On June 25, 1998, the U.S. Supreme Minneapolis presents Security Administration and John F. Kennedy Center for the Court issues its ruling in the case of NEA The Venetian Twins in a Performing Arts. v. Finley. The 8-1 decision determines production supported by a 1998 Creation & that the statute mandating the Endowment Presentation grant. to consider “general standards of decency Photo by Michael Daniel. and respect for the diverse beliefs and values of the American public” in awarding grants is constitution­ al. The NEA continues its implementation of the statute through its panel review system that includes persons representing culturally diverse points of view.

THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS 59 FISCAL YEAR 19 99 OCT. 1, 1998-SEPT. 30, 1999

he Endowment’s Fiscal Year Chairman Bill Ivey proposes the “Challenge America” initiative, T1999 appropriated budget is and President Clinton seeks funding for it in his Fiscal Year 2000 again set at $98 million, with a budget request to Congress. The initiative has two broad purposes: $34,000 reduction in August when 1) bringing together the arts, the American people and communi­ Congress applies a rescission to all ties to address community concerns, and 2) fostering development federal agencies to offset the of new cultural initiatives and programs in previously underserved Emergency Oil and Gas Bill. areas.

The NEA’s new strategic plan for The NEA launches four Design Leadership Initiatives to foster 1999-2004 is released. The design talent and improve the overall quality of design across the agency’s mission statement is country. They focus on improving the design of public projects, revised to read: “The National The PBS series American reworking out-of-date suburban malls, examining the design and Endowment for the Arts, an invest­ Photography: A Century of Images, revitalization of schools, and finding ways for design to enhance explores the role of photography in ment in America’s living cultural the personal lives and public history the quality of life in rural areas. heritage, serves the public good by of 20th century America with nurturing human creativity, support­ Endowment support. “Migrant A landmark research study of YouthARTS, a project funded by the Mother” by Dorothea Lange, 1936, ing community spirit, and fostering is one of the program’s featured Arts Endowment and the U.S. Department of Justice, demonstrates appreciation of the excellence and works. Photo courtesy U.S. Farm that arts programs help decrease youth delinquency. The same Security Administration collection, diversity of our nation’s artistic Prints and Photographs Division, year, two joint initiatives of the Arts Endowment and the Justice accomplishments.” Library of Congress. Department reach young people in juvenile justice facilities and living in neighborhoods that put them at risk. In one year, the ArtsREACH program increases the number of agency direct grants to the 20 eligible target states by over 350 The agency Web site adds Lessons Learned: A Planning Toolsite to percent. its professional development resources. The Toolsite features

60 THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS advice from professional arts consultants in the areas of minority audience development, capital campaigns, strategic planning, community partnerships and social enterprise.

The Arts Endowment conducts a major assessment of its support for organizational development through Planning & Stabilization grants. A series of colloquia, open to the arts community, is held in Washington, D.C. to examine issues such as audience develop­ ment, information technology, leadership and capitalization strate­ gies for arts organizations.

Sudanese immigrants in Iowa rehearse traditional dances as part of the Des Moines Playhouse’s Culture Café, a series of performances featuring the city’s immigrants and supported by an ArtsREACH grant. Photo courtesy Des Moines Playhouse.

THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS 61 FISCAL YEAR 2000 OCT. 1, 1999-SEPT. 30, 2000

he House votes to fund the NEA at the 1999 level after reject­ The Endowment invests in several Leadership Initiatives designat­ Ting both a proposed increase and a proposed decrease. The ed as Official Millennium Projects by the White House Senate votes for a $5 million increase. Final legislation for Fiscal Millennium Council. These projects highlight artistic excellence Year 2000 includes a government-wide funding reduction of 0.38 and include significant community involvement in all 50 states: percent, and the agency’s budget drops slightly to $97.6 million. • Under Artists & Communities: America Creates for the To celebrate its 35th year, the Endowment Millennium, coordinated by the Mid Atlantic Arts Foundation, presents America’s Creative Legacy: An NEA host communities sponsor visual and performing artists’ resi­ Forum at Harvard at Harvard University’s dencies in which artists and local citizens together create new Kennedy School of Government in works for the 21st century. Cambridge, Massachusetts. The event brings together the current Chairman • Arts on Millennium Trails, administered by the National and four former NEA Chairs for a Association of State Arts Agencies, supports the creation of discussion of U.S. arts policy. community-centered public art projects along the 50 Millennium Legacy Trails designated by the U.S. Department The Endowment broadens its outreach by of Transportation. further supporting the production and dis- The Indian Hunter in • Continental Harmony, administered by the American tribution of radio and television programs Oak Dale Cemetery in aimed at nationwide audiences. Urbana, Ohio is a replica Composers Forum, provides for composers’ residencies and the of an original sculpture creation of new musical works reflecting the lives and hopes of by John Quincy Adams A new initiative funds artists’ residencies Ward. The work is being host communities, with many premiere performances on in community settings, providing positive conserved through Save July 4, 2000. Outdoor Sculpture. alternatives for youth in the form of after- Photo by Venus Bronze school arts programs. Works, Inc.

62 THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS • The Favorite Poem Project, conceived by Poet Laureate Robert • Treasures of American Film Archives, in cooperation with the Pinsky and conducted in partnership with the Library of National Film Preservation Foundation and 12 major film Congress, Boston University and the New England Foundation archives across the country, preserves, screens and distributes for the Arts, celebrates the poems Americans love through public to public libraries a rich collection of “orphan,” or noncom­ readings and the creation of an audio and video archive of peo­ mercial, films from the past century. ple from varied backgrounds reading their favorite poems aloud.

• Live at the Library 2000, in cooperation with the American Library Association, develops opportunities for literary, visual and performing artists to present their work in libraries across the country.

• Through The Mars Millennium Project, an interdisciplinary learning project of the Arts Endowment, U.S. Department of Education, NASA and the J. Paul Getty Trust, students in grades K-12 work with artists and scientists to design model commu­ nities for life on Mars in the year 2030. U.S. Poet Laureate and Boston University Professor of English and Creative Writing Robert • SOS!2000 — Save Outdoor Sculpture, a project of Heritage Pinsky is at the helm of the Preservation, funds conservation treatment of artistically and Favorite Poem Project. Photo courtesy Boston University historically significant outdoor sculpture. Photo Services.

THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS 63 National Council on theArts

Current Members Former Members Phyllis Curtin (1988–91) Donald Hall (1991–97) (As of January, 2000) Jean Dalrymple (1968–74)* Lawrence Halprin (1966–72) Maurice Abravanel (1970–76)* Hal C. Davis (1976–78)* Marvin Hamlisch (1989) Gordon Davidson Kurt Herbert Adler (1980–87)* Kenneth Dayton (1970–76) R. Philip Hanes, Jr. (1965–70) Patrick D. Davidson Margo Albert (1980–85)* Agnes de Mille (1965–66)* Hugh Hardy (1992–97) Terry H. Evans Marian Anderson (1966–72)* Rene d’Harnoncourt (1965–68)* Mel Harris (1988–91) Joy Harjo Martina Arroyo (1976–82) J. C. Dickinson, Jr. (1976–82) Huntington Hartford (1969–72) Ronnie F. Heyman Elizabeth Ashley (1965–66) Richard C. Diebenkorn (1966–69)* Rev. Gilbert Hartke, O.P. (1965–66)* Speight Jenkins William Bailey (1992–97) C. Douglas Dillon (1982–89) Helen Hayes (1966–69; 1971–72)* Nathan Leventhal David Baker (1987–94) John T. Doolittle (ex-officio) (1998)+ Peter deCourcy Hero (1991–96) Marsha Mason James Barnett (1980) Allen Drury (1982–88)* Charlton Heston (1966–72) Cleo Parker Robinson Thomas Bergin (1979–84) Charles Eames (1970–76)* Margaret Hillis (1985–91)* Judith O. Rubin Robert Berks (1969–70) Clint Eastwood (1972–78) Celeste Holm (1982–88) Joan Specter Phyllis P. Berney (1986–91) William Eells (1976–82) Richard Hunt (1968–74) Richard Stern Leonard Bernstein (1965–68)* Duke Ellington (1968–74)* Marta Istomin (1991–97) Luis Valdez Theodore Bikel (1978–82) Ralph Ellison (1965–66)* Arthur I. Jacobs (1981–87) Townsend D. Wolfe, III Anthony A. Bliss (1965–68)* Paul Engle (1965–70)* Judith Jamison (1972–77) Sally Brayley Bliss (1987–94) Joseph Epstein (1985–94) Kenneth M. Jarin (1994–98) Serving in an ex officio, non-voting Angus Bowmer (1974–79)* Leonard L. Farber (1980) Colleen Jennings Roggensack (1994–97) capacity: Willard Boyd (1976–82) I. Ronald Feldman (1994–99) Robert Joffrey (1980–87)* U. S. Representative Cass Ballenger David Brinkley (1965) O’Neil Ford (1968–74)* Bob Johnson (1987–94) (R-NC) Nina Brock (1987–94) William P. Foster (1996–98) James Earl Jones (1970–76) U.S. Senator Mike DeWine (R-OH) Richard F. Brown (1972–78)* Helen Frankenthaler (1985–92) Herman David Kenin (1965–68)* U.S. Senator Richard S. Durbin (D-IL) Trisha Brown (1994–97) Martin Friedman (1979–84) M. Ray Kingston (1985–92) U. S. Representative Nita M. Lowey Albert Bush–Brown (1965–70)* Robert Garfias (1987–96) Ardis Krainik (1987–94)* (D-NY) Philip Brunelle (1992–96) Virginia B. Gerity (1970–72)* Eleanor Lambert (1965–66) U. S. Senator Jeff Sessions (R-AL) Henry J. Cauthen (1972–78) Roy M. Goodman (1989–96) Jacob Lawrence (1978–84) (vacant – U. S. House of Norman B. Champ, Jr. (1979–86) Martha Graham (1985–87)* Warner Lawson (1965–68)* Representatives) Van Cliburn (1974–80) Barbara Grossman (1994–99) Raymond J. Learsy (1982–88) Susan M. Collins (ex-officio) (1998)+ Sandra Hale (1980) N. Harper Lee (1966–72)

64 THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS Erich Leinsdorf (1980–84)* Maureene Rogers (1978–84) George White (1992–97) Harvey Lichtenstein (1987–94) James Rosenquist (1979–84) Nancy White (1966–72) Samuel Lipman (1982–88)* Rosalind Russell (1972–76)* Anne Porter Wilson (1972–78) Bernard Lopez (1979–84) George Schaefer (1982–88)* Robert Wise (1970–76) Wendy Luers (1988–96) Franklin Schaffner (1976–82)* Otto Wittmann (1965–66) Talbot MacCarthy (1985–91) Thomas Schippers (1974–76)* Catherine Yiyu Cho Woo (1991–96) Roger Mandle (1989–96) Gunther Schuller (1974–80) James Wood (1985–94) Jimilu Mason (1966–72) Rudolf Serkin (1968–74)* Jessie Woods (1979–85) Louise McClure (1991–97) George Seybolt (1974–80)* Rachael Worby (1994–98) Wallace D. McRae (1996–98) Robert Shaw (1979–84)* James Wyeth (1972–78) Charles McWhorter (1970–76)* Beverly Sills (1970–76) Rosalind W. Wyman (1979–85) Robert Merrill (1968–74) David Smith (1965)* Minoru Yamasaki (1965–69)* Arthur Mitchell (1987–94) Oliver Smith (1965–70)* Stanley Young (1965–66)* Toni Morrison (1980–87) Robert Stack (1982–88) Carlos Moseley (1985–91) John Steinbeck (1966–68)* + Member, U. S. Congress Jacob Neusner (1985–90) Isaac Stern (1965–70) * Deceased Rev. Leo J. O’Donovan, S. J. (1994–98) George Stevens, Sr. (1965–70)* Gregory Peck (1965–66; 1968–74) Ruth Carter Stevenson (1969–70) I. M. Pei (1980–87) Jocelyn Levi Straus (1988–96) William L. Pereira (1965–68)* William E. Strickland, Jr. (1991–97) Jorge M. Perez (1994–98) Geraldine Stutz (1976–82) Roberta Peters (1991–97) James Johnson Sweeney (1965–68)* Sidney Poitier (1966–70) Billy Taylor (1972–78) Harold Prince (1976–82) William Van Alen (1982–88) Lloyd Richards (1985–92) Edward Villella (1968–74) Jerome Robbins (1974–79)* E. Leland Webber (1970–76)* James D. Robertson (1972–78)* Harry Weese (1974–80)* Kevin Roche (1989) Donald Weismann (1966–72) Richard Rodgers (1965–68)* Eudora Welty (1972–78) Lida Rogers (1980–87) Dolores Wharton (1974–80)

THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS 65 Chairmen of the National Endowment for theArts

Roger L. Stevens* Nancy Hanks* Livingston L. Biddle, Jr. Frank Hodsoll (1965–69) (1969–77) (1977–81) (1981–89)

* Deceased John E. Frohnmayer Jane Alexander Bill Ivey (1989–92) (1993–97) (1998– )

66 THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS National Medal of Arts

1985 1986 1987 1988 1989

Elliott Carter Marian Anderson Romare Bearden (Mrs. Vincent) Brooke Astor Leopold Adler Composer Opera Singer Painter Arts Patron Preservationist Dorothy Buffum Chandler Frank Capra J.W. Fisher Saul Bellow Dayton Hudson Corporation Arts Patron Film Director Arts Patron Writer Corporate Arts Patron Ralph Ellison Aaron Copland Ella Fitzgerald Sydney J. Freedberg Katherine Dunham Writer Composer Singer Art Historian, Curator Dancer, Choreographer Jose Ferrer Willem de Kooning Dr. Armand Hammer Francis Goelet Alfred Eisenstaedt Actor Painter Arts Patron Music Patron Photographer Martha Graham Dominique de Menil Sydney and Frances Lewis Helen Hayes Martin Friedman Dancer, Choreographer Arts Patron Arts Patrons Actress Museum Director Hallmark Cards, Inc. Agnes de Mille Howard Nemerov Gordon Parks Leigh Gerdine Corporate Arts Patron Choreographer Writer, Scholar Photographer, Film Arts Patron, Civic Leader Director Lincoln Kirstein Exxon Corporation Alwin Nikolais John Birks “Dizzy” Gillespie Arts Patron Corporate Arts Patron Dancer, Choreographer I.M. Pei Jazz Trumpeter Architect Paul Mellon Seymour H. Knox Isamu Noguchi Walker Kirtland Hancock Arts Patron Arts Patron Sculptor Jerome Robbins Sculptor Dancer, Choreographer Louise Nevelson Eva Le Gallienne William Schuman Vladimir Horowitz Sculptress Actress, Author Composer Rudolf Serkin (posthumous award) Pianist Pianist Georgia O’Keeffe Alan Lomax Robert Penn Warren Painter Folklorist, Scholar Poet Roger L. Stevens Czelaw Milosz Arts Administrator Writer Leontyne Price Lewis Mumford Soprano Philosopher, Literary Critic Obert C. Tanner Robert Motherwell Arts Patron Painter Alice Tully Eudora Welty Arts Patron Writer Virgil Thomson John Updike Composer, Music Critic Writer

NOTE: In 1983, prior to the official establishment of the National Medal of Arts, eleven artists and patrons received a medal from President Reagan at a White House luncheon arranged by the President’s Committee on the Arts and the Humanities. They were: Pinchas Zukerman, Frederica Von Stade, Czeslaw Milosz, Frank Stella, Philip Johnson and Luis Valdez (artists); The Texaco Philanthropic Foundation, James Michener, Philip Morris, Inc., The Cleveland Foundation, Elma Lewis and The Dayton Hudson Foundation (patrons).

THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS 67 National Medal of Arts continued

1990 1991 1992 1993 1994

George Francis Abbott Maurice Abravanel AT&T Walter and Leonore Harry Belafonte Actor, Playwright, Music Director, Corporate Arts Patron Annenberg Singer Producer, Director Conductor Arts Patrons Marilyn Horne Dave Brubeck Hume Cronyn Roy Acuff Opera Singer Cabell “Cab” Calloway Pianist, Composer Actor, Director Country Singer, Singer, Bandleader Bandleader Allan Houser Celia Cruz Merce Cunningham Sculptor Ray Charles Singer Dancer, Choreographer Pietro Belluschi Singer, Musician Architect James Earl Jones Dorothy DeLay Jasper Johns Actor Bess Lomax Hawes Violin Teacher Painter, Sculptor J. Carter Brown Folklorist Museum Director Lila Wallace-Reader’s Julie Harris Jacob Lawrence Digest Fund Stanley Kunitz Actress Painter Charles “Honi” Coles Corporate Arts Patron Poet, Editor, Educator Tap Dancer Erick Hawkins Riley “B. B.” King Minnie Pearl Robert Merrill Dancer, Choreographer Blues Musician, Singer John O. Crosby Performer Baritone Opera Director, Gene Kelly David Lloyd Kreeger Conductor, Administrator Robert Saudek Arthur Miller Dancer, Actor Arts Patron Television Producer, Playwright Richard Diebenkorn Museum Director Pete Singer Harris and Carroll Painter Robert Rauschenberg Folk Musician Sterling Masterson Earl Scruggs Artist Arts Patrons R. Philip Hanes, Jr. Banjo Player Catherine Filene Shouse Arts Patron Lloyd Richards Arts Patron Ian McHarg Robert Shaw Theatrical Director Landscape Architect Kitty Carlisle Hart Conductor, Wayne Thiebaud Actress, Singer, Arts Choral Director William Styron Artist, Teacher Beverly Sills Administrator, Dancer Author Opera Singer, Director Billy Taylor Richard Wilbur Pearl Primus Jazz Musician, Pianist Paul Taylor Poet, Playwright Southeastern Bell Corporation Dancer, Choreographer Choreographer, Young Audiences Corporate Arts Patron Anthropologist Robert Venturi and Denise Scott Brown Billy Wilder Arts Education Organization Jessica Tandy Isaac Stern Architects Movie Director, Actress Violinist Writer, Producer Robert Wise Texaco Inc. Film Director Corporate Arts Patron

68 THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS National Medal of Arts continued

1995 1996 1997 1998 1999 Licia Albanese Edward Albee Louise Bourgeois Jacques d’Amboise Irene Diamond Opera Singer Playwright Sculptor, Visual Artist Dancer, Choreographer, Arts Patron Dance Educator Gwendolyn Brooks Boys Choir of Harlem Betty Carter Aretha Franklin Poet Choral Ensemble Jazz Vocalist Antoine “Fats” Domino Singer Pianist, Singer Gerald and Iris Cantor Sarah Caldwell Agnes Gund Michael Graves Arts Patrons Opera Conductor Arts Patron Ramblin’ Jack Elliott Architect, Designer Singer, Songwriter Ossie Davis Harry Callahan Daniel Urban Kiley Odetta Actor Photographer Landscape Architect Frank Gehry Singer, Music Historian Architect Ruby Dee Zelda Fichandler Angela Lansbury The Juilliard School Actor Theater Director, Founder Actor Barbara Handman Performing Arts School Arts Advocate David Diamond Eduardo “Lalo” Guerrero James Levine Norman Lear Composer Composer Conductor, Pianist Agnes Martin Producer, Writer, Director, Visual Artist Advocate James Ingo Freed Lionel Hampton MacDowell Colony Architect Bandleader Arts Organization Gregory Peck Rosetta LeNoire Actor, Producer Actress, Producer Bob Hope Bella Lewitzky Tito Puente Entertainer Dancer, Choreographer, Latin Percussionist and Roberta Peters Harvey Lichtenstein Dance Educator Musician Opera Singer Arts Administrator Roy Lichtenstein Painter, Sculptor Vera List Jason Robards Philip Roth Lydia Mendoza Arts Patron Actor Writer Singer Arthur Mitchell Dancer, Choreographer Robert Redford Edward Villella Sara Lee Corporation George Segal Actor, Director, Producer Artistic Director, Dancer Corporate Arts Patron Sculptor William S. Monroe Bluegrass Musician Maurice Sendak Doc Watson The Steppenwolf Theatre Maria Tallchief Author, Illustrator, Designer Bluegrass and Old-time Music Company Ballerina Urban Gateways Guitarist, Vocalist Arts Organization Arts Education Organization Stephen Sondheim Composer, Lyricist Gwen Verdon Actress, Dancer

THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS 69 AmericanJazz Masters

1982 1987 1992 1997 Roy Eldridge Cleo Patra Brown Betty Carter Billy Higgins Sun Ra Melba Liston Dorothy Donegan Milt “Bags” Jackson Dizzy Gillespie Jay McShann Harry “Sweets” Edison Anita O’Day

1983 1988 1993 1998 Count Basie Art Blakey Jon Hendricks Ron Carter Kenny Clarke Lionel Hampton Milt Hinton James Moody Sonny Rollins Billy Taylor Joe Williams Wayne Shorter

1984 1989 1994 1999 Ornette Coleman Barry Harris Louie Bellson Dave Brubeck Miles Davis Hank Jones Ahmad Jamal Art Farmer Max Roach Sarah Vaughan Carmen McRae Joe Henderson

1985 1990 1995 Gil Evans George Russell Ray Brown Ella Fitzgerald Cecil Taylor Roy Haynes Jo Jones Gerald Wilson Horace Silver

1986 1991 1996 Benny Carter Danny Barker Tommy Flanagan Teddy Wilson Buck Clayton J.J. Johnson Dexter Gordon Andy Kirk Benny Golson Clark Terry

70 THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS National Heritage Awards

1982 Elijah Pierce Stanley Hicks Ada Thomas Carver, Painter Appalachian Chitimacha Basketmaker Dewey Balfa Columbus, OH Musician, Storyteller, Charenton, LA Cajun Fiddler Instrument Maker Basile, LA Adam Popovich Vilas, NC Lucinda Toomer Tamburitza Musician African-American Quilter Joe Heaney Dolton, IL John Lee Hooker Columbus, GA Irish Singer Blues Guitarist, Singer Brooklyn, NY Georgeann Robinson San Carlos, CA Lem Ward Osage Ribbonworker Decoy Carver, Painter Tommy Jarrell Bartlesville, OK Mike Manteo Crisfield, MD Appalachian Fiddler Sicilian Marionettist Mt. Airy, NC Duff Severe Staten Island, NY Dewey Williams Western Saddlemaker Shape Note Singer Bessie Jones Pendleton, OR Narciso Martinez Ozark, AL Georgia Sea Island Singer Texas-Mexican Accordionist, Brunswick, GA Philip Simmons Composer Ornamental Ironworker San Benito, TX 1984 George Lopez Charleston, SC Santos Woodcarver Lanier Meaders Clifton Chenier Cordova, NM Sanders “Sonny” Terry Potter Creole Accordionist Blues Musician Cleveland, GA Lafayette, LA Brownie McGhee Holliswood, NY Blues Guitarist Almeda Riddle Bertha Cook Oakland, CA Ballad Singer Knotted Bedspread Maker 1983 Greers Ferry, AR Boone, NC Hugh McGraw Shape Note Singer Sister Mildred Barker Simon St. Pierre Joseph Cormier Bremen, GA Shaker Singer French-American Fiddler Cape Breton Violinist Poland Springs, ME Smyrna Mills, ME Waltham, MA Lydia Mendoza Mexican-American Singer Rafael Cepeda Joe Shannon Elizabeth Cotten Houston, TX Bomba Musician, Dancer Irish Piper African-American Songster, Songwriter Santurce, PR Chicago, IL Syracuse, NY Bill Monroe Bluegrass Musician Ray Hicks Alex Stewart Burlon Craig Nashville, TN Appalachian Storyteller Cooper, Woodworker Potter Banner Elk, NC Sneedville, TN Vale, NC

THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS 71 National Heritage Awards continued

Albert Fahlbusch Dave Tarras Lily May Ledford 1986 Hammered Dulcimer Maker, Player Klezmer Clarinetist Appalachian Musician, Singer Scottsbluff, NE Brooklyn, NY Lexington, KY Alfonse “Bois Sec” Ardoin African-American Creole Accordionist Janie Hunter Paul Tiulana Leif Melgaard Eunice, LA African-American Singer, Storyteller Eskimo Maskmaker, Dancer, Singer Norwegian Woodcarver Johns Island, SC Anchorage, AK Minneapolis, MN Earnest Bennett Anglo-American Whittler Mary Jane Manigault Cleofes Vigil Bua Xou Mua Indianapolis, IN African-American Seagrass Hispanic Storyteller, Singer Hmong Musician Basket Maker San Cristobal, NM Portland, OR Helen Cordero Mt. Pleasant, SC Pueblo Potter Emily Kau’i Zuttermeister Julio Negron-Rivera Cochiti, NM Genevieve Mougin Hula Master Puerto Rican Instrument Maker Lebanese-American Lace Maker Kaneohe, HI Morovis, PR Sonia Domsch Bettendorf, IA Czech-American Bobbin Lace Maker Alice New Holy Blue Legs Atwood, KS Martin Mulvihill 1985 Lakota Sioux Quill Artist Irish-American Fiddler Oglala, SD Canray Fontenot Bronx, NY Eppie Archuleta African-American Creole Fiddler Hispanic Weaver Glenn Ohrlin Welsh, LA Howard “Sandman” Sims San Luis Valley, CO Cowboy Singer, Storyteller, African-American Tap Dancer Illustrator John Jackson New York, NY Periklis Halkias Mountain View, AR African-American Songster, Guitarist Greek Clarinetist Fairfax Station, VA Ralph Stanley Astoria, NY Henry Townsend Appalachian Banjo Player, Singer Blues Musician, Peou Khatna Coeburn, VA Jimmy Jausoro Songwriter Cambodian Court Dancer, Basque Accordionist St. Louis, MO Choreographer Margaret Tafoya Boise, ID Silver Spring, MD Santa Clara Pueblo Potter Horace “Spoons” Williams Espanola, NM Meali’i Kalama Spoons & Bones Player, Poet Valerio Longoria Hawaiian Quilter Philadelphia, PA Mexican-American Accordionist Honolulu, HI San Antonio, TX

72 THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS National Heritage Awards continued

Joyce Doc Tate Nevaquaya Thomas Edison “Brownie” Ford Emilio & Senaida Romero Albert “Sunnyland Slim” Luandrew Comanche Flutist Anglo-Comanche Cowboy Singer, Hispanic-American Tin & Embroidery African-American Blues Pianist, Singer Apache, OK Storyteller Craftsworkers Chicago, IL Hebert, LA Santa Fe, NM Luis Ortega Yang Fang Nhu Hispanic-American Rawhide Worker Kansuma Fujima Newton Washburn Hmong Weaver, Embroiderer Paradise, CA Japanese-American Dancer Split Ash Basketmaker Detroit, MI Los Angeles, CA Littleton, NH Ola Belle Reed Kenny Sidle Appalachian Banjo Picker, Singer Claude Joseph Johnson Anglo-American Fiddler Rising Sun, MD African-American Religious Singer, 1988 Newark, OH Orator Jenny Thlunaut Atlanta, GA Pedro Ayala Willa Mae Ford Smith Tlingit Chilkat Blanket Weaver Mexican-American Accordionist African-American Gospel Singer Haines, AK Raymond Kane Donna, TX St. Louis, MO Hawaiian Slack Key Guitarist, Singer Nimrod Workman Wai’anae, HI Kepka Belton Clyde “Kindy” Sproat Appalachian Ballad Singer Czech-American Egg Painter Hawaiian Cowboy Singer, Mascot, TN Wade Mainer Ellsworth, KS Ukulele Player Chattaroy, WV Appalachian Banjo Picker, Singer Kapa’au, HI Flint, MI Amber Densmore New England Quilter, Needleworker Arthel “Doc” Watson 1987 Sylvester McIntosh Chelsea, VT Appalachian Guitar Player, Singer Crucian Singer, Deep Gap, NC Juan Alindato Bandleader Michael Flatley Carnival Maskmaker St. Croix, VI Irish-American Stepdancer Ponce, PR Palos Park, IL 1989 Allison “Totie” Montana Louis Bashell Mardi Gras Chief, Sister Rosalia Haberl John Cephas Slovenian Accordionist, Costume Maker German-American Bobbin Lacemaker Piedmont Blues Guitarist, Singer Polka Master New Orleans, LA Hankinson, ND Woodford, VA Greenfield, WI Alex Moore, Sr. John Dee Holeman The Fairfield Four Genoveva Castellanoz African-American Blues Pianist African-American Dancer, Musician, African-American Gospel Singers Mexican-American Corona Maker Dallas, TX Singer Nashville, TN Nyssa, OR Durham, NC

THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS 73 National Heritage Awards continued

Jose Gutierrez Harry V. Shourds Marie McDonald Jack Coen Mexican Jarocho Musician, Singer Wildlife Decoy Carver Hawaiian Lei Maker Irish-American Flautist Norwalk, CA Seaville, NJ Kamuela, HI Bronx, NY

Richard Avedis Hagopian Chesley Goseyun Wilson Wallace McRae Rose Frank Armenian Oud Player Apache Fiddle Maker Cowboy Poet Nez Perce Cornhusk Weaver Visalia, CA Tucson, AZ Forsyth, MT Lapwai, ID

Christy Hengel Art Moilanen Eduardo “Lalo” Guerrero German-American Concertina Maker 1990 Finnish Accordionist Mexican-American Singer, Guitarist, New Ulm, MN Mass City, MI Composer Howard Armstrong Cathedral City, CA Ilias Kementzides African-American String Band Emilio Rosado Pontic Greek Lyra Player Musician Woodcarver Khamvong Insixiengmai Norwalk, CT Detroit, MI Utuado, PR Lao Southeast Asian Singer Fresno, CA Ethel Kvalheim Em Bun Robert Spicer Norwegian Rosemaler Cambodian Silk Weaver Flatfoot Dancer Don King Stoughton, WI Harrisburg, PA Dickson, TN Western Saddlemaker Sheridan, WY Vanessa Paukeigope Morgan Natividad Cano Douglas Wallin Kiowa Regalia Maker Mexican Mariachi Musician Appalachian Ballad Singer Riley “B.B.” King Anadarko, OK Monterey Park, CA Marshall, NC African-American Bluesman Itta Bena, MS Mabel E. Murphy Giuseppe & Raffaela DeFranco Las Vegas, NV Anglo-American Quilter Southern Italian Musicians 1991 Fulton, MO and Dancers Esther Littlefield Belleville, NJ Etta Baker Tlingit Regalia Maker LaVaughn E. Robinson African-American Guitarist Sitka, AK African-American Tapdancer Maude Kegg Morgantown, NC Philadelphia, PA Ojibwe Storyteller, Craftsman Seisho “Harry” Nakasone Onamie, MN George Blake Okinawan-American Musician Earl Scruggs Hupa-Yurok Craftsman Honolulu, HI Bluegrass Banjo Player Kevin Locke Hoopa, CA Madison, TN Lakota Flute Player, Irvan Perez Singer, Dancer, Storyteller Isleno (Canary Island) Singer Mobridge, SD Poydras, LA

74 THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS National Heritage Awards continued

Morgan Sexton Belle Deacon 1993 Elmer Miller Appalachian Banjo Player, Singer Athabascan Basketmaker Bit & Spur Maker Linefork, KY Grayling, AK Santiago Almeida Silversmith Texas-Mexican Conjunto Musician Nampa, ID Nikitas Tsimouris Nora Ezell Sunnyside, WA Greek-American Bagpipe Player African-American Quilter Jack Owens Tarpon Springs, FL Eutaw, AL Kenny Baker Blues Singer, Guitarist Bluegrass Fiddler Bentonia, MS Gussie Wells Gerald R. Hawpetoss Cottontown, TN African-American Quilter Menominee & Potowatomi Regalia Mone & Vanxay Saenphimmachak Oakland, CA Maker Inez Catalon Lao Weaver, Needleworker, Milwaukee, WI French Creole Singer Loommaker Arbie Williams Kaplan, LA St. Louis, MO African-American Quilter Fatima Kuinova Oakland, CA Bukharan Jewish Singer Nicholas & Elena Charles Liang-xing Tang Rego Park, NY Yupik Woodcarvers, Maskmakers, Chinese-American Pipa (lute) Player Melvin Wine Skinsewers Bayside, NY Appalachian Fiddler John Naka Bethel, AK Copen, WV Bonsai Sculptor Los Angeles, CA Charles Hankins 1994 Boatbuilder 1992 Ng Sheung-Chi Lavallette, NJ Liz Carroll Chinese Toissan muk’yu Folk Singer Irish-American Fiddler Francisco Aguabella New York, NY Nalani Kanaka’ole & Pualani Chicago, IL Afro-Cuban Drummer Kanaka’ole Kanahele Manhattan Beach, CA Marc Savoy Hula Masters Clarence Fountain Cajun Accordion Maker, Musician Hilo, HI & the Blind Boys Jerry Brown Eunice, LA African-American Gospel Singers Southern Stoneware Tradition Potter Everett Kapayou Atlanta, GA Hamilton, AL Othar Turner Mesquakie Singer African-American Fife Player Tama, IA Mary Mitchell Gabriel Walker Calhoun Senatobia, MS Passamaquoddy Basketmaker Cherokee Musician, Dancer, Teacher McIntosh County Shouters Princeton, ME Cherokee, NC T. Viswanathan African-American Spiritual, Shout South Indian Flute Master Performers Johnny Gimble Clyde Davenport Middletown, CT Townsend, GA Anglo Western Swing Fiddler Appalachian Fiddler Dripping Springs, TX Monticello, KY

THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS 75 National Heritage Awards continued

Frances Varos Graves Lyman Enloe Buck Ramsey Eva McAdams Hispanic-American Colcha Embroiderer Old-Time Fiddler Cowboy Poet & Singer Shoshone Regalia Maker Ranchos de Taos, NM Lee’s Summit, MO Amarillo, TX Fort Washakie, WY

Violet Hilbert Donny Golden John Henry Mealing & Skagit Storyteller Irish-American Stepdancer 1996 Cornelius Wright, Jr. Seattle, WA Brooklyn, NY African-American Railroad Obo Addy Worksong Singers Sosei Shizuye Matsumoto Wayne Henderson Ghanaian-American Drummer, Birmingham, AL Japanese Chado Tea Ceremony Master Luthier Ensemble Leader Los Angeles, CA Mouth of Wilson, VA Portland, OR Vernon Owens Anglo Stoneware Potter D.L. Menard Bea Ellis Hensley Betty Pisio Christenson Seagrove, NC Cajun Musician, Songwriter Blacksmith Ukrainian-American Pysanky Erath, LA Spruce Pine, NC (Egg Decoration) Artist Dolly Spencer Suring, WI Inupiat Dollmaker Simon Shaheen Nathan Jackson Homer, AK Arab-American Oud Player Tlingit Alaska Native Woodcarver, Paul Dahlin Brooklyn, NY Metalsmith, Dancer Swedish-American Fiddler Ketchikan, AK Minneapolis, MN 1997 Lily Vorperian Armenian Marash-style Embroiderer Danongan Kalanduyan Juan Gutiérrez Edward Babb Glendale, CA Filipino-American Kulintang Musician Puerto Rican Drummer, Bandleader “Shout” Band Gospel Musician, San Francisco, CA New York City, NY Trombonist, Bandleader Elder Roma Wilson Jamaica, NY African-American Harmonica Player Robert Jr. Lockwood Solomon & Richard Ho’opi’i Blue Springs, MS African-American Delta Blues Guitarist Hawaiian Singers Charles Brown Cleveland, OH Pukalani and Wailuku, Maui, HI West Coast Blues Pianist, Vocalist, Composer 1995 Israel “Cachao” Lopez Will Keys Berkeley, CA Afro-Cuban Bassist, Composer, Appalachian Banjo Player Bao Mo-Li Bandleader Gray, TN Gladys LeBlanc Clark Chinese-American Jing Erhu Player Miami, FL Cajun Spinner, Weaver Flushing, NY Joaquin “Jack” Lujan Duson, LA Nellie Star Boy Menard Chamorro Blacksmith Mary Holiday Black Lakota Sioux Quiltmaker Barrigada, GU Wenyi Hua Navajo Basketweaver Rosebud, SD Chinese Kunqu Opera Singer Mexican Hat, UT Arcadia, CA

76 THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS National Heritage Awards continued

Ali Akbar Khan Dale Calhoun Claude “The Fiddler” Williams Bob Holt North Indian Sarod Player, Raga Anglo-American Boat Builder African-American Jazz & Swing Ozark Fiddler Composer Tiptonville, TN Fiddler Ava, MO San Anselmo, CA Kansas City, MO Bruce Caesar Zakir Hussain Ramón Jóse López Sac & Fox-Pawnee German North Indian Master Tabla Drummer Santero, Metalsmith Silversmith 1999 San Anselmo, CA Santa Fe, NM Anadarko, OK Frisner Augustin Elliott “Ellie” Mannette Jim & Jesse McReynolds Antonio “Tony” De La Rosa Haitian Drummer Steel Pan Builder, Tuner, Player Bluegrass Musicians Tejano Conjunto Accordionist Brooklyn, NY Morgantown, WV Gallatin, TN Riviera, TX Lila Greengrass Blackdeer Mick Moloney Phong Nguyen Epstein Brothers: Max, William Hocak Black Ash Basketmaker, Irish Musician Vietnamese Musician, Scholar “Willie” & Julius “Julie” Needleworker Philadelphia, PA Kent, OH Jewish Klezmer Musicians Black River Falls, WI Tamarac, FL Eudokia Sorochaniuk Hystercine Rankin Shirley Caesar Ukrainian Weaver, Textile Artist African American Quilter Sophia “Sophie” George African-American Gospel Singer Pennsauken, NJ Lorman, MS Yakama-Colville Beadworker Durham, NC Gresham, OR Ralph W. Stanley Francis Whitaker Alfredo Campos Master Boatbuilder Blacksmith, Ornamental Ironworker Nadjeschda Overgaard Horse-Hair Hitcher Southwest Harbor, ME Carbondale, CO Danish-American Hardanger Federal Way, WA Needleworker Kimballton, IA Mary Louise Defender Wilson 1998 Dakotah-Hidatsa Traditionalist, Harilaos Papapostolou Storyteller Aspara Dancers: Moly Sam, Greek Byzantine Chanter Shields, ND Sam-Oen Tes & Sam-Ang Sam Potomac, MD Cambodian Traditional Dancers Jimmy “Slyde” Godbolt and Musicians Roebuck “Pops” Staples Tap Dancer Reston, VA African-American Gospel/Blues Hanson, MA Fort Washington, MD Musician Dolton, IL Ulysses “Uly” Goode Eddie Blazonczyk Western Mono Basketmaker Polish-American Musician, Bandleader North Fork, CA Bridgeview, IL

THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS 77 Published by: Office of Communications National Endowment for the Arts Cherie Simon, Director Katherine Wood, Managing Editor Barbara Koostra, Editor Revised edition, 2000

Original Edition, 1995, entitled National Endowment for the Arts, 1965- 1995: A Brief Chronology of Federal Involvement of the Arts edited by Keith Donohue

With thanks to the staff for their assistance.

Design: Simmons Design Arlington, Virginia

Voice/TYY: (202) 682-5496 for individuals who are deaf or hard-of-hearing

Individuals who do not use conventional print may contact the Arts Endowment’s Office for AccessAbility to obtain this publication in an alternate format. Telephone: (202) 682-5532

National Endowment for the Arts 1100 Pennsylvania Avenue, NW Washington, DC 20506-0001 (202) 682-5400 http://arts.endow.gov

78 THE NATIONAL ENDOWMENT FOR THE ARTS A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS The Pennsylvania Avenue facade of the Nancy Hanks Center at the Old Post Office Building in Washington, D.C. The building, constructed in the 1890's in the Romanesque Revival style and listed in the National Register of Historic Places, is the home of the National Endowment for the Arts. NEA photo.