210:, was the first to recognize that CETA funds could be used to employ artists. In 1974 he crafted the proposal that resulted in securing CETA money for the city’s Neighborhood Arts Program based on a category in the legislation—Title VI – that provided funding for "cyclically unemployed" professionals, such as artists. Subsequently CETA arts positions were secured in a variety of locations across the country, with some of the largest concentrations in Washington DC, Philadelphia, Phoenix, Minneapolis-Saint Paul, Los Angeles and other cities. In 1977 Chicago instituted a centralized program (called “Artists-in-Residency”), employing 108 artists per year through 1981.
271:. In general, the larger projects were models of inclusivity (partly in response to DOL regulations) taking gender, race, age (and sometimes neighborhood of residence) into account in order to form broadly representative work forces. On a larger scale, the relationships among artists, cultural institutions, communities, and governing authorities that were established under the CETA arts process continued after CETA funding had ended, serving as a framework for partnerships in the nonprofit cultural sector. Linda Frye Burnham and Steven Durland, in their article for the
187:, CETA artist employment was organized primarily through centrally administered projects. In most cities and counties, CETA funding was awarded directly to nonprofit organizations for the hiring of artists and arts administrators. Nationally, CETA funding in the arts was based primarily on a service model; rather than being paid for artistic production alone, artists served as teachers, project leaders, ensemble performers and administrators.
267:, the Brandywine Workshop, and the People’s Light and Theater Company – were able to expand and stabilize with CETA-funded administrative positions. The larger projects also set a high standard for community service by artists, carefully matching artists with sponsors and following-up with detailed evaluations, as required by the
167:(WPA) of the 1930s. It is estimated that an additional 10,000 arts support staff were funded as well. During its peak year, 1980, CETA funding for arts employment funneled up to $ 300 million (more than $ 1 billion in 2020 dollars) into the cultural sector – and the economy – of the United States. In comparison, the
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Unlike the WPA, which included artists in its original design through five specific projects, CETA was designed as a generalized program to provide training and employment for economically disadvantaged, unemployed, and underemployed persons. In addition, federal funding was decentralized under CETA,
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in the 1930s. Also unlike the WPA projects – whose archives were centralized under the
Federal government – the archives of the CETA arts projects and initiatives, if they even exist, are widely scattered, hard to locate and hard to access. The largest single set – 55 boxes containing the records of
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and
Theater for the Forgotten. Additional CETA lines were awarded directly to nonprofits through the City’s Borough President offices bringing the total in NYC to about 600 positions. CCF Project artists were paid $ 10,000 per year (about $ 45K in 2020 dollars), with good health insurance and two
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Despite these hindrances, it is possible to identify, in virtually every municipality that had CETA arts positions, tangible signs of the continuing benefits of the program’s contributions. In
Philadelphia, for example, several still-prominent arts organizations – the
221:, who would later help grow NYFA. At its peak it employed 325 artists (visual, performing and literary) and 32 project administrators (many of them also artists). Within the CCF Project, subcontractors included the Association of American Dance Companies,
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in
December 1973 in response to a severe economic recession. It started modestly but expanded rapidly, reaching a peak budget of $ 12 billion in the late 1970s, during President Carter’s administration. John Kreidler, an arts administration intern at the
275:, state that other positive impacts “included economic and cultural development, an increasing understanding of culture as industry, mutual respect among participants, and the transfer of cultural skills to other occupational areas.”
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taking the form of block grants to States, which were then parceled out to county and municipal governments. More than 500 local authorities received funding. In some cities, such as
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Because CETA arts employment was primarily service-based rather than production-based, the artistic legacy of CETA in the 1970s is less visible than the public works produced by the
159:(CETA), which federally employed more than 10,000 artists – visual, performing, and literary – during a span of eight years. This was the largest number of artists supported by
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237:, which administered a seven-member documentation unit. Four other, independent, CETA-funded artist projects also operated in NYC: Hospital Audiences,
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weeks paid vacation. In exchange they spent four days per week in community service assignments and one day per week in their studio or study.
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Linda Frye
Burnham and Steven Durland, "Looking for CETA: Tracking the impact of the 1970s federal program that employed artists," '
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by Steven C. Dubin, University of
Chicago Press, 1987 (about the Chicago CETA Artist-in-Residence program)
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373:," Regional Oral History Office, The Bancroft Library, University of California, Berkeley, 1978
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305:"CETA and the Arts: Analyzing the Results of a Groundbreaking Federal Job Program"
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CETA and the Arts: Analyzing the
Results of a Groundbreaking Federal Job Program
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CETA and the Arts: Analyzing the
Results of a Groundbreaking Federal Job Program
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217:, operated in NYC from 1977-1980. Among the key folks who established it was
449:"ArchiveGrid : Cultural Council Foundation's Artist Project 1977-1980"
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artist relief, art jobs program, federal artist employment, public art
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NYC’s CCF project – resides in the New York City
Municipal Archives.
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424:"Could a Nixon-era employment scheme get artists back to work?"
360:, University of California, Santa Barbara, retrieved 2020-07-18
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Bureaucratizing the Muse: Public Funds and the
Cultural Worker
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Bureaucratizing the Muse: Public Funds and the Cultural Worker
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Pub. L. 93-203 Job Training and Community Services Act
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S. 1559, the Job Training and Community Services Act
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369:Suzanne B. Riess, interview with John Kreidler, "
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329:Linda Frye Burnham and Steven Durland, editors,
371:The Arts and the Community Oral History Project
342:Linda Frye Burnham and Steven Durland, editors,
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500:, Issue 54 - Spring/Summer 2016, pp. 66-70
398:"The Forgotten Federally Employed Artists"
396:Maksymowicz, Virginia (26 December 2020).
386:, University of Chicago Press, August 1987
45:Comprehensive Employment and Training Act
157:Comprehensive Employment and Training Act
229:, the Association of Hispanic Arts, the
575:United States federal labor legislation
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235:Foundation for the Community of Artists
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213:The largest CETA-funded project, the
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545:Economics of the arts and literature
171:budget that year was $ 159 million.
422:Carrigan, Margaret (10 June 2020).
474:Brandywine Workshop & Archives
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357:The American Presidency Project
169:National Endowment for the Arts
16:1973 United States federal law
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208:San Francisco Arts Commission
165:Works Progress Administration
201:CETA was signed into law by
292:The Sculpture of Ruth Asawa
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550:1970s in the United States
309:Art in the Public Interest
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150:CETA Employment of Artists
540:Arts in the United States
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265:Painted Bride Art Center
243:American Jewish Congress
428:www.theartnewspaper.com
91:City and State agencies
73:President Richard Nixon
231:Black Theatre Alliance
123:Senator Gaylord Nelson
496:The Public Art Review
227:Brooklyn Philharmonia
570:1973 in American law
565:Work relief programs
88:Administered by
560:Art and culture law
451:. Beta.worldcat.org
269:Department of Labor
256:Federal Art Project
96:Legislative history
508:Additional Reading
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153:(1974–1981)
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455:2020-07-18
279:References
223:Jazzmobile
219:Ted Berger
195:See also:
37:Long title
79:Effective
142:Repealed
128:Keywords
479:2 March
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191:History
181:Chicago
161:Federal
139:Status:
62:Enacted
250:Legacy
225:, the
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