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By Bart Verschaffel

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Congress ended the Federal Arts Project, along with the WPA, in 1943, making no provisions to maintain, catalog, or store the artworks created under its auspices. The second large-scale federal program to employ artists was the Comprehensive Employment and Training Act (CETA). It was created by Congress in 1973, and administered by the Department of Labor. The program was initially designed to provide training and job opportunities for the structurally unemployed, and was later expanded to include the creation of temporary jobs for workers who had lost their jobs due to an economic turndown.

These comparisons will show that the state has an important impact on what happens in the art world. In the next five chapters, we examine different contexts of government involvement in the visual arts. Chapter 2 examines the United States, a society with extensive encouragement and incentives for private sponsorship for the arts, yet with far less direct public sponsorship than in western Europe. Chapter 3 focuses on Great Britain, which moved to more market-oriented funding of the arts during the Thatcher government but which continues, nevertheless, to offer modest public support for the arts.

2,898,308 8,475,692 7,774,291 8,456,875 9,055,000 16,420,000 31,480,000 40,857,000 64,025,000 80,142,000 87,455,000 35,301,000 99,872,000 123,850,000 149,585,000 154,610,000 158,795,000 143,456,000 143,875,000 162,223,000 163,660,000 158,822,240 165,281,000 167,731,000 169,090,000 171,255,000 174,080,737 175,954,680 174,459,382 170,228,000 162,311,000 99,470,000 99,494,000 98,000,000 97,966,000 97,627,600 104,769,000 115,220,000 115,731,000 120,971,000 In 1976, the Federal government changed the beginning of the fiscal year from 1 July to 1 October, hence the 1976 Transition (T) Quarter.

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