Oversight of the Federal Arts Policy


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Oversight of the Federal Arts Policy


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Report on a Creative and Generous America


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Democratic Art


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At its height in 1935, the New Deal devoted roughly $27 million ($320 million today) to supporting tens of thousands of needy writers, dancers, actors, musicians, and visual artists, who created over 100,000 worksbooks, murals, plays, concertsthat were performed for or otherwise imbibed by millions of Americans. But why did the government get so involved with the arts in the first place? Musher addresses this question and many others by exploring the political and aesthetic concerns of the 1930s, as well as the range of responsesfrom politicians, intellectuals, artists, and taxpayersto the idea of active government involvement in the arts. In the process, she raises vital questions about the roles that the arts should play in contemporary society."




Federalizing the Muse


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The National Endowment for the Arts is often accused of embodying a liberal agenda within the American government. This text assesses the leadership and goals of Presidents Kennedy through Carter, as well as Congress and the National Council on Arts, covering the players who created national arts policy.







Federal Information Policy Oversight


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Excerpt from Federal Information Policy Oversight: Hearing Before the Subcommittee on Government Management, Information, and Technology of the Committee on Government Reform and Oversight, House of Representatives, One Hundred Fourth Congress, Second Session; June 13, 1996 Mr. Horn. Good morning. The Subcommittee on Government Management, Information, and Technology will come to order, a quorum being present. It is a hallmark of a free society that those who are governed have access to the information within the control of those who gov ern. James Madison said it most eloquently when he wrote, A pop ular government without popular information or the means to ao quiring it, is but a prologue to a farce or a tragedy, or perhaps both. Knowledge will forever govern ignorance, said Madison, and a people who mean to be their own governors must arm themselves with the power that knowledge gives. It was in this spirit that three decades ago, Congress passed the Freedom of Information Act, or, as it is commonly referred to, the foia Act. As the 1966 committee report which introduced the act stated, the Freedom of Information Act would provide a, True Fed eral public record statute by requiring the availability to any mem ber of the public of all the executive branch records described in its requirements. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.




Art and Government


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State Arts Policy


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State arts agencies -- key players within the U.S. system of public support for the arts -- face growing economic, political, and demographic challenges to the roles and missions they adopted when founded in the mid-1960s. This report, the fourth and final in a multiyear study, looks at state arts agencies' efforts to rethink their roles and missions, reflecting on what the changes may mean for the direction of state arts policy. Drawing on readings, discussions, and analyses conducted for the study, the author concludes that if current trends and strategies continue, future state arts policy is likely to focus more on developing the creative economy, improving arts education, and encouraging a broader spectrum of state residents to participate in the arts. To achieve these goals, state arts agencies will likely become more involved in policy advocacy, coalition building, convening, and gathering and disseminating information than in grantmaking. The transition to this future poses some risks for the agencies and for the arts community, but it also offers the opportunity to more effectively promote the conditions in which the arts can thrive.