Controversy Over Tax Funds for Arts Agency

As an artist who believes in the immense value of federal government arts support of the broadest nature and scope, I would like to illuminate here just a few of the many fine reasons why the federal government has traditionally supported the arts, and, to address directly the anti-democratic attack by the totalitarian-minded upon our community of artists.

Let it be known that the world watches as our hard-won traditions of freedom of expression and diversity are being smothered by a vicious assault upon artistic freedom of expression by a gang of brown-shirted, cultural bigots and right-wing Christian fundamentalists.

Federal support for the arts did not begin with the founding by Congress of the National Endowment for the Arts in 1965. Instead, 20th-Century federal arts support actually begins with what is without question a truly monumental expenditure, Mount Rushmore, the very shrine of democracy. This monumental carving of public art by Gutzon Borglum began Aug. 10, 1927, the same day President Calvin Coolidge, a known fiscal conservative, officially dedicated Mount Rushmore as a national memorial. Borglum toiled for 14 years on the project when the immense project faltered due to the lack of private funds. The federal government assumed full financial responsibility. Just imagine, if the private sector was left to determine the merit and marketability of art, as is being proposed by right-wing demagogues. Scratch one monument!

It would, of course, be facile to list the numerous instances where it has been deemed in the public interest for the federal government to support creative inquiry. For example, the National Institutes of Health, and Sciences and NASA all require massive federal support. We as taxpayers realize that our taxes are spent on projects engaging in pure research and experimentation, often times leading to unexpected discoveries. The NEA, as a legitimate federal agency, also allocates funds to artists not unlike scientists, to engage in creative experimentation.

As an artist who believes deeply in the value of artistic and cultural diversity, which wisely the federal government has historically supported, I ask my fellow Americans to resist with every fiber of their being, this dark and sinister attack by the extreme right on our cherished traditions of freedom of expression and federal arts support.

PATRICK MOHR

Instructor, Art History

Otis Art Institute of the Parsons

School of Design, Los Angeles