The American Federation of Arts Nov 171954 NEW YOHK HEADQUARTERS: 1083 Fifth Avenue, New York 28, N. Y. • SAcramento 2-2452 DIBEffiTPR
MEMORANDUM
November 15, 195^
TO; Officers and Trustees of The American Federation of Arts
FROMs Wynn Povers
In order to file our registration statement as a charitable organization which is now required by the State of New York, it is necessary to receive the consent of each person whose name appears on our letterhead and other promotion material for the use of his name. This is merely a technicality, but we are required to have these "consent forms" in our files.
For your information the following is the text of Section k&3 of the Soc ial Welfare Lav. "S U83. Unauthorized use of names when soliciting or collecting contrib utions . 1. No nerson, vho is required to register, pursuant to sections four hun dred eighty-two, four hundred eighty-tvo-f or four hundred eighty-tvo-h of this article, shall use the name of any other person for the purpose of soliciting contributions from persons in this state, vithout the written consent of such other person.
2. A person shall be deemed to have used the name of another person for the purpose of soliciting contributions if such latter person's name is listed on any stationery, advertisement, brochure or correspondence of the charitable organization or his name is listed or referred to as one vho has contributed to, sponsored, or endorsed the charitable organization or its activities.
3. A violation of this section shall be a misdemeanor."
Will you please complete this form at your earliest convenience and return f
July 30, 1951*
SUBJECTS Summary of Executive Committee Meeting Minutes
On July 15th, seven members of the Executive Committee met at the River Club for a luncheon meeting which was long and fruitful in both discussion and development of Ideas. Full minutes of this meeting have been made and approved as such by the President „ The following is a summary of Important points covered.
1. Finances A special audit was presented showing that, with the exception of an anticipated lack of income in special fees for exhibitions, tiie first six months were within approximately $1,000 of a balanced operation. Mr. Neuberger proposed that henceforth discussion of finances be eliminated from Trustees gatherings, and that reports only should suffice and be made period ically by the Treasurer and Finance Committee. Mr, Heuberger stated that he felt meetings of Trustees should be concerned with the other business of the Federation such as its activities, its services, and especially Its plans and projects for the future. Mr. Heuberger proposed that the Federation seen an endowment of $100,000 in gifts of $5,000 apiece, which would be most benefic ial to the stability of AFA and to the soliciting of grants from foundations.
2. Westport QoaBrunity Art Associations The Director reported that the West- port experiment was developing satisfactorily. He read a letter from their chairman asking AFA for cooperation in obtaining a fine initial exhibition of paintings to be borrowed from the Metropolitan Museum far the opening of the program in Westport in October.
3. Conventions Mr. Longwell presented an outline for the Convention. The details are being sent to the Trustees in a letter from Mr. Rudd. The Com mittee approved Mr. Longwell's plans. k. AFA - Hew York Graphic Society Exhibitions The plan for an AFA organized exhibition of fine reproductions, to be offered to Chapters below normal cost for use in local and regional educational work, and from which reproductions could be sold with a profit to the local institution, was presented by the Director. Approval was granted to Mr. Longwell to proceed with further In vestigation and proper action at his discretion. Under such an arrangement with the Hew York Graphic Society the Federation would be assisting in the development of art education, particularly in art institutions away from the big cities. AFA would receive for its services from the New York Graphic Society sufficient funds to repay administration and out-of-pocket expenses.
5. Statement of Artistic Freedoms A Statement of Artistic Freedom, a copy of which, marked confidential, is attached hereto, drawn up by the Committee on Artistic Freedom, was referred by the Committee to the whole board for study, so that at the next full meeting of the Board this statement could be introduced for consideration.
6. Executive Sessions Mr. Cumming presented a six months report in the form of a memorandum, and was then excused from the meeting which continued in Execu tive Session. After stating that the first half of the year had gone well, the memorandum requested information as to the status of Mr. Cumming's appointment
AUG 4 1964 IWflBat as Director, scheduled to expire on December 31st, 195^. It further suggested that should the Federation wish to continue his services in 1955 "they might be better concentrated on promotion and public relations, leaving an Executive Secretary, such as Mrs. Powers, to handle the bulk of office and administrative work. The Executive Committee unanimously agreed to recommend at the next Board meeting that Mr. Gumming be continued at his present salary in the ser vice of the Federation for the period January 1 to June 30, 19551 and that the suggestions as to a possible change in duties be left for Mr. Longwell to study and recommend to the Board later on.
^ ./y—D 15 K*s-\ ^-IXAFVV Burton Gumming Secretary CONFIDENTIAL DRAFT
STATEMENT ON ARTISTIC FREEDOM
In view of current threats to artistic freedom, the Trustees of The
American Federation of Arts have adopted the following statement of prin ciples to guide the Federation's activities in relation to contemporary arts
Freedom of artistic expression, like freedom of speech and press, is fundamental in our democracy. This fundamental right cannot be abridged by the artist's political or social opinions, affiliations or activities. The latter are personal matters, distinct from his work, which should be judged on its merits.
The right to freedom of expression includes not only the artist's right to create but his right to exhibit, publish, reproduce, sell or otherwise use his work; and corresponding rights of institutions and individuals to use his work. We of course recognize that freedom of artistic expression, like all freedoms, is subject to such wise restraints as the laws against libel and obscenity.
We believe that in this period of international tension and threats tc democracy from both without and within our country, it is essential that our
Nation should champion these fundamental rights in all Its cultural activities,
We believe that in opposing anti-democratic forces throughout the world the
United States should do so by democratic methods, and give no cause for ac cusation that it is adopting the methods of Its opponents. We believe that in such cultural actlvitites our Nation should demonstrate the artistic freedom and diversity which are inherent in our democratic society. We believe that such freedom and diversity are the most effective answer to totalitarian thought control and uniformity, and the most effective proof of the strength of democracy. MINUTES EXECUTIVE COMMITTEE MEETING June 15, 195^ is 00 PM at JUli The Spaeth Foundation, NoY.C. 2 s/5K« Executive Committee Members present wares
Thomas Brown Rudd Daniel Longwell Roy R. Neuberger Elclse Spaeth Burton Gumming
FINANCES
The Director reported on finances for the first five months. The figures given were not verified by the accountant but reasonably close to his statement which was not ready for the meeting. The Administration and Membership Department showed a net gain of approximately $700 including the Carnegie Grants the Exhib ition Department showed a net loss of approximately $2,100 including the Carnegie Grant 1 this left an operating loss for the first five months of approximately $1,^00. Accounts receivable, approximately $3,800; accounts payable, approximate ly $4,800. The Director explained that the operational loss in exhibitions re sulted from the inevitable difference between costs and income from exhibitions and special fees which always must be subject to seasonal fluctuations. With the exception of special fees the Exhibition Department's income actually was exactly where it should be according to the budget. Expenses in both departments are with in the budget for the period. Eventually, through already contracted special pro jects the special fees will cover the gap.
MEMBERSHIP
Membership was described as being $3,000 better than last year in income for the same period. So far June shows a good increase in new income over last year and should continue so for the entire month. A continuous effort is being made to hold existing memberships, which have a tendency to lapse because the basic dues have been raised from $10 to $15. So far the attrition has been relatively small.
CONTRIBUTIONS
Mr. Neuberger reported on contributions, stating that to date approximately $2,800 had been received with enough pledges to raise the total to over $6,000. It was decided that further effort should be made immediately to continue solicitation of trustees for gifts. Mr. Rudd described the need for a working fund of $5,000 which would permit the Federation to pay its bills at once instead of waiting for accounts due AFA to be collected.
SPECIAL FEES
1. The Director described a situation in connection with a contract with the govern ment for an exhibition of -wetor colors which the Federation has been asked to pre pare for overseas circulation. The contract, already drawn in the amount of a grant of $10,000 to the Federation does not take into account additional expenses of in surance for the exhibition. The USIA, for reasons of departmental necessity, cannot rewrite the contract to allow for these additional expenses. However, in conferences with the USIA, specifically with Mr. Brecker, the head of the Exhibits Department, AFA has been assured that this additional cost of insurance will be provided for be yond the contract of $10,000. (AFA has had previous experience of this nature in connection with the Nineteenth Century American Painting Exhibition, and received an additional grant beyond the original grant for such additional expenses.) The ~2<
Federation stands to gain a special fee of $1,500 from the water color show, is already committed to prepare the exhibition, and has a committee of selection at work. Under the circumstances the Committee voted to sign the contract but in structed that a covering letter be written to the USIA establishing its position and stating that the agreement had been made verbally in the matter of extra ex penses.
2. The Director outlined a proposed plan for an educational exhibition of repro ductions to be chosen and organized by the Federation, but the cost of which, plus a special fee of $1,000 for AFA, to be borne by the New York Graphic Society. The plan originated with the fact that the New York Graphic Society is the largest re producer and distributor of fine reproductions. It is also a sales Idea. The special educational exhibition would be offered to Institutions throughout the country for their own use locally. It was pointed out that since they were repro ductions, the local Institutions would be able to sell copies to their own public and in this way amortize the cost of such an exhibition. The reproductions would, be mounted on aluminum, carefully covered, and accompanied by educational labels to be prepared by the Federation„ The Federation would stand to derive a 10$ pro fit on the sale of every reproduction. The local institution would derive a pro fit of IrO^o on the sale of each reproduction. In connection with the development of this plan a questionnaire would be sent out to all AFA Chapters and users of exhibitions to determine the interest and general thinking on such a plan.
The Ooamittee felt, although this would be frankly a commercial venture, that the Federation at this stage of the game would, be Justified in exploring it further. Mr. Longwell pointed out that AFA would be pioneering in a field which within the next five years was likely to become very active. The matter of final decision was left to Mrs. Spaeth, Mr. Messer, Mr. Longwell and the Director to make.
3. The possibility of the Federation's acting as an intermediary or distributor for a firm of designers to help market their special exhibition cases in America was referred to the Executive Coamittee by the Director with a memorandum from Mr. Messer. Mr. Messer requested the Committee's thinking on this subject, since he would be in Sweden this stumer and in a position to negotiate with the Swedish firm. The Committee felt that Mr. Messer should explore the Idea as completely as possible and report on what the Federation would be required to do and would obtain for its services in the matter.
WESTPORT COMMUNITY ART ASSOCIATION
The Director reported briefly on the results of the Federation's first attempt to establish a Community Art Association, namely in Westport. He stated that a first meeting of 8l people had been held on the evening of Thursday, June 10th; that as a result of this meeting a permanent membership committee had come into being; that already $300 plus in membership pledges had been obtained; that a professional writer and public relations man had offered to handle the publicity; that the group was planning for a first event early in the fall; that there would be com mittees appointed on Program, Exhibition Space, as well as a governing body to manage the affairs. Mr. Longwell who had been present at the meeting to present the Federation's plan, stated that he was satisfied that a good experimental start had been made and felt tfcat there was a better than even chance of not only a successful operation in Westport but a lively growth of the idea In other commun ities . STATEMENT OF PURPOSE
Mr. Goodrich's final version of the statement of purposes was presented to the members of the Committee to read and comment upon at the next meeting prior to offering it to the Board for final approval. (Copy enclosed.)
MISCELLANEOUS
A number of miscellaneous Items were brought up by the Director.
1. He stated that although Mr. Robert Woods Bliss had cancelled the mortgage note he holds in connection with the Washington property, there was still an amount of some $330 owing him in back interest. He was authorized to write and lay this matter before Mr. Bliss for his decision.
2. It T»S reported that the Ford Foundation had finally repaid $250 overdue on their special grants account for the exhibition sent to India.
3. It was reported that as a result of Mr. Colln's efforts the charter of the Fed eration has now been officially changed and amended and endorsed properly at Albany so that the section dealing with the "Objects" of the Federation now reads "FIRSTS The object of the Federation is to unite in closer fellowship all who are striving far the^dairelopment of art in America'". k. The Director stated that the accountant, Mr. Achten, had requested a raise In his monthly fee. The Committee referred this to Mr. Neuberger and the Director to decide.
5. The matter of the Committee on Freedom was discussed and the President stated that the Committee with the addition of Mr. Barr as a member would be asked to bring a final report in time for the next meeting of the full Board.
6. The Director introduced the subject of memberships for AFA Trustees, stating that in most oases AFA Trustees did not take out memberships as such, but were auto matically counted as members. Mr. Longwell suggested that this subject be studied with the hope of obtaining actual memberships from all Trustees in addition to their contributions.
7. The aohject of the convention was discussed and immediate steps were left to the Executive Committee, and particularly toUr. Longwell. It was agreed that the plans for the convention be formulated as soon as possible.
MEMBERSHIP PLANS
Mr. Longwell presented his analysis of membership possibilities among eellectors of art. a?iefly, he felt that some kind of collectors club or association should be formed to operate within the general structure of the Federation. He suggested the possibility of a special AFA collector-member s benefit exhibition for places like New York and Chicago where sufficient concentration of collectors and good paintings were to be found. Such a show, as Mr. Cumming suggested, might be called "My Favorite Picture" and thus offer both a good work of art and a connection with a well-known collector as its appeal to the metropolitan audience. The Committee agreed that tenative plans might be set up for such a program with an exhibition early in 1955 • Mr. Neuberger agreed to work in the formation of such a committee of, Trustees to develop the idea and asked Mr. Longwell to prepare a brief written prospectus of the Idea. UNESCO DELEGATE Mr. Rudd had referred a letter to Mr. Longwell asking for an AFA appointee to the National Commission for UNESCO. This letter was introduced by Mr. Longwell and the subject discussed by the Committee. It was agreed that Mr. Longwell seek to obtain the services of a Trustee for this post by consulting those AEA. Trustees already on the Commission. The meeting adjourned at 3:45 P.M.. THE AMERICAN FEDERATION OF ARTS JfJfU o « JQ- The American Federation of Arts, founded in 1909, is the only national art "***'Qft organization which includes in its membership all the chief elements of the art world; art museums, art societies, artists' associations, college and university art depart ments, art schools, and individual collectors, artists, teachers, dealers and laymen. Its four hundred chapter members, located in nearly every state of the Union, include the country's leading museums and art institutions. The Federation is a non-profit educational institution incorporated under the laws of New York State. The Federation's general purpose as stated in its charter is "to unite in closer fellowship all who are striving for the development of art in America." It fulfills certain broad functions which only an overall national organization can; The Federation fosters cooperation among individual art institutions; carries on activities which serve these institutions; acts as a clearing house of Information; helps prevent duplication of effort; assists individual institutions by making available to them the best know ledge and resources of the art world; organizes and circulates exhibitions to institutions throughout the country; promotes the growth of art activities and agencies in parts of the country where they are not yet adequate; initiates special projects in the general interest of art in America; works to promote greater understanding among nations through international art exchanges. These activities do not compete with those of Individual museums or institutions, but assist and complement them. The following are the Federation's chief services: Travelling Exhibitions. This program, carried on since 1909, serves the needs of museums, college art departments, and art centers. AFA exhibitions cover many fields - painting, sculpture, the graphic arts, architecture, design, crafts and photography - -2- and many historic periods and nations. To organize them AFA draws on the best know ledge in each field. Outstanding exhibitions by individual museums, which would other wise be seen in only one community, are circulated to other communities. Exhibitions are specially planned by leading authorities for AFA circulation. Variety and breadth of viewpoints are stressed. Collections of the larger museums are drawn upon; in co operation with the Metropolitan Museum of Art, AFA makes available a wide selection from this famous museum's collections in a number of carefully selected and thoroughly docu mented exhibitions. In size and cost exhibitions range from large ones shown in lead ing museums to small inexpensive ones designed for institutions with limited budgets. About one hundred AFA exhibitions are presented annually to the American public through AFA chapters and other agencies, each exhibition being shown eight times on the average. Many institutions which have facilities to organize only a few exhibitions, depend largely on this AFA service. For use as "Picture-of-the-Month," the Federation circulates single paintings of fine quality to its chapters. These works, representing different schools and periods, are featured by museums in their educational programs. Believing that a fine exhibition organized by an individual Institution should be seen as widely as possible, the AFA conducts a clearinghouse of advance information on future exhibitions by chapters, thus promoting participation by several museums, and helping to prevent duplication and conflict. International Art Exchanges. In the absence of extensive governmental art activities in this country, such as exist In most European countries, the Federation has always per formed certain essential international functions, especially international exchanges of exhibitions. It organizes exhibitions of American art, architecture and design, and circulates them abroad; and circulates in the United States exhibitions organized in other countries. In these activities AFA works closely with the Department of State and the United States Information Agency, and with official agencies abroad. To select its American exhibitions AFA forms special committees of leading authorities represent ing the best knowledge and broadest viewpoints of the art world. The Federation believes that these activities in promoting international understanding and increased knowledge of this country's contributions to world culture are among the most valuable public services which can be performed by a national art organization. Annual Conventions. Every year a three-day meeting of AFA members and chapter delegates, open to the public, is held at some important art center, with planned programs of discussions on subjects of national interest by leaders of the art world. The AFA annual convention provides a platform for exchange of ideas for all those in terested in art either professionally or as laymen. Many projects on behalf of art in the United States have originated in these conventions, and many of the papers have been published by the art press. Regional Conferences. The AFA sponsors periodic meetings of chapters in various regions, where representatives from art institutions within the area meet to discuss mutual problems and needs. These conferences promote institutional cooperation on a regional basis, and coordination of programs and activities. These conferences also produce ideas and projects which are referred to the national membership at annual conventions. Community Art Associations. The Federation assists the formation of community art centers in places where such art facilities do not exist, by helping to form assoc iations of AFA members, and arranging for them to receive exhibitions, lectures, art films, and other services. Government and Art. Since Its foundation the Federation has worked constantly for Improved governmental activity in art. In 1948 it took the lead In farming the Committee on Government and Art, consisting of official representatives of twelve national art organizations, the largest and most representative body formed in this country for this purpose. The Federation is also represented, in rotation, on the United States National Commission for UNESCO. Participation In Cooperative Activities. The Federation helps to initiate and participates In a number of cooperative projects, such as the Joint Artists-Museums -4- Committee to study the relations of museums and living artists. The AFA has co- sponsored international art film festivals, in cooperation with the Film Advisory Center and the Woodstock Artists Conference. Special Projects. The AFA carries on a number of special projects in the gen eral Interest of American art. In 19^-5 it made a study of the economic status of 500 leading artists (who remain anonymous), and published the results. It has con ducted a survey of museums and other non-profit art organizations to secure inform ation as to their activities in contemporary American art. AFA Awards. In order to stimulate and improve writing on contemporary American art, the Federation gives three annual awards for outstanding critical writing on this field in newspapers, magazines and books. AFA Reference Books. Since 1898 the American Art Directory (formerly the Amer ican Art Annual) and Who's Who In American Art, now published every three years respectively, have been the standard, Indispensable reference books for in formation about art institutions, artists and art professionals. Similarly, Films on Art gives basic information on developments in this important new field of art education and enjoyment. AFA Newsletter. Recently adopted as a regular national service, the AFA Art Newsletter, published eight times a year, contains news of significant art events, personalities, exhibitions, lectures, books, and art films. With about half Its con tents devoted to institutional news, it serves as a national means of communication for chapters. Color Slide Lectures. A series of art appreciation lectures for general audiences, prepared by the Federation, complete with kodachrcme slides and texts written by lead ing authorities, is a special service for chapters. Magazines and Books. Every AFA member receives a free subscription to the nation al art magazine, Art News. Members also receive special discounts on fifteen other art magazines; on most art books, including the Museum of Modern Art Series; on colored reproductions and frames; and on membership in the International Graphic Arts Society, a non-profit organization whlch5 along the lines of the Book-of-the-Month Club, dis tributes original prints by the world's foremost living artists. MEMBERSffTP PRIvXLBGES. (To be listed.) OFFICERS AND TRUSTEES. (To be listed.) June 17, 1954. Mr. Id, President Murton-Proctor-Vril i^aa Institute I':- r.esse Street Utica *V, H. Y. P Tom: I attach herewith sn extract Mtea nf Monday* e Lve Cot "uptens duly :J6 and ettested by Dudley T. ?>-sby, Jr., Secretary. This resolu tion, as you will eac-, conflrwg the srranj veen the M*-tropoM- tan Mui• A.rt an.' th« An^ric---.n Federetloa of Arts in regard to the cir r exhibitions for th* next three years, subject to certain ticne affecting naciclrur, which will henceforth be the responsibil ity of the KederRtion. In order to afford th* Federation an opportunity to refrane Its own budget to meet the cost'-, of peeking off thi ieer, • Nrd to sake available to the Fcderati-n the amount of the unex- ied balaaee of 12450 In cvtr current budget cr souat equivalent thereto, • t It eats be nald out either "»rlor to June 30, 1954 or duriaj our next riecal yei.r, July 1, 1954, to June 30, 19':v. Jhua the Kuseura Is continuing for one year t ce It rosslbla r^r the Federation his jiatwris.1 packed and ready for shipment. The Museum eaa- BOt ny further payment? in cash, either this y«%r or durin. the tilt' two-year period of ihe extension. Sny charges, or expenses ov re the :;U50 tsust be earned by the Federation fron rental feeE and eh-rged agalast the Federation** exhibit4. >n account. Tho Museum m* to carry th© Lnrurnirre on thl« material in order to sake It possible ior the Federation to circulate those exhibitions to institu tions Lly Bight not be able to afford exhibitions of mueetai erial of this character* Cuite aside i'rrrxs. the fact th*.t the Mi: sews nov f»*ree v tunlty of,discussing this with you personally. You and I hive threat'-ned to get together over and ovr sgeln but these oonf'ereneeB have somehow nesrer materialized. I vant to mnke It clear that the Question is on-' of principle, of where the tfueeirx's sphere of rusaonsibtlity cnde, <: not a question of our trying to make undue economies in thir enterprise. As B Trustee of the Federation I an veil aware o;> the financial '-Mi-den unler which the Federation Is operating. On the oth«r hand I think that we have rone just ae f; ropriety [-emits us in supnortin the federation's exhibition pr^:. - t In making the material available to 'he Federation vith Insurance pr' re doing all that enn -ffascnably be expected of us. Mr. Dautcmea attended the meeting of thr Longwell eoBjwunity art propr-m - ' ort 'ini It seemed apparent that the Federation, In order to develop this program, vill undoubtedly turn to the Metropolitan In the future for the loen Lai. May [ spy at th< mtset that, we are cuite "easy to entertain re^uci i the Mttseum'f eel] 3, in no cess are ve roa^y to the Trustees of n cent. .;t In cpoh or 1; y he occasioned by such r ». In "labor" I '.orLai devoted to th< prep n of exhibitions, as veil -ir th oseking. In oth r words, -ie pattern Tor circulating exhibitions which vaa approved at the aeetinfe on Monday nay not b« considered a precedent for future activities. Thote activities frosi your point of view oust b* so planned an' budgeted that these eoste are taken car* cf In the rental fees vhlch say b^ ieveloped hereafter. In other words, wt will land to the Federation for- - or. th footing th'-t -e Indivi lucu »o«n* to other In. Ly, that thsy CSEUKC preparation, packing, ship. in. .r~rice. I an •• copy c" this correi ••• also m Longwell bec^uwe I feel tl I th^t tht position •- th* Metropolitan KU,>:T, \.r. thoroughly un cd. Ve ;. re -,-€.p»n~d ind snxleus to help the Fed< Itself but we •opose to carry, bither iirectly or In;' y, any P rt 0 burden of the Federation's activities. Den Lon&vell a iked • .<- ';o remain on the Bo the Federation 1'" he as sumed the preoldency. fi> on which I will rt.aain on the Board is thi ! the p. ;. ' salti.cn as - Is the I y understood i.n- 'ed. My continuing to serve &.e a Trusts : jn on eny ather footing, as you can quite readily understand, would be equivocal, if not Indefensible. blncerely yours Trends Henry Taylor Director cc: Mpf:*rs. Dauterran, Frtby Longwell, T'or-^rr Mrs. Kerr EXTRACT MINUTES OF MEETING EXECUTIVE COMMITTEE, 14 June, 1954 (Certified copy sent to American Federation of Arts) 14>th June 54 THE DlRiiCTOR recommended that the arrangements with the merican Federation of Arts to circulate Museum exhibits be continued, subject to certain conditions, and that during the next academic year ten ex hibits already agreed upon be made available to the Federation. In the past the Museum has assumed the initial obligation of packing the circulating exhibits, ana the pecking has been done in the Museum. As a condition of continuing the arrangement, the director recommended that the previous practice be abandoned and that the Federation under take the initial packing and have it done by an outside packer, off the Museum premises. In order to afford the Federation an opportunity to recast its rental charges to meet this change, it was reconmended that the unexpended balance of #2450 in the present budget, or an amount equivalent thereto, be aade available to the merican Federation of rts to defray a part of the packing costs during the next academic year. Any excess costs of packing for the next academic year and all further costs thereafter shall be assumed by tha Federation and paid by it out of receipts from rental fees, leaving the Museum only with the obligation of supplying theexhibition material, with insurance prepaid by the Kuseum under its blanket policy. Subject to these conditions, the Director recommended that the arrangement be cont inued for a period of three years and that the Secretary be authorised so to notify the American Federation of Arts, nfter discussion, and upon motion duly Made, seconded and carried, the Director's ation was ap roved. UK-TC IN MRBSS l&b&A/F, I have hereto set ay hand and affixed the Corporate Seal of The Metropolitan Museum of *rt this seventeenth day of June, nineteen hundred and fifty-four. Secretary June 17, 1951 Mr. Id, Preeident Mursin-Proctor-vil laaa Institute ' La ttice U, H. Y. :on: I attach herewith sn extn ute* of Monday's I • Lve Cotaalt rue tees duly cigned and attested by Dudley ?. F*eby, Jr., Secretary, i'hlr. resolu tion, in-, you vi;i ft fj rms the si- veen t.he Metropoli tan Art »r rican Federation of Arts in regard to the eirculsti] Lbitlons for the next three years, subject to certain ctiuf ^acklnir, vMch will henceforth te the rcgponelbll- ity deration. In order to afford the Federation an opportunity to r^frame Its owi t the costs of pi : off +h* premises, th« Board v*» av^il«>,bi9 to the Federatioa the amount of the uoex- ied balance o" ',2.450 in cur current budget cr an •••ount equivalent ft thereto, ••• that Lt can ^ paid out either orlor to June JO, 19*i Cr seal 7<*ir, July 1, 19H to June T), 1955. thus the tulng for or.fi year t ' Lble for the Federation satwrlsl pecked and ready for shipment. The Museum cam- not sake ny further .aysentp in cash, either *ME year or hjrinr t.he nee of the two-year period or thw extension. Jny charges or expensee SO rcuet be e»rned by rhc: Federation fron rental feee and ch-•;-. aretion's exhibition eccoant. The Museum will continu" to carry the insurance on this material in nrch>v to nnke lble for the Federation ^o circulate these exhibitions to irvtitu- i ht not be able to afford exhibit! ?ns of ouseua if this character. Quite aside from the fact th<-t the Muserrs now faces vry drastic restrictions in its bullet for the nev fiscal yeer, I think you will agree that our position rfeetly fair nnd imonr. In the initial stress of the program ve -%eit cone trained to give the Federation son lal i ilstaoce(in the form or ao**n>in tion to pack) without asking anything La the vay of earning* from thr Material which the Federation cJ es, Bovever, ve do not think that ve be contribute the cost nr peckinf. point vhlch Fe.sby, Lou bry ind I have insisted une-n dvrlr of disct•!•:Ion. asloa at thi Federation on this point but I bellevs that the- aatt.er has been straightened sut ^n a c nra wfalah we h-ve h d vith Tom Messer. I regret very r»uch that ve have had no oopor- Mr. Thorar.s Brovn Thidd - 2 - June 17, 1954 tunity of discussing this with you personally. You »ni I have threatened et together over tod aver ageln but ih«Fe c^nfc^nce^ hsve soraehov never materialized. I want to *nke it clear that the Question i?: on* of principle, of wherp the MureurE'a sphere of r< Buonsibility <-nde, tnd la not a rU Mr. f-autrrasn attended the meetinp of thr Longwell eoraeunity art progras ••* 3rt and It aeetned apparent that the Federation, in order to develop this program, will undoubtedly turn to the Metropolitan In the future for ••!. May I say at th< outset that, we are ' to entrt: in recueetp. Cor th*? loan ci 'he Museum'? cell ns, in no cr re are vr roaoy to propc ,,t-teee of the Mueeun contrihr-'i j.;i In cash or labor vhlch «»y K occasioned by such r B. In "labor" I include curatorial *rvisi Lae devoted to t! • tion of. c ions, as veil se the v< - eking. In oth r vords, uie pattern ?or circulating exhibitions wnich *ae approved at the aeetin^ on .icn.-.ay nay not be considered a precedent for future activities. Thote activities .'r..- your point of viev auet be so planned an* budgeted the a coete are taken cav« cf in the rental feet vhlch may be 'ie% r. In other words, we will 1 ration for thf same footing th-t we 1 . osn* to other : in. tit- •; ns, w»ly» that thsy assume the ch re:ea 'or preparation, '-ing, shipj lag, I ace. I t~ thia com '- *L&o -ell that the potflt .OS of thr; M.etio^jiitfin Muaeurr, > roughly understood. Ve are nrepered and snxicus to help the Fedt • slf but we "opoae to carry, eit :tly or in y, any p rt ancial harden le Federation's Activities. i Longwell a dcod e to r* -.ain on the Ho the Federation if he >s- auD' •'.£ on which I will remain on th* is th- I ' _' a as stated is the • d c-d. Inula* to .' rvu ae a Irufc ' ->n on any ather footing, as ; a quit"-' Lly understand, •• vocal, If not Indefensible. bLncareiy yours francie Henry Taylor Lirector cc: Messers. Dnuteraen, Fr&by Longwell, Messer DRAFT June 15, 1954 (Note to Mr. Fasbyt Question of "ample notice"?) Mr. Thomas Erown Rudd, President Munson-Proctor-Williams Institute 312-318 Genesee Street Utica U, H. Y. Dear Tom: Iattach herewith an extract from the minutes of yesterday's meeting of the Executive Co :;ittee of the Board of Trustees duly signed and attested by Dudley T. Easby, Jr., Secretary. This resolution, as you will see, confirms the arrangement between the Metropolitan Museum of Art and the American Federation of Arts in regard to the circulating of exhibitions for the next two years and covers the financial obligations of the Museum during the next academic year. You will note that the Board allowed us to use the amount of the unexpended balance of £24.50 p.nd this amount can be paid out either prior to June 30, 1954 or during the next fiscal year from July 1 , 1954. to June 30, 1955. Thus the Museum is making it possible for the Federation to take on this material packed and ready for shipment. The Federation must assume any obligations beyond our shipping entrance. The^e will be no further payments in cash made by the Museum either this year or during the balance of the two-year period of the agreement. Any charges or expenses over »tnd above the *24.50 must be earned by the Federa tion from rental fees and charged against the Federation's exhibition account. The Museum will continue to car y the insurance on this material in order to make it possible for the Federation to clrcul-.te these exhibitions to institu tions vho normally mitht not be able to afford exhibitions of museum material of this character. Quite aside from the fact that the Museum nov faces very drastic restric tions in the budget for the new fiscal year, I think you vill realise that our position is perfectly fair and proper. Since we have asked nothing from - 2 - the Federation In the way of earnings from the material which the Federation circulates, ve do not think that we should be asked to contribute anything more than the original cost of delivery of the exhibition to the Federation. This was a point which Fasby, Loughry ••n>d I have insisted upon during this entire year of discussion. There seems to be some confusion In the offices of the Federation on this point but I believe that the matter has bc n straightened out in e conference which we have had vith Ton Messer. I regret very much th*t ve h-ve had no on ortunity of discussinr this with you per sonally . You snd I have threatened to get together over and over again but these conference0 hive sn^ehow never materialized. I want to sake it clear that the question Is one oe principle, of wher-e the Museum's sphe^ of res ponsibility ends, and is not a question or our trying to make undue economies in this enterprise. If the Museum expected to receive any revenue from the Federation, the circurastanoes night be quite different. We arc: giving you a whole JOHT in which to adjust the exhibition program to these altered cir cumstances. As a Trustee of the Feder tion I am well aaars >f the financial burden under which the Federation is operating. On the other hfind I think that we have gone just as far ar; propriety permits us in supporting the Federation's exhibition program. The trust funds <->** the Museum are, after all, for the pur pose of maintaining a Museum in New York and we are not a foundation for the support of extraneous activities, no wetter how worthy they nay appear. Mr. Dautemaa attended the meeting of the Longwell community art program at cest- -ort Dnd It became apparent that the Federation, In order to develop the as pects of this progran further, vill turn to the Metropolitan in the future for the loan of m*»tr>rl«l to implement this program. May I say at the -utset that we arc quite ready to entertr-ia requests for the o»a of Material from the Museum's collections but that in no c«.se are we ready to propose to the - 3 - Trustees of the Museum contributions in cads or labor vhlch may be occasioned by such requests. In "labor" I include curatorial or supervialoral time devoted to the preparation of the Federation's activities. In other words the pattern of preparation wfciatl v«s approved at the meeting yesterday may not be considered a precedent for future activities. These activities from your point of view murt be so planned and budgeted that these costs are t» I am sending a copy of this correspondence also to Dan Lon^vell because I feel that it is essenti P the Metropolitan Museum be thoroughly understood. We are prepared and anxious to help the Federation help itself but we do not propose to do the Federation's job for then, nor to carry any part of the financial bnrdaa of the Federation's activities. Dan Longwell asked rse to remain on the Board of the Federation If he issumed the presidency. The only basis on which I will remain on the Boa^-d Is that the Metropolitan's position as here stated is thoroughly understood and accepted. Otherwise, as you can quite understand, my position would be equivocal. Sincerely yours Francis Henry Taylor Director Dauteraan cc« Fasby Longwell Messer The American Federation of Arts NEW YORK HEADQUARTERS: 1083 5th Avenue, New York 28. N. Y. SAcramento 2-2452 (DUPLICATE) OFFICERS Robert Woods Bliss February 1, iy5U HONORARY PRESIDENT Thomas Broicn Rudd PRESIDENT Mr. Francis Henry Taylor Richard F. Bach Director FIRST VICE-PRESIDENT Metropolitan Museum of Art Eloise Spaeth New York 28, New York SECOND VICE-pnESIDENT Roy R. Neuberger Dear Mr. Taylor: THIRD VICE-PRESIDENT & TREASURER I have withheld the enclosed report knowing that you George Burton Cumming could not give it any time while the Museum Congress DIRECTOR & SECRETARY met in New York. I should now like to submit it res pectfully with the following comments: TRUSTEES Mr. Easby still has to check the agreement for its Philip R. Adams legal validity and convert it into a contract. II. Harvard Ant as on Lee A. Ault Members of your staff were skeptical about my pro Richard F. Bach Alfred II. Burr, Jr. posals on pages 13 and lit concerning the largest Sidney Berkowitz museum category. I left it in nevertheless because, Robert Woods Bliss due to my Puerto Rican trip, complete revision of Paul Hyde Bonner this point would have resulted in considerable delay. Leslie Cheek, Jr. Ralph F. Colin Russell Cowles as for the time element, I should gladly make a real Sumner McK. Crosby effort to get at least part of the series started by Daniel S. Defenbacher George H. Fitch next fall. This would mean that at least the subject Lloyd Goodrich matter of the proposed shows should be agreed upon in Rene d'Harnoncourt the spring of this year. I am suggesting this because Barllclt H. Hayes, Jr. a postponement much beyond such a date may well draw Henry R. Hope Arthur A. Houghton, Jr. out the preparation stage to the detriment of the pro Daniel Longwell ject. Earle Ludgin Stanley Marcus William M. Milliken I am, as always, at your disposal and thank you for Grace L. McCann Morley giving this report your attention. Elizabeth S. Navas Roy R. Neuberger Thomas Brown Rudd Very sincerely yours, Charles H. Sawyer James S. Schramm /s/ THOMAS M. MESSER-^ Lawrence M. C. Smith James Thrall Soby Eloise Spaeth Thomas M. Messer Francis Henry Taylor Director of Exhibitions Emily Hall Tremaine Hudson D. Walker John Walker (Dictated by Mr. Messer; signed in his absence.) Suzette M. lurcher I* YEARS OF ACTIVE SERVICE TO ART IN AMERICA this is to certify that R0P0LI1 ZUilL OF ART iir. Francis Henry Taylor, Dir. Fifth Avenue & 82nd Street B^^^^^^^ New YOrk, New York is a Chapter Member of THE AMERICAN FEDERATION OF ARTS through Jb. A^JH /du^ APR 1955 • PRESIDENT AGREEMENT The MMA and AFA wish to cooperate in preparing and circulating exhi bitions based on the MMA's collections. This service is planned for the benefit of art institutions throughout the United States and Canada. PURPOSE The purpose of the collaboration is to bring original historic material in exhibition form to art institutions with little or no access to such material, and thereby to enhance understanding of the great schools of the past. SCOPE The method of presentation and dissemination will vary, depending on the size, the facilities, and the financial capacities of the recipient. It is understood, however, that in case of conflicting requests, priority should be given to the poorer, smaller, and more isolated institutions. This general rule will be modified by safety and transportation re quirements and by a policy subordinating the interests of single in stitutions to those of the majority. DIVISION OF RESPONSIBILITIES In dividing responsibilities, each of the two contracting parties will carry out the tasks for which they are particularly fitted. This means, in general, that matters of selection, presentation, and conservation remain in the hands of the MMA while matters of administration, espec ially as they pertain to the technique of circulation, will be the concern of AFA. This division, established for the convenience of both parties, V does not, of course, limit mutual consultation for the benefit of the common venture. The following specific tasks will be carried out by the contracting parties: joint responsibilities The exhibition themes will be subject to agreement between the contracting parties. Both parties will utilize their avail able publicity channels and vill give appropriate credit to each other. MMA responsibilities The selection of individual objects will be the responsibility of the MMA's curatorial staff. Curators will agree to make available material for circulation as freely and as generously as their responsibility to conserve permits ans as their commitment to educate requires. Documentation, presentation, pack ing, and crating, as well as all problems arising from deterioration and damage will be referred to the MMA. Insurance matters will be handled by y the MMA. AFA responsibilities AFA will assume full administrative charge from the moment the exhibition leaves the MMA to the time of its agreed return. This includes speci fically all contact vith museums, and all problems relating to booking, routing, transportation, and storage. - 3 FINANCES The MMA agrees to assume all financial burdens connected with the pre paration, the maintenance, and the insurance of the exhibitions and agrees to waive claims for reimbursement in favor of booking institu tions who are to benefit from this gi CXKV AFA will seek to reimburse its out-of-pocket and its administrative expense through fees charged to booking institutions. It will hon- . / estly strive to regain the exact amount of its expenditure without sustaining profits or incurring losses. The art institutions to whom this service is directed therefore are to obtain it at the lowest fee compatible with the previous provi sions. In addition, they will share among themselves the transpor tation cost incurred during one season. AFA books will be open for inspection by authorized MMA representa tives at any time. However, both contracting parties will attempt ? to reduce non-productive accounting to a reasonable minimum. INTRODUCTION This report is based on a careful study of the files pertaining to the first MMA series, a re-evaluation of existing AFA circulation procedures, some practical experience on the originating as well as the receiving end of traveling exhibition projects. As this is not a scientific survey, it may be well to test the recommendations made by submitting them first to AFA Chapters in order to benefit from their comments. The proposals contained In this report are intended to remove features that were proved inadequate by the first MMA series. It also proposes to explore new circulation methods deviating from those adhered to by AFA and other circulation agencies. The practicability of the features incorporated in this report •was checked as much a6 possible vith those particularly concerned Conferences vere held vith: Mr. Francis Henry Taylor on overall aspects Mr. Thomas Brovn Rudd on AFA policies Mrs. Josephine L. Allen on administrative procedures Mr. Dudley T. Easby, Jr., on legal aspects Mr. Benjamin Knotts on preparation & presentation - 1 - II GENERAL There cannot be any doubt that the first MMA series vas of great value to art Institutions throughout the country. For the first time, an organized effort on a large scale vas made to bring original historic material to small museums vho res ponded vith signs of unmistakable enthusiasm. The usefulness of the project, however, vas somevhat reduced by lack of flexi bility and by too rigid a standardization of presentation and circulation procedures. As there vas not enough variety in size, veight, rental fees, and exhibition length, the typical shews emerged as either too large, too heavy, and too expensive for the small institution, or not sufficiently ambitious for the larger institution. proposal: The future series should offer material that is distinctly aimed at the follov- ing institutional levels: a. the smallest Institution vithout facilities and money to handle anything but print shovs. b. the small art center vith a respon sible program but very limited budget. c. the middle-sized institution vith better facilities and more finan cial elbov-room. d. the larger museum that is able to pay for a fairly ambitious and carefully planned shov. To utilize the MMA series to the fullest possible extent, it vill be necessary to consider these various levels and make the necessary allowances in the selection of the material, the physical pre paration of the exhibition, the transportation arrangements, the exhibition length, and the rental fee. The methods appli cable to each level vill be discussed later in this report. The following paragraphs summarize problems common to all levels: a. rental fees The first MMA series had a rental range of $25 - $95, vhlch i6 not sufficiently wide. On the one hand, $25 is too high for institutions virtually without budgetj on the other hand, the $95 is too low in relation to exhibitions of comparable Importance circulated by AFA's and other agencies. Such a fee also stands in an unfavorably lov relationship to transportation costs, vhich in many cases exceed the rental considerably, much to the bevil- derment of museum directors vho are prone to book on the basis of rental fees rather than on the basis of transportation figures. proposal: It is therefore essential that the loverlimit of the rental range be dropped further, that upper limit be raised, and that more differentiation be applied in between. (Concrete suggestions will be discussed under the various levels.) b. transportation cost High transportation costs are the most serious difficulty to be controlled if the project is to fulfill its aim. There are, - 3 - obviously, only two vays to keep transportation dovn: 1. by reducing the veight of the exhibition ii. by routing the exhibition in the most rational and closely knit manner Attempts have been made in both directions; the question is merely vhether these efforts can be pushed further and vhether better results may be obtained in the interest of booking In stitutions . (Suggestions pertaining to veight reduction vill be discussed under the various levels.) To vork out the best possible route of circulation is, of course, up to AFA. Attempts to improve the cost situation through better circulation methods could be made along the folloving lines: proposal: In the future MMA series, AFA should discard the otherwise valid "first come, first served" principle in favor of one giving top priority to the geographical pattern. Regardless of the time requests are made, no commitments should be entered that extend ship ping distances beyond the closest transportation pattern that can be arranged. This, of course, vill mean rejection or at least postponement of legitimate requests vhlch do not happen to be vithin the geographi cal orbit of one or the other shov. To a certain extent, this shortcoming could be counteracted by dispersing available shovs - k in various regions of the country and thereby arriving at an overall distribution vhich should be less costly for and more acceptable to the majority, even if it occasionally leaves an unsatisfied institution. proposal: Shipping costs may be further equalized by pro-rating the total transportation expense incurred vith- in one season among all partici pating members. In the past, and in the case of our regular AFA shows, each exhibitor is held responsible for the cost of the forwarding shipment. This means that, depending on good or bed luck, the cost is higher or lover. The application of these measures vill still be far from miraculous by reducing shipping rates, and high costs vill still remain a serious obstacle, but museums vill undoubtedly appreciate a real effort to arrive at a minimum. c. exhibition length Here, too, the particular nature of each exhibition level, the required Installation time, coordination vith other educattccal media, etc. should be taken into account more fully than in the first series vhere a standard three-veeks exhibition length vas stipulated. On the one hand (on the smallest level) the three-veeks period can be shortened to tvo veeks, as It takes very little time to put up a ready-made print shov, and the necessarily very lov rental fee may be counterbalanced by a greater number of bookings. 5 - On the other hand, our experience shovs vithout any question that three veeks are not sufficient for the full utilization of a lar ger exhibition, and that much of the point is lost simply because, by the time public avareness ha6 really materialized in the com munity, the shov must be forwarded to the next exhibitor. The present hectic exhibition pace that governs museum practices throughout the country is, in fact, largely created by circula ting agencies, vhich have a legitimate interest in the greatest number of bookings. This interest nevertheless conflicts vith that of art institutions and their public, both of vhom are rushed through annual programs at a breathless pace. While AFA cannot remedy this situation in their regular exhibition program vithout rendering itself insolvent financially, the material frame of the MMA series allovs for modifications beneficial to the exhibitor. proposal: Therefore, the regular exhibition period (vith the exception of that applicable to the smallest level), should be increased to four, six, and even eight veeks, depending on the level under consideration. (Concrete suggestions vill be made under the various levels.) proposal: It should also be possible to allow to each exhibitor, regardless of level, an option to extend a given shov any reasonable number of veeks, provided he is able to make propor tional increases in the rental fee, and provided, further, that such an arrangement does not eliminate other legitimate applicants. d. condition Damage to works of art was limited during the first MMA series, partly because of elaborate safety precautions taken by the MMA in the packing and crating of the material, partly because of the close contact betveen AFA and booking Institutions. If levels are more clearly defined and exhibitions are built in accordance vith the defined needs on various levels, safeguards vill increase automatically because of the following conditions: I. The MMA vill furnish relatively less valuable material to the smaller institution, and rela tively more valuable material to the larger. In general, the museum able to pay a higher rental and transportation fee also has better facilities, more reliable personnel, and is therefore less likely to cause damage to -works of art. (Naturally, this is not always the case and checks on personalities and past re cords should by all means complement this gen eral rule). il. If display periods are shorter in the smaller institutions and longer in the larger, meaning in turn that the less valuable material travels more and the more valuable material travels less, the safety factor will again increase automati cally. Condition reports of the first series indicate that the most fre quent complaints are due to normal wear and tear and that most of the trouble Is due to chipping of frames, damaged supports, deteriorating crates and other minor factors which could be - 7 corrected easily enough, but which have a particularly bad cumu lative effect. proposal: Two measures would improve the condition of exhibitions: I. replacement of period and orna mental frames by simple, func tional sturdy travel frames. In this, as in related cases, elaborateness and richness should be sacrificed to practical travel requirements. II. exhibitions should be returned to the MMA after a full season of circulation for a general main tenance check. To save transportation costs connected with such a move, it would be even preferable If the MMA could delegate the task of annual routine repairs to a number of responsible museums located in various parts of the country, which would, hovever, receive clear instructions not to treat the works of art themselves. In either case, exhibitions would be kept fresh and damage would be caught and corrected in its early stage. e. selection This important point can hardly be discussed in the abstract. Se lection depends both on availability and on the curator's judgment as to what should be released for circulation purposes. Curators, too, however, will find clearly defined levels to their advantage, and probably will be much more willing to release relatively im portant material If the safeguards are considerably increased and if the larger, more valuable exhibitions can be returned within months rather than years. Such arrangements can be made and will be further discussed under the various levels. - 8 - f. correlation As the MMA series is primarily an educational project which aims at extending the facilities and material riches of a metropolitan institution throughout the country, the absence of an attempt to correlate exhibition material with other educational aids weakens the whole venture. Very frequently, small museums receiving the exhibitions have neither the time nor the local talent to provide slide material, utilize available films on the same subject, present an authoritative lecture, and do everything else that is necessary to interpret historic material to a public that is largely uninformed. It would exceed the scope of this report if these points vere taken up in any details, but I should like to point out that once the nev series is approved and preparations are veil under vay, a nev survey should explore methods by which the material could be brought Into full focus by appropriate complementary measures. Ill THE LEVELS a . the smallest Art institutions with tiny budgets can best be reached through print shows, as the transportation cost alone prevents the booking of sizeable exhibitions. However, the four print shows in the first MMA series were clearly overpriced. (Range $25-$50). AFA had difficulty booking the shows as the very small places could not afford them. It vas also felt, probably rightly so, that museums could obtain compar able material on their ovn initiative, and at a lesser ex pense . proposal: Three exhibitions based on original prints, aimed at the smallest museum level—for ex ample, a historical survey, a survey of the evolution of ma jor print media and a one-man show, organized along the fol lowing lines: i. rentals should begin at $15 for a two-week period with an option to extend the length of showing at a proportion ate rental increase. II. the weight of each shov should be held under 300 lbs. iii. circulation should be confined to a definite region to avoid high shipping expense. 10 iv. the shov could remain in circulation as long as the demand held and the condi tion permitted. Such a system would make more institutions eligible and vould increase AFA's chances to book the shov fully. If an initial test limited to three shovs vere successful, and if the MMA's print room could part vith additional material, the project on this level vould have the potential to expand. b. the small I visualize the folloving proposal as the central project of the nev series. It is on this level that MMA-AFA collaboration can achieve the most valuable results. proposal: Five shovs limited to painting only, as sculpture and the decorative arts present separate problems not easily coped vith on a still elementary level. Such broad themes as Renais sance, Baroque, Rococco, Classicism and Romanticism could be dealt vith by one shov each. Or else five na tional schools, each arranged as a small survey, suggest themselves. These could be presented as follovs: i. rentals should be standardized at $100 per month ii. to avoid high transportation cost, each shov should be limi ted to 15 paintings of not more than medium size. Framing and. crating methods should be designed - 11 - to save pounds vherever possible, vithout, of course, violating safety requirements. ill. The shovs should remain in circu lation for a period of three to five years. The result vould be an exhibition somewhat less impressively arrayed than the average show of the first series, but more accessible to a large number of small museums. c. middle-sized This is the level which, while almost as isolated from original historic material as the very small center, has more money and better facilities and therefore is able to present a relatively ambitious exhibition program. Jbr such institutions, the first series did not go as far as it might have and, again, exhibitions were shown much too briefly to allow for full utilization and correlation with other educational media . proposal: A series of three exhibitions, rather larger than the typical example of the first series and as carefully chosen as possible. The themes may be less general than vas the case on the smaller level and might deal vith such subjects as conservation, sculpture or decorative arts surveys. I. rentals should be standardized for $200 for a six-veek period - 12 - II. the veight vould be kept as lov as compatible vith the more elaborate presentation and safety measures. Hi. these shovs might best be circulated for one year at a time vith such extension possibilities beyond this basic period as may appear reasonable. This vould be a fairly ambitious shov for vhlch the middle- sized institution to vhlch it is directed should be glad to pay a total (comprising fee and transportation) of about $500. Our past experience indicates that this is an entirely reasonable assumption. d. large Finally, there are good reasons why even relatively large and financially able institutions, vhlch do not have easy access to historic material, should benefit from MMA loans in form of traveling exhibitions. Of course, they must be approached on terms in keeping vith their particular needs and in a manner that vould in no vay compete vith the needs of the small museums covered by previously discussed sections of the program. Would it not be fruitful if the MMA and AFA announced a plan by vhlch exhibitions vould be tailor-made in accordance vith specific needs for limited circulation among participants able to share in the full cost of such a venture? Could not three museum directors form a committee vhlch vould also in clude the MMA's curator concerned, and AFA's Director of Exhibitions, vith the purpose of organizing a shov vhlch 13 vould be presented for at least a two-month period in each of the participating institutions and returned to the MMA immedi ately afterwards? Could not the selection in such a case in- elude more valuable examples than those usually entrusted to the rigors of the regular tour? And could these three exhi bitors not be asked to share all costs, including the neces / sary overhead for AFA and as much of the preparation expense, / as the MMA wishes to recover? I believe that AFA could fulfill a most useful mediating func tion in such a program and contribute to the formation of temporary exhibitions of such importance that the Metropolitan Museum itself may at time wish to originate such events by pre senting it in its ovn galleries. 1^ - vould be presented for at least a two-month period in each of the participating institutions and returned to the MMA immedi ately afterwards? Could not the selection in such a case in- elude more valuable examples than those usually entrusted to the rigor8 of the regular tour? And could these three exhi bitors not be asked to share all costs, including the neces sary overhead for AFA and as much of the preparation expense, / as the MMA wishes to recover? I believe that AFA could fulfill a most useful mediating func tion in such a program and contribute to the formation of temporary exhibitions of such importance that the Metropolitan Museum itself may at time wish to originate such events by pre senting it in its own galleries. - Ik - FINANCIAL SUMMARY (Based on financial dispositions suggested on Page 3 of Agreement) Income smallest No. of exhibitions 3 Rental fee (tvo veeks period) $15 Maximum no. of bookings (per season) 10 Maximum income (per season for 3 exhibitions) $1^50 Probable Income (after operational losses) $ 300 b. small No. of exhibitions 5 Rental fee (one month period) $100 Maximum no. of bookings (per season) 7 Maximum Income (per season for 5 exhibitions) $3,500 Probable Income (after operational losses) $2,500 medium No. of exhibitions 3 Rental fee (6 veeks period) $200 Maximum no. of bookings (per season) 5 Maximum income (after operational losses) $3,000 Probable Income (after operational losses) $2,200 d. large Financial breakdovn to be determined in each case. Total Probable Income: (per season) ******* Cost Salaries $3,200 Office 600 Travel 100 Promotion Uoo Administration 700 Total Probable Cost: (about 1/8 of Department's annual cost) Evaluation: The above estimates seem ample from AFA's point and should definitely result in an operation vithout further subsidy. At the same time it is not likely to yield a profit after all deductions are properly evaluated. The American Federation of Arts MAR 4 -1954 NEW YORK HEADQUARTERS: 1083 Fifth Avenue, New York 28, N. Y. • SAcramento 2-2452 IBEQTQB MEMORANDUM March 3, 1954 TOt All Members of the Board of the AFA* As you -will recall, Lloyd Goodrioh of our Board has been laboring for many many months as chairman of the Committee on Government and Art.. This committee has now unanimously approveoT'^rTeport to be submitted to the Presi dent. I send you herewith a review of the organization and work of the com mittee, names of the representatives of various participating national art organizations, a resolution addressed to the President of the United States, a list of the institutions endorsing the resolution, and finally the report to the President submitted by the Committee on Government and Art. I hope you will find time to give all of this material careful consid eration between now and the meeting our our Board to be held in New York on March 18, at whioh time this matter will be on the agenda for report, discus sion and action. And lastly I wish to express to Lloyd Goodrich the very real thanks of the AFA for the leadership, time and effort Wiich he has given to this matter. Sincerely yours, THOMAS BROWN RUDD Please note that the Committee has been asked not to release publicity on the enclosed report until it has been transmitted to the President and considered by him. Will you please therefore treat this communication as confidential. THE COMMITTEE ON GQVERI LJ—lib iJ i mm ~ The Committee on Government and Art was formed in 1948 and 1949 by twelve leading national art organizations to consider the question of governmental activities in the fine arts, and possible methods of improving them. The Committee consists of three delegates from each of the twelve organizations, representing museums, artists' associations, architects, designers, decorators, educators, and others. Each of these organizations officially agreed to participate in the Committee and appointed its own delegates, so the Committee is not a self-appointed group of like-minded individuals, but a body of representatives of lead ing national organizations in the art world. In 1950 the Committee approved the draft of a resolution, t o be presented to the President of the United States, requesting him to appoint a commission "to consider the whole question of the Government's relation to art, to study existing governmental agencies and methods, and to submit recommendations for their improvement." The resolution suggests that the commission "be made up of leaders in the art world - museum offI cers, art educators, architects, painters, sculptors, graphic artists, des igners, and Informed laymen - and that its membership should be broadly represen- tative of all leading tendencies and schools of thought." This resolution was referred back to all the organizations composing the Committ ee, and was officially approved by them. In July 1950 the American Federation of Arts, as an overall national art organization and a member of the Committee, wrote all its chapter and institutional members asking them If they would endorse the resolution and allow their names to be used as endorsing it when it should be trans mitted to the President. Of the 393 members of the Federation written to, replies were received from 239- Of these 229 endorsed the resolution, and only eight replied In the negative. The endorsing institutions in clude most of the leading museums, artists'' associations, and college art departments of the country, located in 43 states, plus the District of Columbia and Hawaii. This remarkable response indicates the nation wide interest in the problem. From its inception the Committee on Government and Art has done its utmost to insure that this project should represent all artistic profes sions and all leading tendencies in the art world. The names of the national organizations composing the Committee, and of the local and regional Institutions which have endorsed the resolution, prove that few public movements in the history of American art have had so broad a sup port from the art world. In January 1951* before the resolution had been presented to him, the President authorized the Commission of Fine Arts in Washington to undertake a study of governmental art activities, along the lines which had been proposed by the Committee on Government and Art. This was not what the Committee had intended, since it had proposed a larger commis sion more broadly representative of the Artistic professions. However, -2- at the Committee's suggestion the chairman of the Commission of Fine Arts formed an Advisory Panel of Experts to give advice and assistance to the Commission in its study, this Panel consisting of representatives of each of the twelve organizations composing the Committee on Government and Art, officially appointed by each organization. On May 22, 1951* a joint meeting of the Commission and the Advisory Panel was held in. Washing ton. This was the only joint meeting called by the Commission; and the Advisory Panel was not given an opportunity to read the draft of the Commission's Report before it was transmitted to the President. The Commission's Report, "Art and Government," was made public In July 1953- At that time the chairman of the Committee on Government and Art wrote the President stating the hope that the Committee might be allowed to present its opinions before any final action should be taken on the Report. Subsequent communications indicate that the receipt of the report of the Committee on Government and Art is anticipated. How ever, no publicity regarding the Committee's report Is to be released until the report has been transmitted to the President and considered by him. At a series of meetings at which every one of the twelve organiza tions has been represented by its officially appointed-delegates, and at which every aspect of the question has been fully discussed, the Com mittee has agreed upon a report to be submitted to the President after approval by the twelve participating organizations. This report discusses the Commission of Fine Arts Report, but also includes definite recommenda tions regarding governmental art activities and agencies. The Committee believes that this report represents thorough and serious consideration of the whole problem by representatives of the chief elements in the art world, and hopes that it may be the basis of improved art activities on the part of the Federal Government in the future. THE COMMITTEE ON GOVERNMENT AND ART American Association of Museums College Art Association Charles C. Cunningham Robert Goldwater George Harold Edgell Henry R. Hope David E. Finley Charles H. Sawyer Charles Nagel, Alternate Henry-Russell Hitchcock, Alterr American Federation of Arts National Academy of Design Lloyd Goodrich, Chairman Eliot Clark Rene d'Harnoncourt Sidney Waugh Thomas Brown Rudd Lawrence Grant White American Institute of Architects National Association of Women Arti William Gehron Nell Choate Jones Samuel E. Homsey Ruth Ray Ralph Walker Ruth Yates American Institute of Decorators National Institute of Arts & Letters Richard F. Bach Cecil Howard Genevieve Hendricks Leon Kroll Nancy V. McClelland Maurice Sterne Artists Equity Association National Society of Mural Painters George Biddle Charles Baskerville 01in Dows Dean Cornwell Hudson D. Walker Jan Juta Ruth Reeves, Alternate Sculptors Guild Association of Art Museum Directors Oronzio Maldarelli Bartlett H. Hayes, Jr. Hugo Robus Daniel Catton Rich William Zorach Andrew C. Ritchie RESOLUTION ADDRESSED TO THE PRESIDENT OF THE UNITED STATES The undersigned art organizations, associations and institutions wish to propose to the President of the United States that he appoint a commission to study the relation of the Federal Government to art. The Federal Government has always been concerned with matters of art -- the design and decoration of public buildings, the commissioning of monuments, mural paintings and sculpture, and of movable works of art for use in public buildings, the housing and maintenance of collections of art owned by the Nation, and the use of art in cultural exchanges with other nations. We believe that in these various functions the Government should have a considered and consistent policy, in accord with the position of the United States as a major nation, its contribution, to world culture, and the creative ability of its artists, architects., designers and craftsmen. We believe that in the design and decoration of public buildings and monuments, and in the selection of movable works of art, the services of the best available American architects and artists should be called upon. We believe that the works of American artists should be more extensively used in cultural exchanges with other nations. We are convinced that In the present international situation , such exchanges are essential to promote under- standing among other peoples of America's cultural contributions. Our scien- tific and material achievements are known throughout the world* Our litera- ture and our films have gained a world audience, our music and architecture are in process of doing so; but our painting, sculpture and graphic art, In which we are producing some of the most vital work of today, are practically unknown beyond our own boundari es . We believe that collections of art donated to the Nation by public- spirited citizens but without donation of funds to house and maintain them, deserve adequate maintenance and exhibition by the Government. We question seriously whether existing governmental facilities and pro cedures are adequate to attain the objectives set forth above, and we believe that these facilities and procedures should be subjected to thorough study with a view to their improvement. We therefore respectfully urge that the President appoint a commission to consider the whole question of the Government's relation to art, to study existing governmental agencies and methods, and to submit recommendations for their improvement. Such a study, we believe, should be related to the general social and economic pos it ion of the American artist We suggest that such a commission be made up of leaders in the art world -- museum officers, art educators, archlt ects, painters, sculptors, graphic artists, designers, and informed laymen -- and that Its membership should be broadly representative of all leading t endencies and schools of thought. INSTITUTIONS ENDORSING THE RESOLUTION ALABAMA Art Department, Alabama College, Montevallo Department of Art, University of Alabama, University, Alabama ARIZONA Northern Arizona Society of Science and Art, Museum of Northern Arizona, Flagstaff ARKANSAS Art Department, University of Arkansas, Fayetteville CALIFORNIA Art Center in La Jolla, La Jolla Los Angeles County Museum, Los Angeles Department of Fine Arts, University of Southern California, Los Angeles California College of Arts and Crafts, Oakland Pasadena Art Institute, Pasadena California Palace of the Legion of Honor, San Francisco M. H. de Young Memorial Museum, San Francisco The Trustees of the San Francisco Museum of Art, San Francisco The Women's Board of the San Francisco Museum of Art, San Francisco Rosicrucian Egyptian Museum, San Jose Santa Barbara Museum of Art, Santa Barbara San Joaquin Pioneer Museum & Haggin Art Galleries, Stockton COLORADO Department of Fine Arts, University of Colorado, Boulder Colorado Springs Fine Arts Center, Colorado Springs Denver Art Museum, Denver CONNECTICUT Wadsworth Atheneum, Avery, Colt and Morgan Memorial, Hartford Lyme Art Association, Lyme Department of Art, Wesleyan University, Middletown Slater Memorial Museum, Norwich Mattatuck Historical Society, Waterbury DELAWARE Department of Fine Arts, University of Delaware, Newark DISTRICT OF COLUMBIA American Civic Association Art Department, Catholic University of America Dumbarton Oaks Research Library and Collection Department of Art, Howard University Institute of Contemporary Arts FLORIDA Florida Artist Group, Clearwater Florida Gulf Coast Art Center, Clearwater Friends of Contemporary Art, Coral Gables University of Miami Art Gallery, Coral Gables Florida Federation of Art, Gainesville -2- FLORIDA (Continued) College of Architecture and Allied Arts, University of Florida, Gainesville Palm Beach Art League, Norton Gallery & School of Art, West Palm Beach Morse Gallery of Art, Rollins College, Winter Park Orlando Art Association, Winter Park GEORGIA Department Art, The University of Georgia, Athens Atlanta University, Atlanta ILLINOIS American Library Association, Chicago Art Institute of Chicago, Chicago Palette & Chisel Academy of Fine Arts, Chicago Chicago Historical Society, Chicago Renaissance Society, University of Chicago, Chicago Art Department, University of Illinois, Chicago Department of Fine Arts, Northern Illinois State Teachers College, DeKalb Quincy Art Club, Quincy Augustana Art Association, Augustana College, Rock Island INDIANA Department of Fine Arts, Indiana University, Bloomington Evansville Public Museum, Evansville Fort Wayne Art School and Museum, Fort Wayne Art Association of Indianapolis, John Herron Art Institute, Indianapolis Art & Music Division, Public Library, Indianapolis Delta Phi Delta, Muncle Wlghtman Memorial Art Gallery, University of Notre Dame, Notre Dame Art Association of Richmond, Richmond Art Department, Indiana State Teachers College, Terre Haute Sheldon Swope Art Gallery, Terre Haute University Art Committee, Purdue University, West Lafayette IOWA Cedar Falls Art Association, Cedar Falls Davenport Public Museum, Davenport Dubuque Art Association, Dubuque Fort Dodge Federation of Arts, Fort Dodge Department of Art, Grinnell College, Grinnell Art Department, State University of Iowa, Iowa City Sioux City Art Center, Sioux City KANSAS Mulvane Art Museum, Washburn Municipal University, Topeka Art Department, University of Wichita, Wichita Wichita Art Association, Wichita KENTUCKY Junior Art Gallery, Louisville Free Public Library, Louisville Allen R. Hite Art Institute, University of Louisville, Louisville LOUISIANA Louisiana Art Commission, Baton Rouge Department of Fine Arts, Louisiana State University, Baton Rouge Art Association of New Orleans, New Orleans -3- LOUISIANA (Continued) Howard-Tilton Memorial Library, New Orleans Isaac Delgado Museum of Art, New Orleans Art Department, Louisiana Polytechnic Institute, Ruston MAINE Brick Store Museum, Kennebunk University of Maine, Orono MARYLAND Baltimore Museum of Art, Baltimore Maryland Institute, Baltimore The Municipal Museum, Baltimore Walters Art Gallery, Baltimore St, Timothy's School, Catonsville Washington County Museum of Fine Arts, Hagerstown MASSACHUSETTS Museum of Fine Arts, Amherst College, Amherst Department of Landscape Architecture, University of Massachusetts, Amherst Addison Gallery of American Art, Phillips Academy, Andover College of Practical Arts & Letters, Boston University, Boston Institute of Contemporary Art, Boston Massachusetts School of Art, Boston Museum of Fine Arts, Boston Graduate School of Design, Harvard University, Cambridge Deerfleld Academy, Deerfield Williston Academy, Easthampton de Cordova and Dana Museum and Park, Lincoln Smith College Museum of Art, Northampton Berkshire Museum, Pittsfield George Walter Vincent Smith Art Museum, Springfield Springfield Museum of Fine Arts, Springfield Farnsworth Art Museum, Wellesley College, Wellesley Jasper Rand Art Museum, Westfield Athenaeum Public Library, Westfield Art Department, Williams College, Williamstown Worcester Art Museum, Worcester MICHIGAN Museum of Art, University of Michigan, Ann Arbor Cranbrook Academy of Art, Bloomfield Hills Art Department, Michigan State College, East Lansing Flint Institute of Arts, Flint Art Department, Western Michigan College, Kalamazoo Saginaw Museum, Saginaw MINNESOTA Walker Art Center, Minneapolis Division of Fine Arts, Carleton College, Northfield Rochester Art Center, Rochester MISSISSIPPI Department of Art, Mississippi State College for Women, Columbus Art Department, University of Mississippi, Oxford MISSOURI Kansas City Art Institute, Kansas City Art Department, University of Kansas City, Kansas City William Rockhill Nelson Gallery of Art, Kansas City City Art Museum, St. Louis Art Department, Drury College, Springfield Springfield Art Museum, Springfield MONTANA Boseman Chapter of the American Federation of Arts, Montana State College, Boseman NEBRASKA Joslyn Memorial Art Museum, Omaha NEVADA Fine Arts Club, University of Nevada, Reno NEW HAMPSHIRE Department of the Arts, University of New Hampshire, Durham Department of Art & Archaeology, Dartmouth College, Hanover Currier Gallery of Art, Manchester NEW JERSEY Society of New Jersey Artists, Budgeton Newark Museum, Newark Public Library of Newark, Newark Department of Art & Archaeology, Princeton University, Princeton New Jersey State Museum, Trenton NEW MEXICO Roswell Museum, Roswell Museum of New Mexico, Santa Fe NEW YORK Albany Institute of History and Art, Albany Department of Fine Arts, Wells College, Aurora Art Department, American Association of University Women, Bronxville Albright Art Gallery, Buffalo Fine Arts Academy, Buffalo Art Club, Fredonia State Teachers College, Fredonia Department of Art, College of New Rochelle, New Rochelle Brooklyn Museum, Brooklyn, New York Art School, Pratt Institute, Brooklyn, New York Modelers and Sculptors of America, New York Museum of Modern Art, New York National Arts Club, New York Department of Fine Arts, Washington Square College, New York University, New York Parsons School of Design, New York Riverside Museum, New York Whitney Museum of American Art, New York Art Department, State Teachers College, Oswego Department of Art, Vassar College, Poughkeepsie Memorial Art Gallery, University of Rochester, Rochester Department of Fine and Applied Art, Skidmore College, Saratoga Springs Schenectady Museum Association, Schenectady -5- NEW YORK (Continued) Syracuse Museum of Fine Arts, Syracuse College of Fine Arts, Syracuse University, Syracuse Fine Arts Department, Russell Sage College, Troy Munson-Williams-Froctor Institute, Utica Hudson River Museum at Yonkers, Yonkers NORTH CAROLINA Art Department, Black Mountain College, Black Mountain Person Hall, University of North Carolina, Chapel Hill Community Art Center, Greeneville OHIO Akron Art Institute, Akron School of Painting and Allied Arts, University of Ohio, Athens Art Department, Bowling Green State University, Bowling Green Canton Art Institute, Canton Cleveland Museum of Art, Cleveland Cleveland Institute of Art, Cleveland Columbus Gallery of Fine Arts, Columbus Johnson-Humrlckhouse Memorial Museum, Coshocton Dayton Art Institute, Dayton Department of Fine Arts, Ohio Wesleyan University, Delaware Butler Art Institute, Youngstown Art Institute of Zanesville, Zanesville OKLAHOMA School of Art, University of Oklahoma, Norman Philbrook Art Center, Tulsa OREGON School of Architecture and Allied Art, University of Oregon, Eugene PENNSYLVANIA Art Gallery, Lehigh University, Bethlehem Art Department, State Teachers College, Indiana Allied Artists of Johnstown, Pa., Art Institute, Johnstown Department of Art Education, State Teachers College, Kutztown Moore Institute of Art, Science and Industry, Philadelphia Pennsylvania Academy of the Fine Arts. Philadelphia Print Club, Philadelphia School of Fine Arts, University of Pennsylvania, Philadelphia College of Fine Arts, Carnegie Institute of Technology, Pittsburgh Department of Fine Arts, University of Pittsburgh, Pittsburgh Department of Fine Arts, Carnegie Institute, Pittsburgh Reading Public Museum & Art Gallery, Reading Everhart Museum of Natural History, Science & Art, Scranton RHODE ISLAND Art Association of Newport, Newport Museum of Art, Rhode Island School of Design, Providence SOUTH CAROLINA Columbia Art Association, Columbia Department of Fine Arts, University of South Carolina, Columbia -6- TENNESSEE Knoxville Art Centre, Knoxville College of Home Economics, University of Tennessee, Knoxville Brooks Memorial Art Gallery, Memphis Memphis Academy of Arts, Memphis Art Gallery, University of the South, Sewanee TEXAS Art Department, Arlington State College, Arlington Department of Art, College of Fine Arts, University of Texas, Austin Dallas Museum of Fine Arts, Dallas Department of Art, College of Industrial Arts, Texas State College for Women, Denton Edlnburg Junior College, Edlnburg "The Brushes" Art Club, Texas Christian University, Fort Worth Museum of Fine Arts, Houston Department of Architecture and Allied Arts, Texas Technological College, Lubbock San Antonio Art League, Witte Memorial Museum, San Antonio VERMONT Robert Hull Fleming Museum, University of Vermont, Burlington VIRGINIA Huntington Library, Hampton Institute, Hampton Department of Art, Hollins College, Hollins Library, Lynchburg College, Lynchburg Hermitage Foundation, Norfolk Norfolk Society of Arts, Norfolk Art Department, Sweetbriar College, Sweet Briar Department of Fine Arts, College of William & Mary, Williamsburg Museum of Fine Arts, University of Virginia, University, Virginia WASHINGTON Maryhill Museum of Fine Arts, Maryhill Seattle Art Museum, Seattle Henry Gallery, University of Washington, Seattle Tacoma Art League, Tacoma WEST VIRGINIA Kanawha County Public Library, Charleston Fine Arts Department, West Virginia Institute of Technology, Montgomery WISCONSIN Department of Art, Beloit College, Beloit Madison Art Association, Madison Layton Art Gallery, Milwaukee HAWAII Honolulu Academy of Arts, Honolulu REPORT TO THE PRESIDENT submitted by THE COMMITTEE ON GOVERNMENT AND ART I. A Statement of General Principles The basic principles which we believe should govern the art activi ties of the Federal Government are stated in the Resolution addressed to the President by the Committee on Government and Art which was drawn up In 1950, approved by each of the twelve national organizations composing the Committee, and endorsed by 229 other art institutions throughout the country. The Committee on Government and Art recognizes the importance of art as a major factor in our national life and in our position among the nations of the world, and believes that the art activities of our Government are of vital concern not only to the art world but to our whole people. We believe that the primary purpose of governmental art activities should be, not subsidizing the art world nor supporting artists, but the use by the Government of art for public purposes. In our opinion there is no question that the chief economic support of the American art world in the foreseeable future will continue to come from private sources, using the word private to include institutions and foundations established by individuals and corporations. It is our opinion that, barring another major depression, any plart for large-scale governmental employment of artists, or subsidizing of "the art world, Is unrealistic. •2- The importance of governmental art activities cannot be measured In terms of the funds which go to artists or institutions. These activities are important because of their public nature, the scale of the audience they reach, their broad social purpose, their widespread influence on public appreciation and understanding, and their vital role in our cultural relations with other nations. There are certain essential art activities which can be carried on only by the Federal Government, or which can be carried on better by it than by other agencies; most of which, indeed, have been carried on since the birth of our Nation. The chief of these are: The architectural design of Federal buildings. Their decoration by mural painters, sculptors, designers, and craftsmen; and their exterior settings. Landscape architecture in national parks and parkways, and in other Federal projects . The City of Washington: its buildings, parks, monuments, and overall plan. The procurement of movable works of art for use in Federal buildings: paintings, portraits, portrait sculpture, historical pictures, prints, etc. Pictorial records of military history by and for the Armed Forces. The design of coins, medals, paper currency and postage stamps. The maintenance and exhibition of collections of art be longing to the Nation. International art exchanges: exhibitions, information, and persons. Federal educational activities In art. We believe that all these essential activities should be continued, and in certain cases increased. -3- We believe that the highest artistic standards should govern all Federal art activities; that creative work for the Government should enlist the services of the best artists, architects, designers and craftsmen; and that governmental art policies should represent the broadest viewpoints consistent with high standards, and should allow for the diversity and individualism of a democratic society. We realize that there are problems in governmental art activities which do not exist to the same degree in the art world. These problems center particularly around the use of creative art and architecture by the Government. There is the danger of fostering an art of propaganda for the state - a danger which seems remote in view of our democratic tradition of Individual freedom, and the many channels through which our artists can reach the public. There is the possibility of political considerations taking the place of artistic considerations in matters of taste and judgment. There is the possibility of exclusive control of governmental art policies by one school or tendency. The field of contemporary art, architecture and design includes a wide variety of viewpoints. To represent these viewpoints in a fair and balanced manner is one of the chief problems of governmental art. These problems make It essential that governmental art policies represent the best knowledge, experience and judgment of the art world. We believe that these policies should be determined by bodies which are predominantly professional (using the word in the broadest sense, to include all the artistic professions), which are free from political influence or control, and which represent the leading schools of thought In the art world. We believe that in order to achieve this, the art world should be given a voice in nominating the members of such bodies. There is precedent for this in the National Science Foundation Act of 1950, which provides that the President, in appointing the members of the National Science Board, governing body of the National Science Foundation, is requested to give due consideration to recommendations for nomination submitted by certain specified national scientific and educational organizations. We believe that a similar system should be provided for nomination of members of advisory art bodies by the leading national organizations representing the various artistic fields. We believe that the principle of representation of the art world in such appointments is essential for the sound functioning of governmental art activities. A basic problem is that of centralization or decentralization: a single body dealing with all or most of the Government's art activi ties, or a number of independent bodies corresponding to the various activities. The advantages of the former would be increased importance for the fine arts in Government, greater efficiency, and more clearly defined authority and responsibility. Its danger would be too much centralized power in a few hands. The Federal Government carries on a number of art activities not closely related to one another; and exist ing governmental art bodies are more or less decentralized. In order to avoid too much centralized power, to give more scope to different viewpoints and to specialized knowledge, and to adapt advisory bodies more closely to their particular functions, we recommend several independent bodies to deal with the chief governmental art functions. However, we recommend that all the Federal bodies concerned with art should form a central committee to consult on common problems, avoid duplication, make available specialized knowledge in the various fields, -5- promote beneficial contacts between Government and the art world, and In general improve the Government's art activities. In our opinion this would achieve many of the advantages of centralization while avoiding its dangers. We recommend that this central committee should consist of three representatives of each of the five advisory, committees proposed in Section II. II. Summary of Recommendations To cover the main artistic activities of the Federal Government, we recommend five main advisory commissions (two of which are already in existence), whose make-up and method of appointment would be deter mined by the nature of their functions: An architectural advisory commission consisting principally of architects, with representatives of other professions related to architecture. (Section IV.) An advisory commission on the decoration of Federal build ings, consisting of representatives of the various arts In this field. (Section V.) The Commission of Fine Arts, enlarged to include more artis tic professions, and made more representative, to advise on architectural and artistic activities in the District of Columbia, and on certain art activities centered in Washington. (Section VI.) The Smithsonian Art Commission, made more representative, to advise the National Collection of Fine Arts. (Section VII.) For international art exchanges, a commission consisting of museum workers, art scholars, art historians, and artists, acting in an advisory capacity to the Department of State or the United States Information Agency. (Section VIII.) Since the purpose of these commissions would be to draw upon the best qualified individuals in the various professions, we recommend that these commissions should be advisory and not administrative. How ever, we strongly recommend that they be given staffs and funds adequate to carry out their functions. We also recommend that It be mandatory -6- that the administrative agencies charged with the various activities should consult with these commissions on artistic matters, at the be ginning of each art project; and that these commissions should have the power of veto in artistic matters. We recommend that In appointing the members of these commissions, the President or the heads of departments should be requested to give due consideration to recommendations for nomination submitted by the leading national art organizations in the particular field. (Section IX.) III. The Report of the Commission of Fine Arts Coming now to the Report of the Commission of Fine Arts, we are in full agreement with most of its major objectives, particularly with its recommendations for enlarged and improved activities in the areas of international art exchanges, decoration of Federal buildings, design of medals and stamps, recording of military history by and for the Armed Forces, adequate maintenance and exhibition of the Nation's art collec tions, and Federal educational activities in art. Many of its specific recommendations, we believe, leave no ground for differences of opinion. However, in a number of important areas we question whether the means proposed to attain these objectives are adequate to do so. The Report states (p. 5): "The Commission is opposed to efforts to create a ministry of fine arts or to combine in a single bureau art activities now carried on effectively in a number of Government agencies." With this we are in general agreement, as already shown. But In our opinion the Report does not propose adequate bodies or procedures to effect any substantial Improvement in existing art activities. It does not propose any new advisory bodies, nor any which would be genuinely -7- representative of the art world. Nor does it propose any noticeable strengthening of the chief existing art agency, the Commission of Fine Arts itself. The following sections discuss more fully the Commission's Report, and our own recommendations. IV. The Architecture of Federal Buildings The architectural design and the decoration of Federal buildings are among the most important art activities of the Federal Government. As to architectural design, the General Services Administration, which is charged with the design and erection of many of the most important Federal buildings, is entirely responsible in architectural matters and does not consult with the Commission of Fine Arts regarding them, except in the District of Columbia. The Commission's Report does not recommend any change in this respect; indeed, it falls to make any recommendations regarding the architectural design of Federal buildings outside of the District of Columbia. In our opinion the architectural activities of the General Services Administration, as well as of other Federal departments, agencies and establishments, are on so large a. scale that it would be Impracticable for the Commission of Fine Arts to exercise an advisory function in relation to them, while at the same time carrying on its own essential activities in the District of Columbia. In order to maintain and improve the standards of Federal architecture, to broaden its policies, and to make use of the best professional judgment in this Important field, we recommend that an architectural advisory commission should be set up, which would exercise an advisory function in relation to the architectural -8- activities of the General Services Administration; and that its advisory services should also be available to other Federal departments, agencies and establishments engaged in architectural activities; this commission to have subcommittees concerned with particular types of buildings. We recommend that this commission should consist of: Six architects. One landscape architect. One mural painter. One sculptor. One interior designer. One member, not an architect, eminent in the fine arts. We recommend that in appointing its members, the President or the Adminis trator of General Services be requested to give due consideration to recommendations for nomination submitted by the national organizations in these fields, specified in Section IX. Our purpose in recommending the inclusion of representatives of the allied arts is to provide that the decoration and exterior settings of buildings should be considered together with their architectural design. While we realize that the relation of this commission to adminis trative agencies can only be advisory, we believe that such a commission, nominated by national organizations representing the architectural professions, would be of material benefit to the architectural standar. of the Federal Government. V. The Decoration of Federal Buildings Regarding the decoration of Federal buildings, the Report of the Commission of Fine Arts (p. 18) recommends that greater use be made of sculpture, mural painting and other forms of decoration, "to such extent as might be justified in each particular instance, taking into considera tion the funds available," and expresses the hope that an adequate -9- amount, in relation to the cost of each building, may be set aside for this purpose. With this recommendation we are in complete agreement; indeed, it was one of the main points in our Resolution of 1950. We believe that whenever architecturally and artistically suitable, Federal buildings should make use of the work of American mural painters, sculp tors, designers and craftsmen. Regarding the question of funds, the cost of such decoration in proportion to the total cost of a building is small, while its public value is great. . As to the essential problem of the selection of artists to execute such work, we note (p. 43-46) that at the hearing of March 20th, 1951* and later in the letter of the Administrator of General Services, April 2nd, 1951, the General Services Administration requested the Commission of Fine Arts to establish a procedure by which the Commission would suggest the names of artists to decorate public buildings; but the Commission in its Report (p„ 18-19) declines to accept this responsi bility, placing the primary responsibility for selecting the artists upon the General Services Administration, and agreeing only to "advise as to the competence of the artist to execute the work under considera tion, " when the artist's name and examples of his work are submitted to the Commission. In our opinion this procedure is inadequate. If the Commission of Fine Arts declines to accept responsibility for suggesting artists, and if there is no artistic body connected with the General Services Administration qualified to do so, there can be little hope for improve ment in the decoration of Federal buildings. Some agency has to take the responsibility for suggesting artists, and such an agency should be fully qualified to do so. •10- Since the decoration and the architectural design of a building should form an integrated whole, it is essential that the decorative elements and the artists to execute them should be decided upon from the beginning, in consultation with the architects. The bodies responsible for the decoration of buildings should have a close rela tion to those responsible for their architectural design, and should work in cooperation. We therefore recommend that a commission be set up to exercise an advisory function to the General Services Administration, in regard to the decoration of Federal buildings outside the District of Columbia, and to work in cooperation with the architectural advisory commission proposed above; its members to be qualified in the fields of mural pa" ting, architectural sculpture, interior design, and landscape architecture, and to possess the fullest possible knowledge of the work of American artists, designers and craftsmen. The advisory services of this commission would apply particularly to the General Services Administration, but would also be available to other Federal departments, agencies and establishments engaged in architectural activities. These advisory services would apply not only to buildings under construction, but to those already constructed. We recommend that this commission should consist of: Three mural painters. Three sculptors. Three architects. One interior designer. One designer-craftsman. One landscape architect. One member eminent in the fine arts. We recommend that in appointing its members the President or the Adminis trator of General Services be requested to give due consideration to -11- recommendatlons for nomination submitted by the national organizations v.. in these fields, specified In Section IX. An essential problem is that of competitions and/or commissions as means of selecting the most qualified architects, artists and de signers for governmental work. On the one hand, competitions open to all practitioners are often a means of discovering new talents. On the other hand, the most qualified practitioners often will not enter such competitions because of the time and labor Involved, without assurance of any return. We recommend that in selecting architects, artists and designers, the Federal agencies charged with this responsibility should in each case consider the following alternatives: commissions award without competitions; competitions in which the practitioners are ir to compete and are paid for their designs; and competitions open to all practitioners without invitation or payment. We also recommend that; every effort be made to discover new and promising talents, and to give them wider opportunities to compete for governmental commissions; and that to this end, the advisory commissions should gather broad and full information on the works of American architects, artists, designers a craftsmen, and their qualifications for executing governmental work. VI. The Commission of Fine Arts The Commission of Fine Arts is an advisory body concerned particu larly with architectural and artistic matters in the District of Columbia, and with certain art activities centering in Washington. Its advisory functions, both actual and recommended In Its Report, apply to the follow ing activities: -12- The architectural design and the decoration of public buildings in the District of Columbia. The design of monuments in the District of Columbia. The planning of parks, parkways and playgrounds In the District of Columbia, in cooperation with the National Capital Park and Planning Commission. The exterior design and materials of private buildings adjacent to public buildings and public parks in the District of Columbia, in cooperation with the Commissioners of the District of Columbia and the National Capital Park and Planning Commission. In relation to the General Services Administration: consultation with the Public Buildings Service regarding pro posed decoration of public buildings, not only In the District of Columbia but throughout the country . The activities of the American Battle Monuments Commission ig architecture, sculpture, painting and landscape architecture. In relation to the Division of Foreign Buildings Operations, Department of State: the decoration of such buildings bj American artists and the purchase of works of art for use in such build ings and their gardens. The design of coins and medals, in cooperation with the ireau of the Mint. In the design of paper- currency and postage stamps, "the Commission's services are always at the disposition of the Bureau of Engraving and Printing." In relation to the Department of Defense: the Commission "is prepared, if requested, to make its advice available to the armed services In the selection of qualified artists to be employed under contract for recording wartime operations In which this country may be engaged." In relation to the Veterans' Administration: In the choice of paintings and sculpture to decorate veterans' hospitals and other buildings, "the advice of the Commission is available." "Advising generally upon questions of art when required to do so by the president, or by any committee of either House of Congress." (From the Act of May 17, 1910.) Except for architectural, monumental and decorative projects in the District of Columbia and those carried out by the American Battle •13- Monuments Commission, it is not mandatory that the agencies charged with various governmental art functions should consult with the Com mission of Fine Arts; but it has become the custom for many of them to do so, after completion of designs. The Commission is composed of seven members, appointed by the President and specified In the Act as "seven well-qualified judges of the fine arts." By custom they are three architects, one landscape architect, one painter, one sculptor, and the chairman. The Commission's Report recommends that no change be made in the basic character of the Commission, that its functions shall continue to be advisory,that it shall not be made an administrative agency with large funds to administer, and that "such Government funds as are avail able for art activities should be disbursed by the official agencies to which these activities have been entrusted." The Report does not recommend any change in the present make-up of the Commission or in the present system of appointment of its members. As to the Commission's functions, we believe that Its present and recommended functions listed above should continue, with the exception of its advisory function on the decoration of public buildings outside of the District of Columbia under the General Services Administration, already discussed in Section V. We recommend that in addition, It advise other governmental agencies on the selection, commissioning and procure ment of movable works of art, including paintings, sculpture, painted and sculpted portraits, historical pictures, etc., for use in Federal buildings within the District of Columbia. -14- As to the Commission's powers, we agree with its own recommendation that it should remain an advisory and not an administrative body; but we feel that if there is to be any real improvement in the artistic standards of the activities on which it advises, it should be given greater mandatory powers in relation to other agencies. We therefore recommend that in all art activities in which the Commission exercises an advisory function, it be provided that the agencies entrusted with such activities should consult with the Commission on artistic projects from the beginning of such projects, and that the Commission have the power of veto in artistic questions in such projects. We believe that the Commission as at present constituted does not represent fully enough other artistic professions than architecture. We also believe that the art world should be given a voice In nominating its members. We recommend that its membership be revised to consist of: Three architects. One landscape architect. Two painters. Two sculptors. One graphic artist. One interior designer. One member eminent in the fine arts. We recommend that In appointing the members, the President be requested to give due consideration to recommendations for nomination submitted by the national organizations in these fields, specified in Section IX. We are in full agreement with the Commission's objections to being placed under the supervision of the Administrator of General Services (p. 14). We believe that It is essential that the Commission should remain free to give its independent judgment on artistic matters, based on its members' knowledge as experts in the various fields of the fine arts, without supervision by any other agency. •15- We note that the Commission's Report regarding the design of medals (p. 23-24, 56-60) states that in selecting sculptors and designs the Bureau of the Mint holds competitions, receiving "recommendations of the names of appropriate sculptors both from the Commission of Fine Arts and from the National Sculpture Society." From the list of competi tions (p. 58-6O), it is evident that practically all of the sculptors invited to compete, of the sculptor members of the juries, and of the winners of the competitions, are members of the National Sculpture Society. We recommend that in arranging these competitions and select ing jurors, other professional organizations representing sculptors should also be consulted. The Commission's Report regarding the design of postage stamps (p. 23-24,- 26, 61, 74-75) states that the Postmaster General and the Post Office Department select the theme and the pictorial subject, and sometimes supply sketches. The theme is developed into a design by staff artists of the Bureau of Engraving and Printing, and after approval by the Post Office Department, is engraved. There is no provision for using outside designers or graphic artists, nor for regular consultation with the Commission of Fine Arts. We agree with the Commission, when it states (p. 24): "The artist, who is the crucial factor In the success of the operation, is Inevitably restrained from contributing all that he might contribute, particularly In the first stages of each design. The Commission, therefore, recom mends that the interested agencies give consideration to measures that will Increase the prestige and authority of the art factor in the design » of postage stamps." -16- As the Report says, our stamps and currency "are probably the works of fine art with which the largest number of people have the closest acquaintance," and beauty of design in them is important to our own citizens and to the people of other countries. In our considered opinion, the design of many of our stamps leaves much to be desired as compared to the best of certain other nations. We recommend that ways be found of using the best graphic and design talent of America in designing our stamps. To this end we recommend that it be mandatory that the Commis sion of Fine Arts be consulted in the design of postage stamps, from the beginning of each such design. We are in full agreement with the recommendations (p. 23, 54-56) that a certain percentage of the cost of erecting or acquiring a build ing for an embassy or legation abroad be used for the decoration of the building by American artists, for the purchase of works by American artists for use in such building and its garden, and for furniture and other decorative arts produced in this country; and that the Division of Foreign Buildings Operations, Department of State, should consult with the Commission of Fine Arts in the selection of artists and works. VII. The National Museums Our Resolution of 1950 stated: "We believe that collections of art donated to the Nation by public-spirited citizens but without dona tion of funds to house and maintain them, deserve adequate maintenance and exhibition by the Government." This applies particularly to the National Collection of Fine Arts, the most Inadequately financed and maintained of all the art galleries of the Smithsonian Institution. mm -17- The Commission's Report (p. 15-16) recommends the enlargement of the services of the National Collection of Fine Arts so that it would become an active museum of contemporary art and particularly American art, concentrating on a program of activities rather than the guardian ship of its collections. This program would include purchasing works by contemporary American artists; organizing exhibitions; making works from its collections available by travelling exhibitions and by loans to schools, libraries, community groups, museums and art centers throughout the country; and publishing books, guides, pamphlets and color reproductions. For these purposes the Report recommends that an adequate building should be provided. We are in agreement with the above recommendations. We believe that the National Collection's present collections deserve and need an adequate building; and that the existence of such a building would attract additional gifts to the institution. We are also in agreement with the recommendation that the National Collection undertake an active program in the field of contemporary American art; but we suggest that this be considered in relation to the Corcoran Gallery of Art, which has for years carried on similar activities in Washington, under private auspices; and that the proposed travelling exhibitions program be con sidered in relation to the similar programs of the American Federation of Arts and other organizations. An essential question Is that of the guidance of the proposed programs of the National Collection of Fine Arts. At present the Smithsonian Art Commission, under the Board of Regents of the Smith sonian Institution, is the only policy-making body for the National Collection. Its duties are limited to meeting once a year and deciding -18- what works of art, chiefly gifts, shall or shall not be accepted by the Collection. It consists of fifteen appointive members (five artists, five experts in the fine arts, and five business or professional men of public spirit interested in the fine arts), and the Secretary of the Smithsonian Institution, ex officio. Its members are appointed by the Board of Regents of the Smithsonian Institution, but in actual practice the Smithsonian Art Commission itself votes on new members and recom mends them to the Regents, who officially appoint them; in other words the Commission is actually a self-perpetuating body, whose members serve until retirement. There is no provision for giving the art world a voice in nominating Its members. The Report does not mention the Smithsonian Art Commission, and its only reference to the problem of artistic policies is: "We take it for granted that, in the formulation of its programs, the Director of the National Collection of Fine Arts will seek competent professional advice from societies of artists and recognized museums of fine arts." We believe that if the National Collection of Fine Arts is to embark on an active program in the complex and diversified field of contemporary American art, the Smithsonian Art Commission should be made a broader representative body with special experience and knowledge in the field, to serve in an advisory relation to the Director and staff of the National Collection. We recommend that the membership of the Smithsonian Art Commission be revised to consist of: Six art museum workers, art scholars and art historians. Three painters. Two sculptors. One graphic artist. One designer-craftsman. One architect. One photographer. The Secretary of the Smithsonian Institution, ex officio. -19- ' '•" We recommend that in appointing the members, the Board of Regents of the Smithsonian Institution should give due consideration to recommenda tions for nomination submitted by the national organizations in these fields, specified in Section IX. We agree with the recommendation (p. 16-17) that the various Government museums should be given funds to make color reproductions, photographs, slides and motion pictures of their collections available to public schools and colleges throughout the country. However, in order to avoid duplication of effort and resulting waste, we suggest that this program be considered in relation to the educational work of the Office of Education, Department of Health, Education and Welfare, and to existing educational programs of schools, colleges, museums and other educational institutions throughout the country. We recommend that there should be provision for payment for such material by the schools and colleges which use it, in order to defray the cost of the program. We recommend that in all matters involving the reproduction or use of works of living artists by the Government's museums, the artists' economic rights be safeguarded. We agree with the Commission's recommendation (p. 17) that the Government's museums and the Office of Education, Department of Health, Education and Welfare, should be given funds for use in radio and tele vision broadcasts in the field of the visual arts; and with the recom mendation (p. 27-28) that the facilities of television should be made available to the Government's museums for the preparation, recording and presentation of cultural television programs, if possible through a non-profit educational television station operated by the District of Columbia Board of Education. -20- We are in complete agreement with the Commission's recommendation about budgets for the national museums (p. 17)' VIII. International Art Exchanges We are in complete agreement with the Commission's Report (p. 20-23) in Its estimate of the vital importance of international exchanges of exhibitions and information, and with its recommendation that there should be a much more extensive program for such exchanges than at present. Our Resolution of 1950 said: "We are convinced that in the present international situation, such exchanges are essential to promote understanding among other peoples of America's cultural contributions. Our scientific and material achievements are known throughout the world. Our literature and our films have gained a world audience, our music and architecture are in process of doing so; but our painting, sculpture and graphic art, in which we are producing some of the most vital work of today, are practically unknown beyond our own boundaries." However, we are not in agreement with the Report's recommendations as to the procedure to carry out such a program. The Report (p. 15* 20-23) recommends that an office should be established in the National Gallery of Art for the exchange of art exhibitions between this and other countries, funds for this purpose to 1oe made available to the National Gallery by the Department of State or by Congressional appropria- tlons. "The National Gallery, In turn, sho aid org anize, or contract with competent museums and organizations, such as the American Pederation of Arts., to organize exhibitions to be sent abroad . The office should also be provided with funds to bring to the United States offic ial exhi- bitions from other countries when funds are not available from private sources *t t -21- The Report makes no provision for any commission or other body representative of the art world, even in an advisory capacity, in carry ing out this vital governmental art activity, and it is evident that the overall artistic policies of the proposed office would be determined by the National Gallery of Art. We believe that no single museum should be given such power in one of the most Important International cultural activities of the Federal Government, and that this activity should be guided by a broadly representative body of leaders in the art world. We recommend that a commission be formed to act in an advisory capacity to the Department of State or the United States Information Agency in international art exchanges, the members of this commission to be appointed by the President, and to consist of: Seven art museum workers, art scholars, and art historians. One architect. One painter. One sculptor. One graphic artist. One industrial designer. One designer-craftsman. We recommend that In appointing its members, the President be requested to give due consideration to recommendations for nomination submitted by the national organizations In these fields, specified in Section IX. We are in agreement with the Report's recommendation that the pro posed agency should not only organize exhibitions itself, but should contract with competent organizations to do so. The composition and standards of exhibitions to be sent abroad are of vital importance, and should be determined by the best qualified knowledge and Judgment in the particular field. We recommend that whenever possible, such exhibi tions should be selected by special committees of persons fully qualified -22- in the particular field; and that such special committees should in clude a fair proportion of artists in the particular field. We are in full agreement with the Commission's support (p. 21) of the policy of the Department of State regarding the exchange of persons with other countries, by which students, scholars, journalists, etc-, are brought to this country, and qualified Americans are sent abroad, as lecturers or as representatives at meetings of international art commissions and at international cultural conferences. IX. Recommendations regarding Appointments of Members of Advisory Commissions We recommend that in appointing the members of the five advisory com missions proposed in Sections IV to VIII, the President or the heads of departments should be requested to give due consideration to recommenda tions for nomination submitted by leading national art organizations in. the particular fields, as follows: For painter members, by Artists Equity Association, National Academy of Design, National Association of Women Artists, National Institute of Arts and Letters, National Society of Mural Painters, Federation of Modern Painters and Sculptors, American Association of Museums, American Federation of Arts, and Association of Art Museum Directors. For sculptor members, by Artists Equity Association, National Academy of Design, National Association of Women Artists, National Institute of Arts and Letters, National Sculp ture Society, Sculptors Guild, Federation of Modern Painters and Sculptors, American Association of Museums, American Federation of Arts, and Association of Art Museum Directors. For architect members, by the American Institute of Archi tects. For landscape architect members, by the American Society of Landscape Architects. For graphic artist members, by the Society of American Graphic Artists. For interior designer members, by the American Institute of Decorators. -23- For Industrial designer members, by the- Industrial Designers Institute and the Society of Industrial Designers. For designer-craftsman members, by the American Craftsmen's Educational Council. For museum workers, art scholars, and art historians, and photographer members, by the American Association of Museums, American Federation of Arts, Association of Art Museum Directors, and College Art Association. For members designated as members eminent in the fine arts, by the American Association of Museums, American Federation of Arts, Association of Art Museum Directors, College Art Association, and National Institute of Arts and Letters. We recommend that each of these organizations should Independently recommend for nomination one candidldate for each member of the commissions specified above. X. Other Recommendations We are in full agreement with the recommendations of the Commission's Report on the following subjects: Preservation of the Government's art collections during wartime (p. 18). Restoration of works of art owned by various governmental departments and agencies (p. 19). Removal of the temporary office buildings in Washington (P- 19). Preservation for public use of historic sites, buildings and objects (p. 26). The various recommendations regarding the recording of military history by and for the Armed Forces (p. 24-25). f The use of paintings and sculpture in the decoration of veterans' hospitals and other buildings devoted to veterans' use; and the use of. these arts in medical rehabilitation courses for veterans (p. 27). We recommend that whenever an artist Is employed by the Government as a teacher, his professional experience, ability and qualifications -24- shoUld be considered more than his academic standing as regards college or university credits or degrees. One problem to be considered is whether members of advisory com missions should be paid for their services. At the present time the members of the Commission of Fine Arts serve without any remuneration iept for expenses. We believe that private individuals who devote any considerable amount of time to governmental work should be paid for their time. This is particularly brae of artists, who are not salaried workers as are museum people, full-time teachers, etc. We suggest that members of advisory commissions who are not already employed by the Government should be paid at a per diem rate in addition to reimbursement of expenses, unless they waive such payment. We recommend that consideration be given to the question of remunera tion to artists for works commissioned or acquired by the Government. We believe that it is important that such remuneration should be adequate to insure the best possible quality in these works. We also suggest thorough and impartial consideration of the total cost of governmental art activities. The proportion of Federal funds allocated to art activities is a minute fraction of the total cost of government; yet too often funds for art are the first to be reduced or eliminated. We fully realize the necessity for economy in government, particularly at the present time; but we respectfully suggest that in the overall picture of our national life, the relatively small cost of adequate governmental art activities is modest in proportion to the benefits derived from them by the people of the United States. -25- In conclusion, we wish to express the earnest hope that the future art policies and activities of the Federal Government will give art the position it deserves in our- public life, will show other peoples that we have made and are making important contributions to world culture in the field of art, and will demonstrate that our Government, like that of other nations, recognizes the value of art as a universal language In the world of today, The American Federation of Arts NEW YORK HEADQUARTERS: 1083 Fifth Avenue, New York 28, N. Y. • SAcramento 2-2452 January 13, 1954 MEMORANDUM SfiGfiKVKD JM18 1954 TO: AFA Trustees lUiECTOB For your Information, I am sending you a copy of the Howell Bill (H.R. 5397) now pending in the House of Representa tives, together with a digest of the bill and some comments on it prepared by me for members of the Committee on Government and Art. A previous version of this bill (H.R. 452) was introduced in the House of Representatives by Congressman Charles R. Howell of New Jersey In January 1953- Last spring Mr. Howell revised the bill, taking Into consideration suggestions and criticisms by many organizations and individuals in the fields of the fine arts; and introduced the revised version as H.R. 5397. On September 15th he circulated a list' of suggested additional revisions; and on October 1st he circulated certain recommendations submitted to him regarding the functions and make-up of the Commission of Fine Arts. The bill is due to be considered this session by the House Committee on Education and Labor. I want to add that the enclosed comments on the bill are entirely personal and do not necessarily represent the^opinion of the Committee on Government and Art. The Committee is due to consider the bill In the near future and these comments were prepared merely as a starting-point for discussion. Sincerely yours, OLVyf '3isWoJ>v^ Chairman Committee on Government and Art Address: Whitney Museum of American Art 10 West 8th Street New York 11, New York 83D CONGRESS 1ST SESSION H. R. 5397 IN THE HOUSE OF REPRESENTATIVES MAT 26,1953 Mr. HOWELL introduced the following bill; which was referred to the Com mittee on Education and Labor A BILL To provide for the establishment of a National War Memorial Arts Commission, and for other purposes. 1 Be it enacted by the Senate and House of Representa- 2 tives of the United States of America in Congress assembled, 3 That (a) the Congress hereby finds (1) that great contri- 4 butions can be and are being made by the fine arts to the 5 morale, health, and general welfare of the Nation, and (2) 6 that the city of Washington, since its establishment as the 7 Nation's Capital in 1800, has never had a suitable theater 8 and opera house commensurate with its position of leader- 9 ship among the free nations of the world. The Congress, 10 recognizing the fact that man cannot live by bread alone, 11 further finds that an education which includes the humanities VI 1 is essential to political wisdom, and that in the world of 1 programs, and (5) to encourage the development of a strong 2 today, as we face the persistent problems of men and defend 2 American theatrical and operatic art through maximum use 3 and attempt to add stature to the ideals and principles of free- 3 of the English language in productions assisted under this 4 men and of free institutions, the relevance of the humanities 4 Act. 5 to our task is unquestionable, for it is the humanities, more 5 SEC. 2. There is established a commission to be known 6 than science or statistics, which provides the real answer 6 as the National War Memorial Arts Commission (herein- 7 to communism. 7 after referred to as the "Commission") and to be com- 8 (b) It is therefore declared to be the policy of the 8 posed of— 9 Congress and the purpose of this Act (1) to encourage 9 (1) the President of the United States, ex officio 10 the growth and development of the fine arts throughout 10 who shall be Chairman; the Chairman of the Senate 11 the United States for the purpose of developing greater 11 Committee on Labor and Public Welfare and the Chair- 12 knowledge, understanding, and practice of the fine arts, 12 man of the House Committee on Education and Labor 13 (2) to increase the accessibility of the fine arts to the 13 (either of whom may, if unable to serve in person, 14 public and to raise the standard of execution of the fine 14 designate another member of his committee to serve as 1^ arts, by professionals and amateurs alike, throughout the 15 a member of the Commission in his stead) ; the ranking 16 Nation, (3) to establish in the executive branch of the Gov- 16 minority member of the Senate Committee on Labor 17 ernment a Federal agency to advise and cooperate with pub- 17 and Public Welfare and of the House Committee on 18 He and private agencies and organizations operating in the 18 Education and Labor; the Secretary of Defense; the 19 field of the fine arts on all matters directly or indirectly con- 19 Secretary of the Interior; the Secretary of State; the 20 cerned with these objects, (4) to provide for the establish- 20 Administrator of General Services; the Librarian of 21 ment, maintenance, and operation in the Nation's Capital of 21 Congress; the Public Printer; the Director, Bureau of 22 a suitable theater and opera house dedicated to the fuller 22 Engraving and Printing, and the Director, Bureau of 23 growth and development of the fine arts throughout the 23 the Mint of the Department of the Treasury; the 24 United States and designed for use by the National War 24 Director of the National Gallery of Art; the Chairman 25 Memorial Arts Commission in the presentation of fine arts 25 of the Commission of Fine Arts; the Secretary of Health, 5 1 fine arts, education, recreation, or public affairs. The 1 Education, and Welfare; the Chairman of the Board 2 term of office of each member appointed under this 2 of Commissioners of the District of Columbia; the Chair- 3 paragraph shall be six years and shall expire on April 3 man of the National Capital Planning Commission; the 4 30, except that (A) any member appointed to fill a 4 Director of the Smithsonian Gallery of Art (or, until 5 vacancy occurring prior to the expiration of the term for 5 such time as the construction of the Smithsonian Gallery 6 which his predecessor was appointed shall be appointed 6 of Art is completed, the Director of the National Col- 7 only for the remainder of such term; and (B) the terms 7 lection of Fine Arts) ; the Secretary of Agriculture; 8 of office of the members first appointed shall expire, as 8 the Chairman of the Federal Communications Commis- 9 designated by the President at the time of appointment, 9 sion; the Secretary of the Smithsonian Institution; and, 10 three on April 30, 1956, three on April 30, 1957, three 10 in addition, 11 on April 30, 1958, three on April 30, 1959, and three on 11 (2) fifteen eminent citizens to be appointed by the 12 April 30, 1960. Any person who has been a member 12 President, by and with the advice and consent of the 13 of the Commission for twelve consecutive years shall 13 Senate and (except in the case of appointments made 14 thereafter be ineligible for appointment during the two- 14 prior to the first meeting of the Commission) with the 15 year period following the expiration of such twelfth 15 approval of the Vice Chairman of the Commission. The 16 year. Any member of the Commission appointed under 16 persons so appointed (A) shall be eminent in the fields 17 this paragraph shall, notwithstanding the expiration of 17 of the fine arts, education, recreation, or public affairs; 18 his term, continue as a member until the qualification and 18 (B) shall be selected solely on the basis of established 19 appointment of his successor. Not more than eight of 19 records of distinguished service; and (0) shall be se- 20 the persons appointed under this paragraph shall be 20 lected so as to provide adequate representation for the 21 members of the same political party, and in making 21 views of leaders in the fine arts in all areas of the Nation. 22 appointments members of different political parties shall 22 The President is requested, in making such appointments, 23 be appointed alternately as nearly as may be practicable. 23 to give due consideration to any recommendations which 24 SEC. 3. (a) The Commission is authorized and 24 may be submitted to him by State, county, and municipal 25 governments, and by organizations in the fields of the 25 directed— 6 1 (1) to develop and encourage the pursuit of a 1 those in foreign countries, and between the Federal 2 national policy for the promotion of, and for education 2 Government and governments of foreign countries; 3 in, the fine arts; 3 (6) to evaluate fine arts programs undertaken by 4 (2) to initiate and support both professional and 4 agencies of the Federal Government, and to correlate 5 amateur activities in all fields of the fine arts by making 5 the fine arts program of the Commission with similar 6 contracts or other arrangements (including grants, loans, 6 programs and activities undertaken by individuals and 7 and other forms of assistance) for the conduct of activi- 7 by public and private professional and amateur fine arts 8 ties in the fine arts, and to appraise the impact of such 8 groups; 9 activities upon the general welfare and the cultural de- 9 (7) to establish, maintain, and administer in the 10 velopment of the Nation; 10 Nation's Capital a theater and opera house to be known 11 (3) at the request of the head of any department, 11 as the National War Memorial Theater and Opera 12 agency, or independent establishment of the Federal 12 House, to be constructed in accordance with section 10 13 Government, or of the Board of Commissioners of the 13 (2) and used in the development of the fine arts as 14 District of Columbia, to initiate and support specific fine 14 provided in section 10 (5) ; 15 arts activities in connection with matters relating to the 15 (8) to employ artists and other personnel and 16 general welfare and the cultural development of the 16 generally to do such things and have such other powers 17 Nation by making contracts or other arrangements 17 as may be necessary to encourage the development of 18 (including grants, loans, and other forms of assistance) 18 contemporary art and effect the widest distribution and 19 for the conduct of such fine arts activities; 19 cultivation of such art by professionals and amateurs 20 (4) to award, as provided in section 10 (4), 20 alike; 21 scholarships and graduate fellowships in the fine arts; 21 (9) to assist financially and otherwise in the prep- 22 (5) to foster the interchange of fine arts informa- 22 aration and presentation of professional and amateur 23 tion among professional and amateur artists (both indi- 23 fine arts productions and programs which contribute to 24 viduals and organizations) in the United States and 24 the achievement of the purposes of this Act and which 1 are prepared and carried on by Federal, State, county, 1 meeting shall be the election of a Vice Chairman. The 2 and municipal agencies and authorities, by accredited 2 Vice Chairman shall be elected for a term of two years and 3 nonprofit colleges and universities, and by other non- 3 shall perform the duties of the Chairman in his absence. 4 profit organizations in the field of the fine arts; and 4 In case a vacancy occurs in the vice chairmanship, the 5 (10) to establish such special commissions as the 5 Commission shall elect a member to fill such vacancy. 6 Commission may from time to time deem necessary for 6 (b) The Commission shall meet quarterly and at such 7 the purposes of this Act. 7 other times as the Chairman may determine, but he shall 8 (b) In exercising the authority and discharging the func- 8 also call a meeting whenever one-third of the members so 9 tions set forth in subsection (a) it shall be one of the 9 request in writing. A majority of the members of the Com- 10 objectives of the Commission to strengthen professional and 10 mission shall constitute a quorum. Each member appointed 11 amateur activities, study, and education in the fine arts, in- 11 under paragraph (2) of section 2 shall be given notice, by 12 eluding independent work in the fine arts in all parts of the 12 registered mail mailed to his last-known address of record 13 United States, including its Territories and possessions, and 13 not less than fifteen days prior to any meeting, of the call 14 to avoid undue concentration of such activities, study, and 14 of such meeting. 15 education. 15 SEC. 5. (a) There shall be a Director of the Commis- 16 (c) The Commission shall render an annual report to the 16 sion who shall be appointed by the President by and with 17 President for submission on or before the 15th day of January 17 the advice and consent of the Senate. The Commission may 18 of each year to the Congress, summarizing the activities of 18 make recommendations to the President with respect to the 19 the Commission and making such recommendations as it may 19 appointment of the Director, and the Director shall not be 20 deem appropriate. Such report shall include minority views 20 appointed until the Commission has had an opportunity to 21 and recommendations, if any, of members of the Commission. 21 make such recommendations. He shall serve as a nonvoting 22 SEC. 4. (a) As soon as practicable after the date of the 22 ex officio member of the Commission. In addition thereto 23 enactment of this Act, the President shall call the first meet- 23 he shall be the chief executive officer of the Commission. 24 ing of the Commission, and the first order of business at such H. R. 5397 2 10 11 1 The Director shall receive compensation at the rate of 1 Arts) ; the Secretary of the Interior; the Chairman of the 2 $15,000 per annum and shall serve for a term of six years 2 Commission of Fine Arts; the Librarian of Congress; the 3 unless sooner removed by the President. 3 Director of the National Gallery of Art; and seven members 4 (b) In addition to the powers and duties specifically 4 of the Commission selected from among the persons appointed 5 vested in him by this Act, the Director shall, in accordance 5 under paragraph (2) of section 2. The seven members of 6 with the policies established by the Commission, exercise the 6 the Committee who were appointed to the Commission under 7 powers granted by section 10 of this Act, together with such 7 paragraph (2) of section 2 shall, so far as practicable, be 8 other powers and duties as may be delegated to him by the 8 representative of diverse interests and chosen so as to provide 9 Commission. 9 representation for all areas of the Nation. 10 SEC. 6. (a) The Commission shall appoint from among 10 (2) The term of office of each member of the Executive 11 its members an Executive Committee, and assign to the 11 Committee who was appointed to the Commission under 12 Executive Committee such of the powers and functions 12 paragraph (2) of section 2 shall be two years, except that 13 granted to the Commission by this Act as it deems appro- 13 (A) any such member elected to fill a vacancy occurring 14 priate; except that the Commission may not assign to the 14 prior to the expiration of the term for which his predecessor 15 Executive Committee the function of establishing policies. 15 was elected shall be elected for the remainder of such term; 16 (b) (1) The Executive Committee shall be composed 16 and (B) the term of office of three of such members first 17 of the Vice Chairman of the Commission, who shall be 17 elected to the Committee after the date of the enactment 18 Chairman of the Executive Committee; the Director, who 18 of this Act shall be one year. 19 shall be a nonvoting ex officio member; the Secretary of 19 (3) Any person appointed to the Commission under 20 Health, Education, and Welfare; the Chairman of the Na- 20 paragraph (2) of section 2 who has been a member of the 21 tional Capital Planning Commission; the Chairman of the 21 Executive Committee for six consecutive years shall there- 22 Board of Commissioners of the District of Columbia; the 22 after be ineligible for election to the Committee during the 23 Director of the Smithsonian Gallery of Art (or, until such 23 two-year period following the expiration of such sixth year. 24 time as the construction of the Smithsonian Gallery of Art is 24 (4) The Executive Committee shall render a quarterly 25 completed, the Director of the National Collection of Fine 25 report and an annual report to the Commission, and such 13 12 1 (10) A Division of Colleges and Universities, 1 other reports as it may deem necessary or the Commission 2 Museums and Galleries of Fine Arts, Symphony Orches- 2 may require, summarizing its activities and making such 3 tras and Opera Companies, and all other institutions and 3 recommendations as it may deem appropriate. Minority 4 organizations dealing with the humanities. 4 views and recommendations, if any, of members of the 5 (b) There shall also be within the Commission such 5 Executive Committee shall be included in such reports. 6 other divisions as the Commission may, from time to time, 6 (c) The Commission is authorized to appoint from 7 deem necessary. 7 among its members or otherwise such committees as it deems 8 SEC. 8. (a) There shall be a committee for each division 8 necessary, and to assign to committees so appointed such 9 of the Commission. 9 survey and advisory functions as the Commission deems 10 (b) Each divisional committee shall be appointed by the 10 appropriate for the purposes of this Act. 11 Commission and shall consist of not less than nine persons 11 SEC. 7. (a) Unless and until otherwise provided by the 12 who may be members or nonmembers of the Commission. 12 Commission, there shall be within the Commission the fol- 13 Any nonmember of the Commission appointed to a divisional 13 lowing divisions: 14 committee shall be a person eminent in the field of the fine 14 (1) A Division of Music, 15 arts and/or in education, recreation, or public affairs, as may 15 (2) A Division of Drama and Speech, 16 be most appropriate for the particular divisional committee 16 (3) A Division of Ballet and other forms of dance, 17 to which he is appointed. The membership of such com- 17 (4) A Division of Literature, and poetry, 18 mittees, shall, so far as practicable, be representative of 18 (5) A Division of Architecture, 19 diverse interests and chosen so as to provide representation 19 (6) A Division of Educational and Artistic Motion 20 for all areas of the Nation, and in making such appointments 20 Pictures, and still photography, 21 due consideration shall be given to any recommendations 21 (7) A Division of Educational and Artistic Radio 22 which may be submitted to the Commission by leading 22 and Television, 23 educational organizations, and by fine arts organizations in 23 (8) A Division of Fine Arts Personnel, 24 the particular field of the fine arts most appropriate for the 24 (9) A Division of Painting and Sculpture, Print- 25 particular divisional committee to which he is appointed. 25 ing, Engraving, and Other Graphic and Plastic Arts, and 14 15 1 (c) The terms of members of each divisional committee 1 formulate and recommend to the Commission at the earliest 2 shall be two years. Each divisional committee shall an- 2 practicable date an over-all fine arts program in its field. 3 nually elect its own chairman from among its own members 3 SEC. 10. The Commission shall have the authority, 4 and shall prescribe its own rules of procedure subject to such 4 within the limits of available appropriations, to do all things 5 restrictions as may be prescribed by the Commission. 5 necessary to carry out the provisions of this Act, including, 6 (d) Each divisional committee shall make recommendar 6 but without being limited thereto, the authority— 7 tions to, and advise and consult with, the Commission and 7 (1) to appoint such clerks, stenographers, skilled 8 the Director with respect to matters relating to the program 8 and technical assistants, artists, and other personnel as 9 of its division. 9 may be needed in organizing and carrying out the plans 10 SEC. 9. (a) Each special commission established pur- 10 of the Commission; to purchase such materials, and to 11 suant to section 3 (a) (10) shall consist of eleven mem- 11 contract for such labor and other services as may be 12 bers appointed by the Commission, six of whom shall be 12 necessary in connection with the performance of the 13 eminent in the field of the fine arts and five of whom shall be 13 functions of the Commission, including the preparation 14 eminent in the fields of education, recreation, or public affairs, 14 and presentation of fine arts productions and programs; 15 and in making such appointments due consideration shah 15 (2) to erect a building or buildings (including a 16 be given to any recommendations which may be submitted 16 theater and opera house as provided in section 3 (a) 17 to the Commission by leading educational organizations, and 17 (7) ), or other structures, for its own use, on a site or 18 by fine arts organizations in the particular field of the fine 18 sites approved by the National Capital Planning Com- 19 arts most appropriate for the particular special commission 19 mission, and to provide for the landscaping of such 20 to which he is appointed. Each special commission shall 20 site or sites; to provide for the decoration and 21 choose its own chairman and vice chairman. 21 maintenance of such buildings, structures, sites, and 22 (1)) It shall be the duty of each such special commission 22 grounds; to rent such space in the District of Co- 23 to make a comprehensive survey of fine arts activities, both 23 lumbia without regard to section 322 of the Act 24 public and private, being carried on in its field, and to 24 of June 30, 1932 (47 Stat. 412), as amended, 16 17 1 as the Commission may deem necessary: Provided, That 1 the total of the expenditures required in preparing and 2 the erection or construction of the buildings and land 2 presenting the fine arts production or program with re- 3 scaping of sites shall be accomplished by the General 3 spect to which the application is made: And provided 4 Services Administration under agreements mutually ac 4 further, That the Commission shall from time to time 5 ceptable to the Commission and the Federal and District 5 review the productions and programs for which aid is 6 of Columbia Government agencies having jurisdiction 6 being granted under this paragraph, and shall from 7 and control over the area or areas involved, and shall be 7 time to time certify to the Secretary of the Treasury the 8 approved by the National Capital Planning Commission; 8 amount to which it estimates each applicant will be 9 (3) to allot funds appropriated for the purpose 9 entitled under this paragraph during such ensuing period 10 of this Act to any department, agency, or independent 10 as it may determine, reduced or increased, as the case 11 establishment of the Federal Government with the con 11 may be, by any sum which the Commission may con- 12 sent of the head thereof, or to the District of Columbia 12 sider justified on the basis of factors determined by it to 13 government with the consent of the Board of Com 13 be relevant; 14 missioners of the District of Columbia, or to any State, 14 (4) to award, within the limits of funds made avail- 15 county, or municipal agency or authority, or to any non 15 able specifically for such purpose pursuant to section 16 profit organization, or to any accredited nonprofit college 16 14 (a), scholarships and graduate fellowships for work 17 or university, for direct expenditure in preparing and 17 or study in the fine arts at accredited nonprofit American 18 presenting professional or amateur fine arts productions 18 or foreign institutions of higher education, selected by 19 and programs approved by the Commission: Provided, 19 the recipient of such aid and approved by the Commis- 20 That funds shall be allotted under this paragraph only 20 sion, for stated periods of time. Persons shall be selected 21 upon application satisfactory to the Commission, and the 21 for such scholarships and fellowships from among cit- 22 total amount of funds allotted pursuant to any such ap 22 izens of the United States, and such selections shall be 23 plication shall not (except where the application is made 23 made solely on the basis of ability; but in any case in 24 by a department, agency, or independent establishment 24 which two or more applicants for scholarships or fel- 25 of the Federal Government) exceed 25 per centum of H. R. 5397 3 18 19 1 lowships are deemed by the Commission to be possessed 1 incur any financial responsibilities except those incidental 2 of substantially equal ability, and there are not sufficient 2 to the furnishing of heat, light, and other services neces- 3 scholarships or fellowships, as the case may be, avail- 3 sary for such productions and programs. The Commis- 4 able to grant one to each of such applicants, the avail- 4 sion shall maintain a worthy standard for the fine arts 5 able scholarship or scholarships, or fellowship or fellow- 5 productions and programs presented in the National War 6 ships, shall be awarded to the applicants in such manner Q Memorial Theater and Opera House and, through the 7 as will tend to result in the widest possible distribution 7 public presentation of such productions and programs in 8 of scholarships and fellowships among the States, Terri- 8 the Nation's Capital and also in other parts of the 9 tories, possessions, and the District of Columbia; 9 country and in foreign countries, shall foster and en- 10 (5) (A) to make the National War Memorial 10 courage a growing appreciation of the fine arts, both 11 Theater and Opera House available without charge to 11 past and contemporary; 12 any Federal, State, county, or municipal agency or au- 12 (B) to develop and carry on in the National War 13 thority, any accredited nonprofit college or university, 13 Memorial Theater and Opera House a worthy fine arts 14 or any other nonprofit organization, and to foreign 14 program, including opera and other forms of music, 15 organizations, groups, or individuals, for the presentation 15 ballet, and other forms of dance, and drama; to produce 16 of professional and amateur fine arts productions and 16 and present productions and programs of music, dance, 17 programs, upon request therefor made with the con- 17 and drama, both professional and amateur, in the Na- 18 currence of the Director, and to permit charges for 18 tional War Memorial Theater and Opera House and in 19 admission to such programs to be made. In making 19 such other parts of the country and in such foreign 20 the National War Memorial Theater and Opera House 20 countries as the Commission may decide upon; and to 21 available for the presentation of such productions and 21 fix and collect charges for admission thereto: Provided, 22 programs to such agencies, authorities, institutions, and 22 That all revenues received by the Commission from such 23 organizations the Commission shall not, except as pro- 2Q admission charges shall be covered into the Treasury 24 vided in this Act and as determined by the Commission, 24 of the United States to the credit of the appropriation 2X 20 1 suiting from, the exercise of authority granted by this 1 authorized in section 14 (a) and may be expended and 2 shall be accounted for in the same manner as other funds 2 Act; 3 (10) to enter into contracts or other arrangements, 3 authorized for expenditure by the Commission; 4 or modifications thereof, for the carrying on, by or- 4 (6) to solicit, receive, and use funds, materials, and 5 ganizations or individuals in the United States and for- 5 other property donated by others, if such funds, ma- 6 eign countries (including other Government agencies of 6 terials, and other property are donated without restric- 7 the United States and agencies of foreign countries), 7 tion other than that they be used in furtherance of one 8 or more of the general purposes of the Commission; to 8 of such fine arts activities as the Commission deems 9 accept the services of any skilled or unskilled labor that 9 necessary to carry out the purposes of this Act, and, 10 may be made available to it; and to accept reimburse- 10 when deemed appropriate by the Commission, such con- 11 ment from public or private organizations or individuals 11 tracts or other arrangements, or modifications thereof, 12 for rights and privileges, or assistance of any kind, grant- 12 may be entered into without legal consideration, with- 13 ed or given by it: Provided, That all contributions and 13 out performance or other bonds, and without regard to 14 reimbursements shall be expended and accounted for in 14 section 3709 of the Revised Statutes of the United 15 the same manner as the funds made available pursuant 15 States; 16 to the authorization contained in section 14 (a) ; 16 (11) to make advance, progress, and other pay- 17 (7) to prescribe such rules and regulations as it 17 ments which relate to fine arts activities without regard 18 deems necessary governing the manner of its operations 18 to the provisions of section 3648 of the Revised Statutes 19 and its organization and personnel: 19 of the United States (31 U. S. C, sec. 529) ; 20 (8) to make such expenditures as may be necessary 20 (12) to publish or arrange for the publication of 21 for administering the provisions of this Act; 21 fine arts information so as to further the full dissemina<- 22 (9) to acquire by purchase, lease, loan, or gift, 22 tion of information relating to the fine arts; 23 (13) to accept and utilize the services of voluntary 23 and to hold and dispose of by sale, lease, or loan, real 24 and uncompensated personnel and to provide transporta- 24 and personal property of all kinds necessary for, or re- 22 23 1 tion and subsistence as authorized by section 5 of the 1 vals, events, or meetings or in performing in other countries, 2 Administrative Expenses Act of 1946 for persons serv 2 whenever he deems it desirable in the promotion of the 3 ing without compensation; 3 objectives of this Act. 4 (14) to prescribe, with the approval of the Comp 4 (b) (1) The authority to enter into contracts or other 5 troller General of the United States, the extent to which 5 arrangements with organizations or individuals in foreign 6 vouchers for funds expended under contracts for fine arts 6 countries and with agencies of foreign countries, as provided 7 activities shall be subject to itemization or substantiation 7 in section 10 (10), and the authority to cooperate in inter- 8 prior to payment, without regard to the limitations of 8 national fine arts activities as provided in subsection (a) 9 other laws relating to the expenditure of public funds 9 of this section, shall be exercised only with the approval 10 and accounting therefor; and 10 of the Secretary of State, to the end that such authority 11 (15) to use and occupy, for office and related pur 11 shall be exercised in such manner as is consistent with the 12 poses, space in Government-owned or leased buildings 12 foreign policy objectives of the United States. 13 under the same conditions as may be applicable to execu 13 (2) If, in the exercise of the authority referred to in 14 tive departments and independent establishments in the 14 paragraph (1) of this subsection, negotiation with foreign 15 executive branch of the Federal Government. 15 countries or agencies thereof becomes necessary, such nego- 16 SEC. 11. (a) The Commission is hereby authorized to 16 tiation shall be carried on by the Secretary of State in con- 17 cooperate and participate in any international fine arts 17 sultation with the Director. 18 activities consistent with the purposes of this Act and to 18 SEC. 12. (a) The Director, in accordance with such poli- 19 expend for such international fine arts activities such sums 19 cies as the Commission shall from time to time prescribe, 2" within the limit of appropriated funds as the Commission may 20 shall appoint and fix the compensation of such personnel as 21 deem desirable. The Director, with the approval of the 21 may be necessary to cany out the purposes of this Act, 22 Commission, may defray the expenses of representatives of 22 subject to the civil-service laws and regulations and the 23 Government agencies and other public and private nonprofit 23 Classification Act of 1949: Provided, That the Director, in 24 organizations, and of individual artists or groups of artists, 24 accordance with such policies as the Commission shall from 25 incurred in attending accredited international fine arts festi- 25 time to time prescribe, may employ technical and professional 24 25 1 personnel, experts and consultants, on a temporary or inter- 1 expenses as authorized by section 5 of the Administrative 2 mittent basis and fix their compensation in accordance with 2 Expenses Act of 1946. 3 the provisions of section 15 of the Administrative Expenses 3 (e) Persons holding other offices in the Federal Govern- 4 Act of 1946. 4 ment may serve as members of the divisional committees 5 (b) The Director may appoint, with the approval of the 5 and special commissions, but they shall not receive remu- 6 Commission, a Deputy Director who shall perform such 6 neration for their services as such members during any period 7 functions as the Director, with the approval of the Commis- 7 for which they receive compensation for their services in 8 sion, may prescribe, and who shall be Acting Director during 8 such other offices. 9 the absence or disability of the Director or in the event of a 9 (f) In making contracts or other arrangements for fine 10 vacancy in the Office of the Director. 10 arts programs and productions the Commission shall utilize 11 (c) Neither the Director nor the Deputy Director shall 11 appropriations available therefor in such manner as will 12 engage in any other business, vocation, or employment than 12 in its discretion best realize the objectives of (1) having 13 that of serving as such Director or Deputy Director, as the 13 the work performed by organizations, agencies, institutions, 14 case may be; nor shall the Director or Deputy Director, 14 and individuals in the United States (including Government 15 except with the approval of the Commission, hold any office 15 agencies of the United States) qualified by training and 16 in, or act in any capacity for, any organization, agency, or 16 experience to achieve the results desired, (2) strengthening 17 institution with which the Commission makes any contract 17 the fine arts staff of organizations, particularly nonprofit 18 or other arrangement under this Act. 18 organizations, in the States, Territories, possessions, and the 19 (d) Each member of the Commission and eaeh member 19 District of Columbia, (3) aiding those institutions, agencies, 20 of a divisional committee or special commission not holding 20 organizations, and State, county, and municipal govern- 21 other office in the Federal Government shall receive oom- 21 ments which, if aided, will advance the development of the 22 pensation at the rate of $25 for each day he is actually 22 fine arts, and (4) encouraging independent work in the 23 engaged in the business of the Commission pursuant to au- 23 fine arts by individuals. 24 thorization of the Commission, and shall be allowed travel 24 (g) Appropriated funds available to any department or 26 27 1 agency of the Government for fine arts work, or the provision 1 SEC. 14. (a) To enable the Commission to carry out 2 of facilities therefor, shall be available for transfer, with the 2 its powers and duties, there is hereby authorized to be ap- 3 approval of the head of the department or agency involved, in 3 propriated not to exceed $1,000,000 for the fiscal year end- 4 whole or in part, to the Commission for such use as is consist- 4 ing June 30, 1954, and not to exceed $20,000,000 for each 5 ent with the purposes for which such funds were provided, 5 fiscal year thereafter. 6 and funds so transferred shall be expendable by the Commis- 6 (b) Appropriations made pursuant to the authority con- 7 sion for the purposes for which the transfer was made, and, 7 tained in subsection (a) shall remain available for obligation, 8 until such time as an appropriation is made available directly 8 for expenditure, or for obligation and expenditure, for such 9 to the Commission, for general administrative expenses of the 9 period or periods as may be specified in the Acts making 10 Commission without regard to limitations otherwise appli- 10 such appropriations. 11 cable to such funds. 11 (c) All purchases, expenditures, and disbursements of 12 SEC. 13. The heads of the departments, agencies, and 12 moneys made available by authority of this Act shall be 13 independent establishments of the Federal Government, and 13 made under the direction of the Commission hi accordance 14 the Commissioners of the District of Columbia, are author- 14 with law. All accounts and vouchers covering the expendi- 15 ized to cooperate with the Commission, to appoint such 15 tures shall be approved by the Director or by such other 16 draftsmen and other skilled assistants as may be necessary, 16 persons as he may designate, except for such allotments as 17 to contract for such labor and other services as may be 17 may be made to the various departments, agencies, and 18 deemed necessary, and to designate officials or employees 18 independent establishments, or to the District of Columbia 19 in their respective spheres to assist the Commission. The 19 Government, or to State, county, or municipal governments, 20 Commission shall make reimbursement, upon such terms as 20 or to civic nonprofit organizations, or to accredited nonprofit 21 may be agreed to by it and the department, agency, or in- 21 colleges and universities, for direct expenditure in accord- 22 dependent establishment concerned, or the Board of Com- 22 ance with section 10 (3) ; but nothing in this Act shall be 23 missioners of the District of Columbia, for personnel and 23 construed to waive the submission of accounts and vouchers 24 services furnished or made available to assist the Commis- 24 to the General Accounting Office for audit. 25 sion under this section. 25 SEC. 15. Upon the request of any accredited nonprofit 28 29 1 college or university, or any other nonprofit organization, 1 SEC. 16. In the planning, design, and construction of 2 approved for the purposes of this Act by the Commission, the 2 Federal buildings where auditoriums are included, due con- 3 General Services Administration or the District of Columbia 3 sideration shall be given to current building practices in the 4 government, as the case may be, is authorized to make avail- 4 construction of schools (including provision for stage and 5 able without charge, to any such college, university, or 5 dressing room facilities, stage lighting, and related equip- 6 nonprofit organization, for the presentation of professional 6 ment and facilities designed for the efficient presentation of 7 and amateur fine arts productions and programs under this 7 fine arts productions and programs), as well as to the use of 8 Act (including the sale of tickets of admission thereto), any 8 such auditoriums by the community in which they are 9 suitable space subject to the jurisdiction and control of any 9 located, and the purposes of this Act, in order to ensure that 10 department, agency, or establishment of the Federal Govern- 10 any additional auditoriums which may be provided will be 11 ment or the District of Columbia government, with the con- 11 suitable for use in carrying out the purposes of this Act: Pro- 12 currence of the department, agency, establishment, or gov- 12 vided, That in advance of the preparation of designs and 13 ernment concerned. In providing suitable space for the 13 drawings for each building to be provided with the above- 14 presentation of such productions and programs neither the 14 described appurtenant facilities, the Commission shall trans- 15 Federal Government nor the Government of the District of 15 fer to the department or agency of the Government that shall 16 Columbia shall, except by prior arrangement with the Com- 16 undertake the construction of the building, and such depart- 17 mission as provided in this Act, incur any financial respon- 17 ment or agency shall accept, and apply as an augmentation 18 sibilities except those incidental to the furnishing of heat, 18 of the funds otherwise available for the construction of the 19 light, and custodial services necessary for such productions 19 building exclusive of such appurtenant facilities, an amount 20 and programs in such space. The Commission shall make re- 20 of money sufficient to defray all the costs to be incurred on 21 imbursement, upon such terms as may be agreed to by it and 21 account of the provision of such appurtenant facilities. 22 the department, agency, or independent establishment con- 22 SEC. 17. There are hereby authorized to be appro- 23 cerned, or the Board of Commissioners of the District of 23 priated such sums as may be necessary to complete the 24 Columbia, for personnel and services furnished or made avail- 24 Carter Barron Amphitheater in the District of Columbia 25 able to assist the Commission under this section. 25 (under the jurisdiction of the National Capital Parks, Na- j 30 31 1 tional Park Service, Department of the Interior) by pro- 1 (3) to secure suitable art of the best quality for the decora- 2 viding it with a roof and whatever else is necessary to 2 tion of public buildings in this country and buildings of the 3 protect both audience and performers from inclement weather 3 United States Government in foreign countries; and (4) to 4 in order that it may be of greater service to the public. 4 carry out this work in such a way as will best assist in stimu- 5 SEC. 18. All opera and drama productions and programs 5 lating the development of American art and rewarding the 6 presented by or under any arrangement with the Commis- 6 outstanding talent which develops. 7 sion, with the exception of performances by visiting foreign 7 (b) As used in this section— 8 companies, shall be presented in the English language to the 8 (1) the term "decorative art work" includes murals, 9 maximum extent practicable. Suitable translations in Eng- 9 paintings, sculpture, water colors, prints, ironwork, 10 lish shall be provided when foreign opera and drama 10 pottery, weaving, woodcarving, and artistic work in 11 productions are presented. 11 other media. 12 SEC. 19. Section 3 of the joint resolution entitled "Joint 12 (2) the term "Director" means the Director of the 13 resolution to set apart public ground for the Smithsonian 13 Smithsonian Gallery of Art (or, until the construction 14 Gallery of Art, and for other purposes", approved May 17, 14 of the Smithsonian Gallery of Art is completed, the 15 1938, is amended by adding at the end thereof the following 15 Director of the National Collection of Fine Arts). 16 new subsection: 16 (3) the term "Federal agency" means any depart 17 "(d) There are hereby authorized to be appropriated 17 ment, agency, or establishment of the Federal Gov 18 such sums as may be necessary, in addition to the funds 18 ernment. 19 received under subsection (a) of this section, to carry out 19 (c) Whenever a public building is to be constructed 20 the purposes of this joint resolution." 20 by or under contract to a Federal agency, the Director and 21 SEC. 20. (a) It is hereby declared to be the purpose 21 the head of the Federal agency which will have jurisdiction 22 of this section (1) to encourage the development of a strong 22 over such buildinp; upon its completion shall jointly deter- 23 and vital American art of painting and sculpture through 23 mine what percentage, if any, of the total amount of money 24 maximum use of American artists in the decoration of public 24 available for the construction of such building should be used 25 buildings; (2) to promote the progress of the useful arts; 25 to provide decorative art work for such building. Such 32 33 1 determination shall be based upon a consideration of the 1 concerned determine that no decorative art work should be 2 purposes for which the building is to be used, the types of 2 provided for any building, a sum equal to one per centum of 3 decorative art work which would be most fitting and appro- 3 the total amount of money made available for the construc- 4 priate in the light of such purposes, and any other factors 4 tion of such building shall be placed in a special fund, to be 5 deemed relevant by the Director or such agency head. 5 administered jointly by the Director and the agency head. 6 Within the limits of the percentage determined under the 6 Money in such special fund may be used, whenever the 7 first sentence of this subsection, the Director and the agency 7 Director and the agency head concerned determine that it is 8 head shall jointly prescribe the type and extent of the deco- 8 advisable to do so, in supplementing amounts made available 9 rative art work, if any, to be provided for such building, 9 thereafter to provide decorative art work for buildings under 10 and shall, as provided in subsection (d), select the artists, 10 the jurisdiction of that agency by providing special or addi- 11 sculptors, or other persons to execute such work. 11 tional decorative art work for such buildings. 12 (d) The Director shall establish a system of open, 12 (f) Whenever Federal funds are to be made available 13 anonymous, juried competitions to be used by each Federal 13 to any State, county, or municipality as a loan or grant-in- 14 agency, under the supervision of the Director, in selecting 14 aid, and any part of such funds are to be used in the con- 15 the persons who will execute the decorative art work to be 15 struction of public buildings, the head of the agency making 16 provided pursuant to the determination made under subsec- 16 such funds available shall consult with the Director with 17 tion (c) for any public building which, upon completion of 17 respect to the desirability and appropriateness of requiring, 18 construction, will be under the jurisdiction of such agency. 18 in the applicable plan or agreement under which the funds 19 In conducting such competitions, every opportunity shall be 19 are made available, the provision of decorative art work for 20 given to artists, sculptors, and other persons from the com- 20 such buildings; and any such plan or agreement shall contain 21 munity in which the construction will occur, but no artist, 21 such requirements with respect to the provision of decorative 22 sculptor, or other person shall be selected to execute any 22 art work as may be agreed upon by the Director and such 23 such work except upon the sole basis of his artistic 23 agency head. 24 qualifications. 24 SEC. 21. The Congress hereby reaffirms its belief in 25 (e) In the event that the Director and the agency head 25 the essential nature of the contributions being made by fine 34 35 1 arts to the morale, health, and general welfare of the Nation, 1 public or private foundation, charitable trust, accredited 2 and in the need for taking all possible steps to further en- 2 college or university, or other organization (whether 3 courage the development and increase the stature of the 3 or not incorporated), no part of the net earnings of 4 fine arts in the United States. The Congress accordingly 4 which inures to the benefit of any of its stockholders 5 expresses the hope that, with more complete recognition of 5 or members. 6 the importance of the fine arts in our society, action will be 7 taken to establish in the Government, on an equal footing 8 with the other departments of the Government, a new De- 9 partment of Education and Arts, and to transfer to such 10 Department (along with educational and related functions 11 now being exercised by other agencies of the Government) 12 the functions vested in the Commission or otherwise provided 13 for by this Act. 14 SEC. 22. For the purposes of this Act— 15 (1) the term "fine arts" includes opera and other 16 forms of music, drama, ballet and other forms of dance, 17 literature, poetry, architecture, landscape architecture, 18 motion pictures, still photography, radio and television, 19 iron work, pottery, weaving, woodwork, ceramics, work 20 in metals, engraving, printing, sculpture and painting, and 21 other plastic and graphic arts. 22 (2) the term "nonprofit organization" means any 8 MO i » 1 •a 3 o o o o" |-+» en o p K. B O p DIGEST OF H. R. 5397 Section 1. The general purposes of the Act are: to encourage the development of the fine arts; to increase the accessibility of the fine arts to the public, and to raise the standards of execution.; to establish a Federal agency to advise and cooperate with public and private agencies and organizations in the fine arts; to provide for a national theater and music center in Washington; to promote the use of the English language in the theatrical and musical arts; to promote the progress of the useful arts; to assist in stimulating the develop ment of American art and rewarding the outstanding talent which develops; to encourage local participation and autonomy; to encourage fine arts for children, and for older persons. (The last four are included in Mr. Howell's suggested revisions of September 1953.) Section 2. The Act establishes a National War Memorial Arts Com mission, consisting of 22 ex-officio members and 15 appointive members. (Mr. Howell's suggested revisions increase the appointive members to 24, of whom at least six shall be drawn from the fields of the fine arts, education and recreation for children.) The ex-officio members are: the President, who is Chairman; the Chairmen and ranking minority mem bers of the two Senate and House committees concerned with education, labor and welfare; the Secretaries of Defense, the Interior, State, Agriculture, and of Health, Education and Welfare; the Directors of the Bureau of Engraving and Printing, Bureau of the Mint, National Gallery of Art, and Smithsonian Gallery of Art; the Chairmen of the Commission of Fine Arts, Board of Commissioners of the District of Columbia, National Capital Planning Commission, and Federal Communications Com mission; the Administrator of General Services; the Librarian of Con gress; the Public Printer; and the Secretary of the Smithsonian Insti tution. The 15 (or 24) appointive members are eminent citizens ap pointed by the President, by and with the advice and consent of the Senate and with the approval of the Vice Chairman of the Commission; these persons to be eminent in the fields of the fine arts, education, recreation, or public affairs. The President is requested, In appoint ing them, to give due consideration to recommendations by organizations in the fields of the fine arts, education, recreation, or public affairs. (Mr. Howell's suggested revisions eliminate "State, county and municipal governments.") The Commission is to meet quarterly. (Section 4 (b).) There shall be a Director of the Commission, appointed by the President by and with the advice and consent of the Senate, and recom mended by the Commission. The Director may appoint a Deputy Director. (Sections 5 and 12 (b).) Section 6. The Commission shall appoint an Executive Committee, consisting of eleven of the ex-officio members and seven of the appoin tive members. (The suggested revisions increase the number of appointive members to sixteen.) -2- Seetion 7. There shall be within the Commission eight divisions, covering the following fields (Mr. Howell's suggested revisions reduce the number from ten to eight): Music; Drama and Speech; Ballet and Dance; Literature and Poetry; Architecture, Landscape Architecture and City Planning; Painting and Sculpture, Printing, Engraving, and Other Graphic and Plastic Arts; Educational and Artistic Motion Pictures, and still photography; Educational and Artistic Radio and Television. Section 8. There shall be committees for each division, appointed by the Commission, and consisting of not less than nine persons who may be members or nonmembers of the Commission. In appointing members, due consideration shall be given to recommendations submitted by leading educational organizations and by fine arts organizations in the particu lar field. Section 9. For each field, a special commission may be established, to make a comprehensive survey of fine arts activities in the field, both public and private, and to formulate and recommend to the Commis sion an overall program in the field. Each commission shall consist of eleven members appointed by the Commission, six to be eminent in the particular field of the fine arts, and five in the fields of education, recreation, and public affairs; provisions as to recommendations for appointment the same as above for divisional committees. Section 12 (d). Members of the Commission, divisional committees and special commissions not holding other office in the Federal Govern ment shall be paid for their services at the rate of $25 a day, plus travel expenses. Persons holding other offices in the Federal Govern ment shall not be paid. Section 3. The Commission is authorized and directed (1) to develop and encourage the pursuit of a national policy for the promotion of, and for education in, the fine arts; (2) to initiate and support activi ties in the fine arts by making contracts or other arrangements (includ ing grants, loans, and other forms of assistance) for the conduct of such activities; (3) at the request of the head of any department, agency, or independent establishment of the Federal Government, to initiate and support fine arts activities by making contracts or other arrangements (Including grants, loans, and other forms of assistance) for the conduct of such activities; (4) to award scholarships and graduate fellowships In the fine arts; (5) to foster the interchange of fine arts information among artists and art organizations in the United States and those in foreign countries, and between the Federal Government and governments of foreign countries; (6) to evaluate fine arts programs undertaken by agencies of the Federal Government, and to correlate the fine arts program of the Commission with similar programs undertaken by others; (7) to establish, maintain and administer a National War Memorial Theater and Music Center in Washington; (8) to employ artists and other personnel, and generally to do such things -3- and have such other powers as may be necessary to encourage the develop ment of contemporary art and effect the widest distribution and cultiva tion of such art; (9) to assist financially and otherwise In fine arts programs carried on by Federal, State, county, and municipal agencies, by accredited nonprofit colleges and universities, and by other non profit organizations in the fine arts. Section 10. The Commission shall have the authority (1) to appoint personnel, to purchase materials, and to contract for labor and other services; (2) to erect buildings for its own use, to decorate them and maintain them, and to rent space In the District of Columbia; (3) to allot funds to any department, agency or independent establishment of the Federal Government, or to the District of Columbia government, or to any State, county, or municipal agency or authority, or to any non profit organization, or to any accredited nonprofit college or university, for direct expenditure in fine arts productions and programs approved by the Commission; provided that except for allotments to Federal depart ments, agencies, and establishments, the funds allotted shall not exceed 25$ of the total required for the particular productions and programs; and provided further that the Commission shall from time to time review the productions and programs, and certify to the Secretary of the Treasury the amount an applicant is entitled to for any prescribed period; (4) to award scholarships and graduate fellowships to citizens of the United States for work or study In the fine arts at accredited nonprofit American or foreign Institutions of higher education, selected by the recipient and approved by the Commission; (5) (A) to make the National War Memorial Theater and Music Center available without charge to any Federal, State, county or municipal agency or authority, to any nonprofit college or university or other nonprofit organization, and to foreign organizations or Individuals, for the presentation of fine arts productions and programs; the Commission not to incur any financial responsibilities except those for heat, light and other necessary ser vices; (B) to develop and present in the National War Memorial Theater and Music Center worthy programs of opera, music, ballet, dance and drama, and to present them in other parts of the country and In foreign countries; (6) to solicit, receive, and use donated funds and other property, to accept services, and to accept reimbursement or assistance of any kind. (The other provisions of this section cover routine powers and procedures.) Section 11. The Commission is authorized to cooperate and partici pate In international fine arts activities, and to defray the expenses of official representatives and individual artists in attending accred ited International fine arts events in other countries. The Commission's international activities shall be carried on only with the approval of the Secretary of State, so that they shall be consistent with the foreign policy objectives of the United States, and negotiations with foreign countries or agencies shall be carried on by the Secretary of State. Section 14, and suggested revision. The Act authorizes appropria tions of "such sums as may be necessary to carry out the purposes of this bill." (The Act had originally specified "not to exceed $20,000,000" a year.) -4- Section 19. The Act authorizes the appropriation of such sums as may be necessary to build the Smithsonian Gallery of Art. Section 20 covers the decoration of public buildings in this country and of government buildings in foreign countries, with murals, paintings, sculpture, watercolors, prints, Ironwork, pottery, weaving, woodcarving, and artistic work in other media. These activities are placed under the Director of the Smithsonian Gallery of Art (now the National Collection of Fine Arts). Whenever a public building is to be constructed for a Federal agency, the Director of the Smithsonian Gallery and the head of the Federal agency shall jointly determine what percentage, if any, of the total funds available for the building should be used for decorative work; shall jointly prescribe the type and extent of the decorative work; and shall select the artists to execute it. The Director shall establish a system of open, anonymous, juried competitions to select the artists. Every opportunity shall be given to local artists; but no artist shall be selected except upon the sole basis of his artis tic qualifications. If the Director and the agency head decide that no decorative work should be provided for any building, one per cent of the total cost of the building shall be placed in a special fund, to be used to supplement amounts available thereafter for decorative work for buildings under the jurisdiction of the same agency. Whenever Federal funds are made available to any State, county or municipality as a loan or grant-in-aid, and any part of such funds is used in the construction of public buildings, the head of the agency making such funds available shall consult with the Director as to requiring the provision of decora tive work for such buildings. Section 21. The Congress expresses the hope that a new Department of Education and Arts will be established in the Federal Government, on an equal footing with the other departments of the Government; the functions of the Commission and other related agencies to be transferred to such Department. Mr. Howell's suggested revisions of September 1953 propose a new Section 22, amending the Act of 1910 which established the Commission of Fine Arts, by increasing the number of members from seven to ten, and providing that: "The President is requested, in making such appoint ments, to give due consideration to any recommendations which may be submitted to him by organizations in the fields of the fine arts. One of the ten judges shall be eminent in the field of music, one in the field of drama, and one in the field of dance"; and that: "It shall also be the duty of such Commission to advise upon music, drama, and dance in the District of Columbia." However, since then Mr. Howell has circulated, under date of October 1, 1953, a different set of recommendations regarding the Com mission of Fine Arts, submitted to him by unnamed private organizations. The main purposes of these recommendations are to provide major repre sentation of the City of Washington on the Commission, and to give the citizens of Washington a voice in the selection of the members. The chief provisions of the recommendations are as follows: that the Com mission be increased to 21 members, consisting of eleven members repre senting the City of Washington, and ten members drawn from the country -5- at large. Both would be appointed by the President, and "shall be eminent in the fields of the fine arts and the educational fine arts; and shall be selected solely on the basis of established records of distinguished public service." The eleven members representing the City of Washington would be nominated by the Board of Commissioners of the District of Columbia, who would give due consideration to any recommendations submitted to them by about sixty specified cultural, educational, recreational and civic organizations In the District of Columbia, including most of the fine arts organizations in the District, but also many other organizations not concerned primarily with the fine arts, such as the Washington Central Labor Union, the District of Columbia Congress of Parent Teacher Associations, the Red Cross, the League of Women Voters, the Young Women's Christian Associa tion, etc. The ten other members would "be selected and appointed by the President, who, in making such appointments, shall give due considera tion to any recommendations which may be submitted to him by private institutions and organizations in the fields of the fine arts and the educational fine arts," these persons to be "so selected as to provide adequate representation for the views of leaders in the fine arts in all areas of the nation." The terms of service of members of the Com mission would be four years, and they would be ineligible for appoint ment for two years thereafter. The duties of the Commission would be increased to include the following: "To advise upon music, drama, dance, literature, poetry, new writing and composing, civic art and design, motion pictures, still photography, radio, television, Iron work, pottery, weaving, woodwork, ceramics, work in metals, engraving, printing, and other plastic and graphic arts, as well as fine arts designed for chil dren and for the older recreational group in the District of Columbia, and the educational and recreational fine arts in the District of Columbia." Funds of not exceeding $50,000 a year would be authorized for the Commission. In his suggested revisions of September 1953, Mr. Howell stated that recommendations were being worked out regarding the Smithsonian Art Commission, the advisory body to the National Collection of Fine Arts. He suggested that these recommendations should provide that the Board of Regents of the Smithsonian Institution be requested, in making future appointments, to give due consideration to any recommendations which may be submitted by organizations In the fields of the fine arts; and that members of the Commission, after serving four years, would be ineligible for appointment for two years thereafter. Lloyd Goodrich, Chairman Committee on Government and Art COMMENTS ON H. R. 5397 The Howell bill is a comprehensive bill for the encouragement of the fine arts in America, by setting up a National War Memorial Arts Commission composed about equally of government officials and of eminent citizens appointed by the President, with wide powers to initiate and assist programs in the fine arts, and to give financial assistance in such programs to other agencies, both to agencies of the Federal Government, in which cases the financial assistance can be 100$, and to State, county and municipal agencies, to nonprofit organizations, and to nonprofit colleges and universities, in which cases the assistance is limited to 25$. The bill covers all the arts - not only architecture, painting, sculpture, graphic art, design and crafts, but music, drama, ballet, literature, and educational and artistic motion pictures, radio and television. The first question which presents itself is whether any commis sion can function adequately in all these fields, even though each field is covered by a separate divisional committee. The relation of each field to the Federal Government is different: for example, archi tecture and the allied decorative arts are an essential governmental activity, since the Government must have buildings to house Its activi ties; whereas the Government does not have the same relation to music, drama, ballet or literature. Is the Howell bill too ambitious in try ing to include all arts; would it be better to have separate bills deal ing with the Individual fields? Mr. Howell's intention In proposing an overall Commission composed of high government officials and appointive members eminent in the fine arts is to establish the fine arts as a legitimate and Important activity of the Federal Government, and to bring together representatives of Government and the arts. The make-up of the Commission presents certain problems: (1) About a third of the 22 ex-officio members are definitely concerned with the fine arts, but two-thirds are not. Is this too large a proportion of primarily political members? (2) The 15 (or 24) appoin tive members are appointed by the President "by and with the advice and consent of the Senate." This leaves such appointments open to political influence from the Senate, and to the type of political inquisition all too common today. (3) There is no guarantee that the various fields of the fine arts will be equally represented on the Commission; certain popular arts might be heavily represented, and others less popular might be under-represented, or not represented at all. (4) The bill provides that the President, In appointing members of the Commission, is requested to give due consideration to recommendations by organizations in the fields of the fine arts, education, recreation, or public affairs; but these nominating organizations are not specified, as they are in the National Science Foundation Act of 1950, on which this provision was modeled. There are so many art organizations representing special or local interests, that I feel that the only way of getting recommendations free from partisanship and special interests would be to specify the leading national organizations In each field, having national memberships and representing the chief professions and tendencies. (5) Mr. Howell's suggested revisions of September 1953* while increasing the appointive members to 24, provide that at least six shall be drawn from the fields -2- of the fine arts, education and recreation for children. Does this give too much emphasis to one particular aspect of the fine arts, which after all is included in the fine arts as a whole? What is said above under (4) applies also to appointments to the divisional committees and to the special commissions. Does the bill place too much centralized power in the hands of a relatively small body, of which about a third are purely political ex-officio members, a sixth government officials concerned with the arts, and the other half, the appointive members, are subject to Sena torial inquisition and control? The proposed power is that of the purse- strings, limited to 25$ in the case of non-Federal programs; but In a field as under-financed as the fine arts, this can amount to a consider able power. Would a less centralized system* with several non-political,, predominantly professional advisory bodies corresponding to the various art functions of the Government., be preferable? There is the question of the 25$ financial assistance to fine arts programs of State, county and municipal agencies, of nonprofit organiza tions, and of nonprofit colleges and universities. This is conditional on 75$ non-Federal support of such programs; but how do the members of the Committee on Government and Art feel about the principle of partial Federal subsidies involved here? Except for a few specific provisions, notably Section 20 regarding the decoration of public buildings, the bill is not based on existing governmental agencies concerned with the fine arts, nor does It attempt to set up definite administrative or advisory bodies corresponding tc the varying fine arts functions of the Federal Government. Take a specific example, the architectural design of Federal buildings through out the country, one of the most important governmental art activities. The bill does not specify what would be the relation between the General Services Administration, which is responsible for a large part of Federal building, and the proposed Division of Architecture, Landscape Architec ture and City Planning. Would the latter be advisory to the former^ and what would be the powers of each? The Division of Architecture, Landscape Architecture and City Planning would presumably be concerned not only with the varied and widespread building programs of the various Federal agencies, but with architectural projects carried on by States, counties and municipalities, and by nonprofit organizations; and also with corresponding non-Federal projects in the fields of landscape architecture and city planning. Is this too large a function for a single committee? Section 19 authorizes an appropriation to build the Smithsoinla Gallery of Art, which would mean that the Gallery would become an active museum of contemporary American art. Section 20 provides that an active program for the decoration of public buildings be placed under the Director of the Smithsonian Gallery of Art. It seems quite unrealistic to propose that both these programs should be handled by the same indi vidual and institution. Mural painting, architectural and monumental sculpture and the decorative arts in general are a special branch of the plastic arts, distinct from the field of easel paintings, interior -3- sculpture, watercolors, drawings, prints, etc., with which a museum is chiefly concerned. These two essential functions could not be com bined with justice to both. The program for the decoration of public buildings should be related closely to Federal building and architec tural programs. Regarding the suggestions for changes in the Commission of Fine Arts circulated by Mr. Howell on October 1, 1953: while we may believe that the Commission should be enlarged to include more professions in the field of the plastic arts, do we believe that its functions should be increased to include music, drama, dance, literature, poetry, motion pictures, etc., and that more than half Its members should be nominated by sixty civic organizations in the District of Columbia, including a large proportion concerned only remotely with the fine arts? Personally, I feel that these suggested changes would destroy the integrity and value of the Commission. I want to emphasize that the foregoing comments are entirely per sonal, and do not necessarily represent the opinions of the Committee on Government and Art. The Howell bill is the most comprehensive and considered measure on the fine arts that has been introduced in Congress for some time, and a sincere effort to promote the growth and well-being of the arts in America. With Its broad objectives I feel that most of us would probably agree; but many of us would probably question the organization and methods proposed to carry out these objectives. Mr. Howell has shown a sincere desire for criticisms and suggestions from the art world, and has proved very openminded about accepting them. I believe that his bill deserves equally openminded study, and that the Committee on Government and Art should be prepared to offer constructive criti cisms and suggestions regarding it. Lloyd Goodrich, Chairman Committee on Government and Art