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TITLEINSTITUTIONPUB DATENOTEAVAILABLE FROM

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New Dimensions for the Arts 197National Endowment for the ArtsJan 73137p.Superintendent of Documents, U.Office, Washington, D.C..204023600-00012)

SO 006 187

1-1972., Washington, D.C.

S. Government Printing($2.75, Stock Number

EDRS PRICE MF-$0.65 HC-$6.58DESCRIPTORS Architecture; Community Programs; *Cultural.

Enrichment; Dance; Educational Programs; EnrichmentPrograms; Federal Aid; *Federal Programs; *Fine Arts;Humanities; Music; Program Descriptions; ProgramDevelopment; Projects; Theater Arts; Visual Arts

ABSTRACTThis report describes the programs and activities

developed and supported by the National Endowment for the Arts during1971-1972. The organizational framework of the Arts Endowment in thefederal government is outlined as foundation for detailed discussionof twelve programs of the arts Endowment. These chapters includedescriptions of programs in the following areas: architecture andenvironmental arts, dance, education, expansion arts, literature,mus.Q.ums, music, public media, special projects, theater, visual arts,and federal-state partnership. List:, of contributors to the treasuryfund, a history of authorizations and appropriations, and a summaryof grants in 1971-1972 are included..(SHM)

D

U.S. DEPARTMENT OF HEALTH,EDUCATION &WELFARE

NATIONAL INSTITUTE OFEDUCATION

THIS DC.CUMENT HAS BEEN REPRO-DUCED EXACTLY AS RECEIVED FROMTHE PERSON OR ORGANIZATION ORIGINATING IT POINTS OF VIEW OR OPINIONSSTATED DO NOT NECESSARILY REPRE-SENT OFFICIAL NATIONAL INSTITUTE OFEOUCATION POSITION OR "(DUEY

New Dimensions for the Arts

1971-1972

National Endowment

for the Arts

FILMED FROM BEST AVAILABLE-OOPY.

"The important thing now is thatgovernment has accepted support ofthe arts as one of its responsibilitiesnot only on the Federal level,but on the State and local levelsas well. And increasingly, govern-ments at all levels see this not onlyas a responsibility but also as anopportunityfor there is a growingrecognition that few investments inthe quality of life in America payoff so handsomely as the moneyspent to stimulate the arts."

Richard NixonMay 26, 1971Speech: The Arts A CreativePartnershipWashington, D. C., to theAssociated Councils of the Arts

!

Library of Congress Catalogue Number 72-600337

January 1973

For sale by the Superintendent of Documents,U.S. Government Printing OfficeWashington, D.C. 20402 - Price $2.75Stock Number 3600-00012

ERIC CLEY.;;IMIC:,SE Fin Mg!. STENCE EDUCKI101

5 Introduction9 National Foundation on the Arts

and the Humanities13 Programs of the Arts Endowment

13 Architecture + Environmental Arts17 Dance23 Education29 Expansion Arts35 Literature39 Museums43 Music49 Public Media53 Special Projects57 Theatre63 Visual Arts67 Federal-State Partnership

71 The Treasury Fund 1971-1972Contributors

86 History of Authorizationsand Appropriations

87 Summary of Grants 1971-1972133 Staff of the National Endowment

for the Arts134 Acknowledgments

135 From the White House

ntroductic-);)

The period between July 1, 1970, and June30, 1972, known in government parlance asfiscal 1971 and fiscal 1972, will undoubtedlybe judged in the future reckoning of thearts in America as among the mot sig-nificant in their history.

These two years were important not onlyin terms of the increased and broad-basedfinancial support for the country's artistsand art institutions, but this period alsomarked a turning point in public, andtherefore governmental attitudes toward theinvolvement of the arts in our society andthe importance of the arts to the totalfabric which clothes a civilization.

The Sixties had seen the framework built.In March 1962, President Kennedyappointed August Heckscher as his SpecialConsultant on the Arts and asked him tosurvey and evaluate the impact of existinggovernment programs and policies affectingthe arts and to make recommendations forfuture action.. Soon after his appointment,Mr. Heckscher expressed the belief that theUnited States was "entering a period whenin terms of the genius and ability of indi-vidual artists in all fields, and when interms of the excitement and enthusiasm ofthe great public, we are witnessing a kindof renaissance. such as we have not hadbefore and which in the decades to comemay well place us in the very forefront ofthe civilized world.

"There are in the people new desires:new ardors," Heckscher noted. "Youcannot travel about this country todaywithout finding in every city there are plansafoot to do something new with the life ofthat place: to build a cultural center, tocreate an opera group, to make of that citya center for culture and for the arts" ...He goes on to say that the Kennedyadministration in its effort to assist the artsis responding to these forces already inbeing.

August Heckscher submitted a report, TheArts and the National Government, toPresident Kennedy on May 28, 1963.Among the recommendations: (1) that thepost of Special Consultant on the Arts bemade permanent, with its rank raised tothat of Special Advisor; (2) that the Pres-

ident establish an Advisory Council on theArts; (3) that legislation already pending inCongress to create a National Foundationon the Arts be endorsed.

There was little time for President Ken-nedy to implement these recommendations.When President Johnson assumed office,he appointed Roger L. Stevens as SpecialAssistant to the President on the Artsthefirst full-time presidential advisor on thearts in the nation's historyand gave himthe addition& assignment of developingCongressional support for a permanent artsagency within the Federal Government.

By late summer of 1964, both houses ofthe Congress had passed legislationapproving an advisory council on the arts.President Johnson signed Public Law88-579 on September 3, 1964, establishingthe National Council on the Arts, an advi-sory body of 24 distinguished citizensprominent in the arts who were given theresponsibility for recommending ways tomaintain and increase the culturalresources of the nation and to encourageand develop greater appreciation andenjoyment of the arts by its citizens.Because no funds for the Council had beenappropriated, the assignment given thedistinguished Americans appointed to theCouncil by President Johnson waa essen-tially one of planning. The Council put itselfon record as supporting legislation toestablish a government agency to assistthe arts.

Just one year after the Council wasestablished, such a government agencycame into being. On September 29, 1965,President Johnson signed Public Law89-209 providing for the creation of theNational Foundation on the Arts and theHumanities. The organizations making upthe Foundation were: the NationalEndowment for the Arts, with its advisoryNational Council on the Arts; identicalorganizations for the Humanities, and aFederal Council on the Arts and theHumanities. The Endowments are basicallygrant-making agencies; the NationalCouncils are advisory bodies to therespective Endowments; and the FederalCouncil is an advisory body established

primarily to promote coordination betweenthe programs and activities of theEndowments and activities of other federalagencies.

For that first fiscal year (1966), theNational Endowment for the Arts received amodest appropriation of $2.5 million. But itwas a beginning. By fiscal 1970, theappropriation for the Arts Endowment hadgradually climbed to $8.25 million. Theagency also began to achieve its remark-able record of generating $3 20 $4 fromother sources for every federal dollarspent, an excellent indicator of the growingpublic interest and concern for the nation'scultural well-being.

On September 3, 1969, President Nixonnominated Nancy Hanks to be Chairman ofthe National Erdowment for the Arts. Shewas sworn into office on October 6, 1969;and Michael Straight was appointed DeputyChairman on November 20, 1969.

With the leadership of President Nixonand the strong bipartisan support of Con-gress, the years that followed were aperiod of remarkable growth for theEndowment and its programs. Funds forfiscal 1971 jumped to $15 million; for fiscal1972, to $29;750,000. The two years underconsideration in this report, therefore, sawappropriations for the National Endowmentfor the Arts nearly quadrupledfrom $8million to $30 million.

With these significant increa.ses, theEndowment could expand many of itsexisting programs to meaningful levels andat the same time undertake new andchallenging cultural efforts unparalleled inthe history of American government:

A major program of assistance to thenation's symphony orchestras, launchedwith $3 million in grants in fiscal 1971,rising to over $4 million in fiscal 1972.

A $1 million pilot program in fiscal 1971to aid museums, followed by a $4 millionprogram of assistance the next year.

Creation of the Expansion Arts Programto assist and encourage community-basedactivitiesarts at the "grass roots" levelranging from the folk heritage of Appa-lachia, the diverse Indian legacy and the

culture of the Spanish - speaking Americans,to the vital arts of the inner city.

Initiation of a pilot program in fiscal 1972to enable the large professional dancecompanies of the country to bring theftperformances to cities around the nation.

Creation of a new program in PublicMedia to assist television, radio, and filmprogramming in the arts; regional filmcenters, film preservation, upgrading offilm education, and increased opportunitiesfor young artists.

Extension of programs of support to indi-vidual artists: choreographers, writers,painters, poets, sculptors, photographers,jazz musicians, playwrights, and art critics.

Establishment of a new program area forArchitecture + Environmental Arts,reflecting the increasing concern for ourphysical environment.

Expansion of the Artists-in-Schools Pro-gram, enabling 635 painters, sculptors,poets, filmmakers, dancers, and craftsmento engage school children in all 50 statesand five special jurisdictions in excitingnew learning experiences. (The programenlists the cooperative efforts of theEndowment, the Office of Education, theBureau of Indian Affairs, the state artscouncils, schools, students, and, of course,the individual artists.)

Development of a jazz program, from apilot effort of $20,000 in fiscal 1970, to$250,000 in fiscal 1972.

A major program of assistance to thenation's opera companies, for improvingartistic and administrative standards,increasing the audience for opera, andproviding expanded career opportunitiesfor young American artists.

Substantially increased assistance io res-ident professional theatres across thecountry for production of new plays, staffdevelopment, extended educational andcommunity services, and audience devel-opment.

All of these programs were developed bythe Endowment with the guidance of theNational Council on the Arts, a number of

advisory panels and councils, andnumerous consultants, all highly respectedexperts in all the art forms.

In creating and implementing its pro-grams through these years, the Endowmentwas guided by the broad goals set up bythe National Council on the Arts:

Availability of the Arts: making our culturalresources more available to all peoplethroughout the country.

Cultural Resources Development:strengthening our major cultural institutionsso they can more adequately serve thepeople.

Advancement of our Cultural Legacy: pre-serving our heritage and enhancing futurecreative development.

For the first time in the history of theUnited States, as President Nixon said inhis address to the Associated Councils ofthe Arts conference in Washington, May 26,1971, the government had "acceptedsupport of the arts as one of its respon-sibilitiesnot only on the Federal level, buton the state and local levels as well."

Encouragement of the state arts coun-cils was the intent of Congress when itestablished the Endowment and stipulatedthat a portion of the Endowment's budgetshould be allocated each year directly tothe state arts councils. Only 18 councilswere in existence before 1965, the year theEndowment was established. By 1972, therewere councils in each of the 50 states andthe five special jurisdictions.

Increased funding for the Endowmenthas meant that the Endowment could inturn grant larger allocations to the statecouncils. The councils each received$36,000 from the Endowment in fiscal 1970.The figure reached $75,000 in 1971; and$101,320 in fiscal 1972all in addition togrowing state appropriations and increasedprivate monies raised by the state coun-cils. The growing energy and strengthof the state arts councils and theiraccomplishments on behalf of the artsat the local level are among the mostexciting aspects of the nation's culturalscene.

There was another new dimension for theEndowment during the years under review:an effort to upgrade the quality of designwithin the Federal Government. In May1971, President Nixon directed the heads ofall executive departments and agencies tosurvey their operations and assess how thearts and artists could benefit governmentprograms and how these programs couldassist artists and the arts. The Presidentasked Nancy Hanks, Chairman of theNational Endowment for tile Arts, tocoordinate the replies and recommenda-tions.

Based upon the responses to the surveyand the recommendations of the NationalCouncil, the President, just one year later,on May 16, 1972, announced that thegovernment would move forward on fourfronts:

The Federal Council on the Arts and theHumanities, of which the Endowment'sChairman is a member, would sponsorannual Design Assemblies for federaladministrators and artists.

The National Endowment for the Artswould appoint a special ad hoc task forcecommittee to review and expand the publi-cation, Guiding Principles for FederalArchitecture, to improve the quality offederal architecture across the country. TheEndowment would also recommend aprogram for including art works in newfederal buildings.

The National Endowment for the Arts wouldalso coordinate efforts to upgrade allfederal graphics and publications.

Concurrent with these activities, the CivilService Commission would review proce-dures for rating and employing artists forthe federal service.

In announcing the new design program,the President noted, "The people of thiscountry are increasingly concernedandproperly sowith the physical appearanceof their communities. There should be nodoubt that the Federal Government has anappropriate and critical role to play inencouraging better design, and I amhopeful that the actions announced today

8 will enable the Government to reflect newstandards of excellence in all of its designendeavors."

The two years chronicled in this publi-cation provide new dimensions for the artsin many ways: economically, with fundsapproaching useful levels for the first timein America's history; socially, with newfederal, state, local, and private relation-ships built; politically, with the stronggrowth of the state and federal partner-ships as exemplified by the state artscouncils; and, basic to all discussion,artistically.

With the expansion of the Endowment'sexisting programs and the initiation of newones, for the first time most of the artisticdisciplines can now be partners with theFederal Government in the effort toimprove the quality of life for all Ameri-cans.

Americans realize a little more each daythe potential of artists and the arts forenriching their daily lives and makingcommunities better places in which to live.By every index, interest in the arts grows inspectacular terms. Museum attendance hassoared to more than 600 million visits ayear. The dance audience has grown 600%since 1965and most of this growth hasoccurred outside of New York City. Annualconcert attendance has reached 12 million.A Gallup Poll published in January 1972,Attitudes of College Students Toward theArts, reported that 76% of he youngpeople contacted stated thai. the artsshould play a more important part in thedaily lives of Americans. Young people inparticular have been part of the spectac-ular growth of interest and activity in thearts.

The National Endowment for the Artshas had a successful beginning. Financialproblems continue to plague bothartists and the arts; yet the initiativesby the Endowment underscore theimportance of the federal role ingenerating cooperative efforts by thepublic and private sectors, and increasedsupport for the arts from all segmentsof society, making it possible to achievenew dimensions in the arts. TheEndowment has created a solid founda-tion on which to build.

National Foundation on the Arts and the HumanitiesWhile the description of the organizational Humanities, established within the Nationalframework of the Arts Endowment in the Foundation on the Arts and the HumanitiesFederal Government can give little concept by the Act, is composed of the Chairmen ofof the impact upon the arts made by this the two Endowments, the United Statesagency, the formal structure which makes Commissioner of Education, the Secretarypossible this impact is interesting to examine. of the Smithsonian Institution, the Director

The National Foundation on the Arts and of the National Science Foundation, thethe Humanities provides the basic frame- Librarian of Congress, the Director of thework. The Foundation was established as National Gallery of Art, the Chairman of thean independent agency of the Executive Commission of Fine Arts, the Archivist ofBranch of the Federal Government by the the United States, a member designated byNational FoUndation on the Arts and the the Secretary of State, and a memberHumanities Act of 1965. The Act, Public designated by the Secretary of the Interior.Law 89-209, was last amended by Public The Federal Council promotes coordinationLaw 91-346 in 1970. between the two Endowments' programs

The National Foundation is composed of and those of other federal agencies whichthe Federal Council on the Arts and the support the arts and humanities andHumanities, the National Endowment forthe Arts, and the National Endowment forthe Humanities. The two Endowments,advised by their respective Councils, for-mulate their own programs, but share anadministrative staff.

The National Endowment for the Artscarries out programs of grants-in-aid toofficial arts agencies of the states and U.S.jurisdictions, to nonprofit, tax-exemptorganizations, and to individuals ofexceptional talent.

The Arts Endowment is headed by aChairman, nominated by the President andconfirmed by the Senate.

Grants by the Endowment to the stateand jurisdictional arts councils under theFederal-State Partnership Program aremade in accordance with the terms setforth in the National Foundation on the Artsand the Humanities Act of 1965, asamended, and are administered by theindividual state arts agencies. TheEndowment's programs are developed bythe Chairman and the staff, with the adviceof the National Council on the Arts andAdvisory Panels. As a general rule, appli-cations for grants, which fall within theestablished programs of the Endowment,are referred to panels of experts chosenfrom all regions of the United States. Thedeliberations of the panels are brought beforethe National Council for recommendation,and to the Chairman for final determination.

The Federal Council on the Arts and the

participation of its members' agencies inmajor and historical national events.

The National Council on the Arts iscomposed of the Chairman of the NationalEndowment for the Arts, who serves asChairman of the Council, and 26 privatecitizens, appointed by the President, whoare widely recognized for their broadknowledge of the arts, for their experience,or their profound interest in the arts.

The Council advises the Chairman onpolicies, programs, and procedures, andreviews and makes recommendations onapplications for financial assistance madeto the National Endowment.

Members of the National Council on theArts during the years 1971 and 1972, includedthe following distinguished Americans:Nancy Hanks, ChairmanMaurice AbravanelMarian AndersonRichard F. BrownJean DalrympleKenneth N. DaytonCharles EamesDuke EllingtonO'Neil FordVirginia B. GerityLawrence HalprinHuntington Ha. tford(appointment ended January 1972)

Helen HayesCharlton HestonRichard HuntJames Earl Jones

Harper Lee (appointment ended January 1972)Charles K. McWhorterJimilu MasonRobert MerrillGregory PeckRudolf SerkinBeverly SillsEdward VillellaE. Leland WebberDonald WeismannNancy WhiteAnne Potter WilsonRobert E. Wise

In September 1972, eight new Councilmembers were appointed to six year termsby the President to replace the Councilmembers whose terms had expired.The new appointees were: Henry J.Cauthen, Clint Eastwood, Judith Jamison,James D. Robertson, Rosalind Russell,Billy Taylor, Eudora Welty and James Wyeth.

Former Members of theNational Council on the ArtsRoger L. Stevens, Chairman (1965-69)Robert Berks (1969-70)Leonard Bernstein (1965-68)Anthony Bliss (1965-68)David Brinkley (1965)Albert Bush-Brown (1965-70)Agnes de Mille (1965-66)Paul Engle (1965-70)Rene d'Harnoncourt (1965-68)*Richard C. Diebenkorn (1966-69)Ralph Ellison (1965-66)R. Ph:lip Hanes, Jr. (1965-70)Reverend Gilbert Hartke, O.P. (1965-66)Ruth Carter Johnson (1969-70)Herman David Kenin (1965-68)*Eleanor Lambert (1965-66)Warn": Lawson (1965-68)*Eiizabeth Ashley Peppard (1965-66)William L. Pereira (1965-68)Sidney Poitier (1966-70)Richard Rodgers (1965-68)David Smith (1965)*Oliver Smith (1965-70)John Steinbeck (1966-68)*Isaac Stern (1965-70)George Stevens, Sr, (1965-70)James Johnson Sweeney (1965-68)Otto Wihmann (1965-66)

Deceased

Minoru Yamasaki (1965-69)Stanley Young (1965-66)

In the process of reviewing grantapplications, the Arts Endowment staffconsults with panels of experts chosenfrom all regions of the country. During theyears 1971 and 1972, the following menand women served on Advisory Panels.

Dance Advisory PanelRoger Englander, Co-ChairmanDeborah Jowitt, Co-ChairmanGeorge BeiswangerCora CahanJerry Bywaters CochranMerce CunninghamMartha Hill DaviesAlexander EwingKathleen Stanford GrantThelma HillC. Bernard JacksonJoe LaytonStella MooreFrances PoteetJudith SaganAllegra Fuller SnyderMichael Steele

Expansion Arts Advisory PanelManuel A. Rodriguez, ChairmanStephen BenedictLeslie ButlerMarie CirilloEnrique DuranMiriam Colon EdgarMakoto IwamatsuAnthony S. KellerJoan Sandler

Literature Advisory PanelSimon Michael Bessie, ChairmanJames BoatwrightRobert GottliebRichard HowardHugo LeckeyN. Scott MomadayToni 1% wison*Thomas ParkinsonWebster Schott

Museum Advisory PanelEvan Turner, Co-ChairmanLouis C. Jones, Co-ChairmanJ. Carter Brown

Joined Panel in Fiscal 1972

Richard F. BrownBruce B. DaytonJ. C. Dickinson, Jr.Barry GaitherJames HaseltineSherman LeeGerald Nord landDaniel RobbinsHarold RosenbergJohn R. SpencerJoshua TaylorJack TworkovJames Woods

Music Advisory PanelDonald L. Engle, Co-ChairmanPeter Mennin, Co-ChairmanA. Beverly BarksdaleRichard M. CisekWillis ConoverRoger HallR. Philip Hones, Jr.Robert MannGian-Carlo MenottiBenjamin PattersonRussell PattersonDavid Rockefeller, Jr.Max RudolfWilliam SevernsRobert N. SheetsRise StevensHoward TaubmanWilliam E. ThomsonAlfred Wallenstein

Jazz Advisory PanelWillis Conover, ChairmanJohn G. GenselMilton HintonMarian McPartlandDan M. MorgensternRussell Sanjek

Public Media AdvisoryPanelRoger Englander, ChairmanJames BlueJohn Macy**Arthur Mayer*Dean MyhrDonn PennebakerSheldon RenanDavid Stewart*George Stoney

Joined Panel in Fiscal 1972*" Retired from Panel in Fiscal 1972

Willard Van Dyke

State and Community SpecialProjects Advisory PanelDurward B. Varner, ChairmanRalph BurgardJames CampNorman L FaganBarnet FainCliff FrazierJohn H. MacFadyenMarjorie PhillipsMel PowellShelley Shakes*Robert A. Wykes

Theatre Advisory PanelRobert Crawford, ChairmanKenyon BoltonRobert BrusteinGordon DavidsonZelda FichandlerEarle GisterJohn LahrEdith MarksonJoseph PappHarold PrinceLloyd RichardsDonald SeawellLouise TateJean-Claude van HanleFrank WittowPeter ZeislerVisual Arts Advisory PanelsArt Critics' FellowshipsRobert HerbertLinda NochlinWilliam SeitzArtists' FellowshipsF. Van Deren CokeJames DemetrionMel EdwardsTed PotterStephen ProkopoffWayne ThiebaudPhotography FellowshipsF. Van Deren CokeAlan FernJohn SzarkowskiWorkshop ProgramElizabeth BakerKynaston L. Mc ShineIrving Sandler

r

rture E v; ron n t

"The people of this country are increas-ingly concerned--and properly sowiththe physical appearance of their commu-nities," President Nixon declared on May16, 1972: in a three-part "Message onDesign." Noting that this major policystatement was based on recommendationsfrom the National Endowment for the Arts,he concluded, "There should be no doubtthat the Federal Government has anappropriate and critical role to play inencouraging better design."

The President's support of the designprofessionals who seek to create a betterman-made environment represents a spe-cial opportunity for the Endowment'sArchitecture + Environmental Arts Pro-gram to influence the design standards ofthe Federal Government and stimulateactive public interest in these elementsof the environment.

The appointment of Bill N. Lacy, formerdean of the University of Tennessee'sSchool of Architecture, as ProgramDirector in mid-1971 brought the devel-opment of new guidelines to the Archi-tecture + Environmental Arts Program. Ina planning paper outlining his thoughts onthe Program's operating milieu, heexpressed an aim to encompass "all ofthose arts and professions whose primeconcern is in the shaping of the physicalenvironment."

Fiscal 1971 GrantsSignificant projects funded in fiscal 1971,before the present guidelines were for-mulated, included a $25,000 grant to theAmerica the Beautiful Fund of the NaturalArea Council, Inc. to provide "Environ-mental Design Internship Grants for CivicProjects." These Internships were awardedin architecture, planning, and landscapearchitecture and enabled students to gainpractical experience while working ondesign projects in small public agenciesthroughout the country.

In fiscal 1972. support of the Fund wascontinued with a grant of $30,000.

Fiscal 1971 saw the conclusion of amajor program, Student Travel Fellowships,which had been operational in 1967, 1969,

and 1970, and provided fellowships forsenior students in architecture, planning,and landscape architecture to travel andSee outstanding works of design. Thesefellowships were replaced in fiscal 1972 bythe Graduate Thesis Fellowship Program,which assists graduate students with costsrelating to thesis work. In its first year ofoperation, grants totaling $28,500 went to38 individuals nominated by the deans oftheir schools of architecture, industrialdesign, and planning.

The emergence of behavioral sciences asan ingrediem of the design process wasacknowledged with a fiscal 1971 grant of$4,000 to Barrie B. Greenbie, Professor ofPlanning at the University of Massachu-setts, to study the relation of territorialbehavior to urban planning.

Over the past two years, a number ofpublications important to the professionalarchitect, designer, and, in some cases, theinterested layman, were funded. Theyinclude:

A grant of $12,500 to G. E. Kidder Smith,distinguished author, lecturer, and pho-tographer, enabling him to complete atwo-volume photographic project surveyingAmerican architecture from the year 1800to the present. This work is expected togain acceptance as the most comprehen-sive of all architectural photographycollections.

A grant of $2,000 to the MassachusettsInstitute of Technology to assist the M.I.T.Press with the publication of Learning fromLas Vegas by Denise Scott Brown, RobertVenturi, and Steven Izenour. The bookpresents a comprehensive study of thecommercial or popular roadside environ-ment in America.

A grant of $5,000 to William M. C. Lam, aprominent lighting consultant, for a text-book on Fghting design for architects anddesigners.

Assistance to the American Society ofLandscape Architects Foundation for thepublication of the first handbook of land-scape architecture practices. The grant wasfor $10,000.

An Expanded Program in 1972The re-examination leading to a new set ofArchitecture + Environmental Artsguidelines was carried out as the Pro-gram's budget was being substantiallyincreased. Thus it was possible to initiatemany, though by no means all, of the kindsof activities envisaged by the new set ofguidelines. In addition to the GraduateThesis Fellowship Program, fiscal 1972grants went to projects in three areas ofenvironmental concern: professional edu-cation and development, public educationand awareness, and facilities for the arts.

Professional Educationand DevelopmentIn fiscal 1972 projects were funded toassist universities and other institutions ineducating new professionals and re-edu-cating those already in the field. Specialemphasis was given to the development ofenvironmental design education programsfor minority groups. Some examples:For collaborative project of the Architec-ture Department, Hampton Institute, and theLandscape Architecture Department, Uni-versity of Massachusetts, $11,000 to designa conference center for the new communityof Soul City, North Carolina.A $6,539 grant to the North CarolinaAgricultural and Technical State University,being used by this predominantly blackschool to develop a recruitment programaimed at doubling the architectural-engi-neering enrollment.A $12,000 grant to Carlos Campbell, aresident of Reston, Virginia, to support thepreparation of a book on planned com-munities with emphasis on the experienceof black residents.A $15,060 grant to the National Recreationand Park Association to assist William H.Whyte, noted land-use authority, to producefive 20-30 minute film segments of hisstudied observations of recreational life onthe streets, sidewalks, and open spaces ofthe city.

During the years under review, theNational Endowment for the Humanities

joined the Arts Endowment in funding thefinal two volumes of an eight-volume seriesbased on the work of the late E. A. Gut-kind, one of the world's eminent authoritieson urban development. When completed,this series promises to be accepted as thedefinitive history of European urban plan-ning. The 1971 grant was for $25,700 and,in 1972, $17,200 was awarded to assurecompletion and publication of the finalvolumes in late 1972. Gabriele Gutkind, theauthor's daughter, is carrying out theproject.

Public Educationand AwarenessAn encouraging start was made in fiscal1972 with the development of environ-mental education programs designed tostimulate public interest in the aestheticenvironment. Thirteen grants totaling$192,772 were made. Examples follow.

A $25,000 matching grant went to jointrecipientsthe Boston Architectural Centerand the Association of Collegiate Schoolsof Architecture--for an unusual intra-pro-fessional purpose. Teaching fellowships of$1,000 went to 50 graduate students andprofessors to enable them to conductenvironmental design education classes forpublic school teachers in the Boston area.A $10,000 grant to the Maryland ArtsCouncil enabled the preparation of a reporttitled 1% Art in Civic Architecture. Thepublication documents how the city ofBaltimore commissioned nearly 150 worksof art and incorporated them into its civicarchitecture. During an eight year period,Baltimore spent over $1 million on art, 1%of its total expenditures on public build-ings.

A $30,325 grant to the Los Angeles UnifiedSchool District provided funds for anenvironmental project for four fifth gradeclasses. Students designed and built ascale model of an entire city and in theprocess were introduced to basic conceptsof city planning. In order to do this, theyhad to learn a broad range of subjectmatter from mathematics and physicalscience to social problems and design. .

Facilities for the ArtsHistorically in all societies the arts haveplayed an important role in shaping theattitudes and behavior of people. Thus it isparticularly important that facilities for thearts, both old and new, be developed,renovated, and utilized to keep pace withincreased public enthusiasm.

Nine grants in this category wereawarded in fiscal 1972 totaling $127,666.The Endowment limited its grants toresearch studies for arts facilities, partic-ularly those dealing with converting older,obsolete buildings. Examples are:A $23,550 grant to Educational FacilitiesLaboratories, Inc., New York City, to workwith the architectural firm, Hardy HolzmanPfeiffer Associates, on a study of methodsand means of converting unused railwaystations into cultural and educationalcenters.

A $21,200 grant to enable the HumanServices Corporation af Lowell, Massa-chusetts, to study the possible restorationof an old mill on the Merrimac River, with aview toward converting it into a communityarts center.

A $6,000 grant to The Chicago School ofArchitecture Foundation to assist in theestablishment of an architectural and cul-tural center within Chicago's first officiallydesignated landmark, the Glessner House.A $20,000 grant to the Minnesota State ArtsCouncil to fund the employment of an"advocate arts planner" to study ways inwhich cultural activities of the new-town-in-town, Cedar-Riverside, can bemade an integral part of the total rede-velopment process.

A $10,000 grant to the Queens Council othe Arts, New York, to employ an artsproject planner to ensure the arts are givenprominent attention in the development ofthe commercial center in Jamaica, NewYork's new-town-in-town.

Coordination of Federal Designand ArchitectureTo implement the spirit of PresidentNixon's "Message on Design," theEndowment has been asked to acceptadditional responsibilities for involving thearts in government, beyond financialassistance through grants-in-aid. The textof the President's message is reprinted onpage 135.

Wolf Von Eckardt, writing in the Wash-ington Post, May 18, 1972, had this to sayabout the review and expansion of GuidingPrinciples for Federal Architecture: "Theimportance of this work is indicated by thefact that more than 20 federal agencies,through direct funding, grants, or loanshave influence on the construction offacilities for which in this fiscal year almost$5.9 billion will be spent." Other aspects ofthe President's design message have alsobeen received with enthusiasm both bymen and women of the federal governmentand design professionals outside thegovernment.

/,/ I

The development of dance in the UnitedStates is marked by two basic and para-doxical facts: dance is one of the fastestgrowing and most professionally accom-plished of the arts in America, but it con-tinues to suffer, in spite of this growth andrecognition, from a financial insecuritywhich in many instances threatens its veryexistence.

In the past six years, the number ofdance performances has increased 700percent, and the audience has grown by600 percent.* American dancers and dancecompanies have made New York City the"Dance Capital of the World." At one point,in January 1971, five major troupes wereperforming simultaneously in New York,each to capacity or near-capacity audi-ences. While New York receives the mostattention as a center for dance, the recentgrowth in dance activity in this country hasoccurred largely outside of New York City.

An article in The Wall Street Journal ofJune 25, 1971, noted that "Dance isenjoying what generations to come arelikely to call its Golden Age.... The nationboasts 250 civic or regional dance com-panies, 10 times the number 15 years ago,according to the National Association forRegional Ballet. At schools and colleges,dance increasingly is becoming part of thecourse of study. Activity continues every-where on a virtually year-round basis. Anddance has become the U.S. Government'sleading cultural export, with 16 companiesvisiting 10 countries and presenting 160original works last year."

And yet most American dancers andcompanies exist on a season-to-season, ifnot day-to-day, basis. Professional dancersare the lowest paid of performing artists,earning less than $5,000 a year on theaverage. The willingness of dancers towork for these salaries amounts to acontinuing subsidy to the art.

It generally takes at least ten years ofdemanding, disciplined work to become aprofessional dancer. Few other professionsrequire training to begin at such an earlyage, and no other profession has so limiteda life expectancy.

"The State of Dance in the United States: AReport." Association of American Dance Com-panies, February 1972.

The situation for dance companies isanalagous to that of individual dancers:The art is demanding, the financial returnlow, and planning for the future is difficult.

The DesignThe objective of the Dance Program is toencourage creative activity and help sta-bilize the dance profession on a nationallevel with projects supporting touring,commissioning, institutions, and workshopsand services.

From the beginning of the Program in1966, the Endowment proceeded to aiddancers and dance companies directly.Financial support of choreographicendeavor and performing activity of thehighest artistic quality was given toppriority at the first meeting of the DanceAdvisory Panel in January 1966, chaired byAgnes de Mille, a member of the NationalCouncil on the Arts. This pattern, ratifiedby the National Council, continued as theEndowment's Dance Program developed.

Initial assistance was aimed at twoimmediately pressing emergencies: thelack of consistent financial support fromthe private sector for dance and theever-present threat of extinction facingeven the best of companies.

Grants for the creation of new workswere given both to choreographers ofinternational reputation and to emergingchoreographers of talent. Rehearsal sala-ries to the dancers necessary in thecomposition of new works were financed.Challenge grants were made for newproductions. Aid to workshops and summerconferences brought apprentice andregional choreographers into the picture. Atouring program was begun.

Alwin Nikolais summed up the impact ofthe Arts Endowment programs on thedance field in a letter to Senator JacobJavits of New York, September 25, 1970, inwhich he said: "I am particularly appre-ciative for the Endowment's activities indance, ... [which have; shown aremarkable perception of the social needsand significant role of dance in the UnitedStates as well as a deep understanding of

and compassion for the position of theartist himself. The Endowment, through itscoordinated residency and touring programhas changed the touring 'facts of life' forthe major companies of this country. Thisis a program of unprecedented merit inwhich my company and I are honored toparticipate."

The supportive structure of the DanceProgram during the Fiscal Years 1971 and1972 continued to keep pace with the fieldas dance became more and more widelyrecognized and accepted as an art form ofvital importance in the country.

Examples of major programs are givenbelow.

CommissioningFellowships were given to individual cho-reographers and matching grants to pro-fessional companies during Fiscal Years1971 and 1972 to foster the creation andmounting of dance works.

During fiscal 1971, $146,250 enabled 16choreographers to create new works.Fellowships totalling $123,755 in FiscalYear 1972 were given to nine choreogra-phers who were permanently associatedwith professional performing companies.

Under Workshop Fellowships, establishedin fiscal 1972, the Endowment gave anadditional $35,200 to 33 choreographers.These fellowships are available for cho-reographers who work in workshops, civic,regional, or educational companies withlimited performance schedules; for cho-reographers wishing to work in new andexperimental areas; for emerging cho-reographers; and for members of profes-sional companies that offer choreographicopportunities to their members.

Under the Visiting ChoreographerCommissions, six companies receivedmatching grants totalling $26,560 to engageoutside professional choreographers tocreate new works or restage existing ones.

Production Commissions. The Programwas begun in 1969 to help large dancecompanies extend and diversify their rep-erto:res by enabling them to create,rehearse, and perform new works. Theguidelines stipulate that matching funds

should be raised from new sourceswhenever possible, thus stimulating abroadened base of support for majorcompanies.

In fiscal 1971, the New York City Balletreceived $133,300 and the City CenterJoffrey Ballet received $113,400 for theproduction of new workJ. The grant to theNew York City Ballet was for the produc-tion of six ballets, three choreographed byGeorge Balanchine and others by JeromeRobbins, Jacques d'Ambc'ise and JohnClifford. The City Center Joffrey grant wasfor the production of seven works by ToddBo lender, Rudolf Nureyev, Robert Joffrey,Gerald Arpino, and Stuart Hodes.

In fiscal 1972, the Paul Taylor Companyreceived a $25,000 grant to expand itsrepertoire by three works and to choreo-graph a new lecture-demonstration. Also a$25,000 grant was made to the Dance

Theatre Foundation for the creation of twonew works by Alvin Ailey: Lark Ascendingand A Song for You and the revision ofthree other works. The American BalletTheatre received a matching grant of$28,000 to produce a new ballet by EliotFeld called Apple Pie. George Balanchineand Jerome Robbins were also commis-sioned to choreograph new works for theNew York City Ballet through a matchinggrant of $45,000.

TouringThe Coordinated Residency Touring Pro-gram. Initiated in fiscal 1968 to improvetouring techniques for the benefit of bothdance companies and audiences, theprogram during its fifth year was extendedto 35 states, with 27 dance companiesappearing in successive residencies for atotal of 148 weeks in the performingseason. In fiscal 1971, grants totalling$330,480 were made, while in fiscal 1972,$429,197 in (Hants supported this program.

Local sponsors were found and devel-oped through the cooperation of state artscouncils and the national coordinator,Charles Reinhart. Each local sponsorengaged at least two companies for atleast a half-week each, during which timethe dance company provided a variety ofservices: master classes, lecture-demon-strations, woirkshops, and teachers'classes, in addition to scheduled full per-form ances.

Some of, these engagements elicitedlyrical response on the part of localsponsors and critics. In Minneapolis, forexample, Suzanne Weil, Coordinator ofPerforming Arts for the Walker Art Centerwrote: "To the great sadness of all of us,the company completed their residencewith the Walker Art Center and the Min-neapolis Public Schools last week. It wasperfect, and we wanted to keep them for-ever...."

Large Company Touring Program. initi-ated in Fiscal Year 1972 as a pilot effort,this program is designed to assure that thefinest in American dance is available to agrowing public outside New York City.

Matching grants were offered to performingarts centers and other sponsors for thepresentation of residency programs of atleast one week by large dance companies.

During 1972, 20 grants totalling $591,570brought the American Ballet Theatre, theCity Center Joffrey Ballet and the NewYork City Ballet to 14 communities in tenstates and the District of Columbia for 33weeks. These matching grants represent upto 30 percent of the company's minimumweekly fee. The Endowment also provided$325,884 in corollary grants to the com-panies for travel costs.

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wResident ProfessionalCompaniesIn fiscal 1972 a program of assistance wasbegun for major regional dance companiesbased outside the New York metropolitanarea. Grants totalling $217,480 were madeto ten companies in seven states to aidwith artistic and administrative develop-ment, creation of new works, educationalprograms, and regional services.

General ProgramsOne of the most exciting programs in thedance general category in fiscal 1972 wasthe $25,000 support given the City Centerof Music and Drama for the New York CityBallet Stravinsky Festival. The Endowment'sgrant enabled the New York City Ballet toopen rehearsals to student audiences.

On June 19, 1972, "The day the com-poser would have been 90 had he lived ayear longer," as Jean Battey Lewis wrotein the Washington Post the next morning,the festival opened on a note of cele-

bration of dance history's richest collab-oration between a composer and a cho-reographer."

George Balanchine had put together theweek-long festival for his great friend andcolleague, vthich included, as the reviewcontinued, a "staggering 20 premieres setto Stravinsky/Balanchine revivals from theirhalf-century of collaboration."

Support forService InstitutionsThe Association of American DanceCompanies, a national service organization,which the Endowment helped to create,entered its fifth year of operation in 1972

with a grant of $25,000 to aid its activitieson behalf of dance companies throughoutthe country.

A $35,000 grant in fiscal 1971 assistedthe Dance Notation Bureau, Inc. with apilot project designed to bring works ofprofessional choreographers to regional,civic, and university dance companiesthrough notated works, teaching materials,and classroom exercises.

A letter from Alex Martin, director of TheBallet Guild of Cleveland, sums up thatorganization's experience with the DanceNotation Bureau's project: "It is regionalballet's first real exposure to professionalballet, its first real contact in a workingsituation with a professional choreographerof stature.... While it (the ballet Fan-dango by Antony Tudor) will of course notbe danced as brilliantly as when performedby the original cast or by the dancers fromthe Metropolitan Ballet, one will see thewhole ballet with every nuance, and fivedancers danbing better than they have everdanced before. I don't think that Mr. Tudorwould be ashamed."

WorkshopsA critics' workshop in the summer of 1970,funded by a grant of $9,000, was soenthusiastically received that it was con-tinued during the summers of 1971 and1972 with the aid of two $10,000 grants.Held at Connecticut College, New London,the workshops provided intensive three-week training programs for working jour-nalists from newspapers and periodicalsacross the country. The courses weredesigned to cover the basic areas of dancewriting: movement, composition, history ofdance and dance criticism, as well as thefunctiOn of the critic.

A $19,240 grant provided continuedsupport in fiscal 1971 for the NationalAssociation for Regional Ballet's Craft ofChoreography Conferences designed tooffer an opportunity for directors ofregional companies to work with danceprofessionals. The grants assisted summer1971 conferences in North Carolina, Texas,California, and Ohio. During Fiscal Year1972, this program was continued with twogrants totalling $48,562.

The Endowment's Dance Program iscurrently directed by Don S. Anderson whojoined the staff in December 1971 to fill theposition formerly held by Mrs. June BattenArey, who had developed and guided theEndowment's Dance Program since 1966with great skill and dedication.

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Education

Artists-in-SchoolsIn a junior high school in St. Paul, Min-nesota, there stands a work of weldedsculpture so large that it cannotwithoutbeing destroyedbe removed from theroom in which it was created.

This work of sculptor Charles Huntingtonand a group of students is now part of theschool, just as clock towers or churchsteeples, built by town citizens years ago,remain living, central parts of their com-munities today.

Charles Huntington is one of hundreds ofAmerican artists taking part in the Art-ists-in-Schools Program which, in the fouryears of its operation, has become themajor thrust of the Endowment's EducationProgram.

The program was developed in closecooperation with the U.S. Office of Edu-cation, which, In 1969, transferred $100,000to the Endowment for the initial pilotproject that placed six visual artists insecondary schools during the 1969-70school year.

In fiscal 1970, the Office of Educationtransferred $900,000 to the Endowment toexpand the project to 31 states, to includeboth elementary and secondary senolsand a variety of art disciplines. For fiscal1971, support came entirely from Endow-ment funds, with continuing cooperationand coordination between the Endowmentand the Office of Education.

(Of related interest is the Poetry in theSchools Program, which is administered,bythe Endowment's Literature Program and isdescribed separately in the Literaturesection of this publication .)

The Endowment's fiscal 1971 allocation of$750,000 to the Artists-in-Schools Programbrought visual artists, poets, film-makers, dancers, musical and theatricalartists, and an environmental design artistto 61 school districts into 42 states.

During fiscal 1972, the Endowmentexpanded the geographical scope of theproject, placing professional artists inschools in all 50 states and the five specialjurisdictions. Of the total fiscal 1972budget, $1,417,897 came from the

Endowment and $1,000,206 from the U.S.Office of Education, under the provisions ofTitle III of the Elementary and SecondaryEducation Act. In addition, the Bureau ofIndian Affairs joined the Endowment andUSOE for the first time in fiscal 1972 bytransferring $20,000 to the Endowment toenable a $40,000 grant to the Institute ofAmerican Indian Arts in Santa Fe, NewMexico, for drama, film, poetry and visualarts projects.

It should be noted that the Artists-in-Schools Program is funded in advance ofthe school year in which it actually takesplace to allow for local school planning.Fiscal 1972 grants, therefore, were for the1972-73 school year.

At the core of the program's philosophyis Goethe's contention that "a man doesnot learn to understand anything unless heloves it." Equally emphasized is the beliefthat the experience of art is basic to thehuman spirit and that it should be offeredto all children as an essential part of theireducative process. The idea is to expandthe total personality of the child, developemotional attitudes and receptivity to theprocesses of learning, and instill anawareness of creativity as a living andpersonal process that will remain with thechild long after formal education iscompleted.

The theory, transmuted through theimagination of a third grade child under theguidance of a poet in the schools, wasexpressed this way:

... and I awoke and it was trueI saw everything I sawsky of roses house of daisies a treeof orange a book of apples andI loved it all and I lived with it forthe rest of my life ...Another aim of the program is to prepare

the way for a new orientation toward theschool curricula so that a participatoryawareness of the arts becomes part of theessential process of education, a pathwayleading to better comprehension of othersubjects.

The program has proved to be of benefitnot only to students, but to the artists who

take part and to the teachers in theschools where it operates. As part of thissecondary purpose, artists have becomedeeply involved with many aspects ofschool life and they have brought localartists and parents into related activities-within the community, established tutorialand apprentice systems, maintainedopen-door studios, conducted field trips,participated in career conferences andfaculty and P.T.A. meetings, and conductedfaculty workshops.

The program is administered largelythrough state arts councils in consultationwith state boards of education and districtschool officials. Interested artists andschool districts may contact their state artscouncil for information on how to join theprogram. The participating artists aregenerally chosen by panels made up of

artists, arts council officers, educators, andconsultants.

The dance component of the program,which in fiscal 1971 operated in Alabama,Ohio, Oregon, California, and Pennsylvania,was coordinated with the U.S. Office ofEducation's experimental IMPACT projectin these states. One of the goals ofIMPACT is an attempt to develop ways ofinfusing the arts into all aspects of schoolcurricula.

Audrey Welch, director of IMPACT inGlendale, California, wrote: "This was themost rewarding evidence to me that one ofour key goals is being realized. We areachieving community interest in the arts forchildren.... As for our young people, theyare identifying and are beginning to thinkof themselves as dancers.... Watchingself-confidence grow before your very eyesis awe-inspiring and that is what thisprogram is doing for our children."

The dance component was expanded toinclude 21 states and the District ofColumbia during the 1972-73 school year.

At the Goshen, Alabama, Junior andSenior High School, where the schoolmascot is an eagle, sculptor Larry Godwintook a group of students to a junkyardwhere they selected 1,400 pounds of autobumpers, hauled them back to the school,and transformed them into a 12-foot eagleof chrome, now mounted in front of theschool.

"During the year," wrote Godwin, whotaught in three schools in Alabama, "I havetried to stress my concerns over the stateof the visual environment by devotingmyself to projects that actively engaged usin visually upgrading the school environ-ment. Hopefully, our impact has beentwo-fold: first, that a new and significantawareness level has been instilled withinthe student; and second, that a distinct anddesirable change in surroundings, wroughtby art works, will have over-flow results."

Godwin and his students created a metalscreen-sculpture; a mural in an elementaryschool lunchroom; a formally designedsculpture garden; a cast concrete totempole sculpture for the front of a school; a

life-size puppet show involving students,abstract shapes, fluorescent paint, andblack-lite; and an illustrated book of poemsconceived to involve students in the writingof poetry, the designing of illustrations, thetransfer of the designs to linoleum blocks,and the final printing of the books on ahand press.

The film component of the program wasan important addition to the program infiscal 1971. It was developed in recognitionof the encompassing presence of televisionand motion pictures in the lives of cnnarenand of the need for an educative processto help them develop standards of dis-cernment and selectivity through theprocesses of making films themselves.Schools in North Little Rock, Arkansas;Omaha, Nebraska; Anchorage, Alaska; andMamaroneck, New York, were selected toinitiate the project. Each site had a pro-fessional teacher, a budget for film rentaland filmmaking, and the services of alive-action filmmaker for periods of 12weeks.

During the 1972-73 school year, the film

component was expanded to Include 24states. It was designed and coordinatedunder a grant to the Center for Under-standing Media, Inc., New York City, anorganization engaged in research andprojects in communications, education, andthe arts.

A story about the film component of theArtist-in-Schools Program ran in theArkansas Gazette, Little Rock, onNovember 11,1971. It began: "A movieproduction crew invited reportersWednesday to view cinematography tech-niques at its headquarters, the IndianElementary School....

"The crew is a class of 13 fourth, fifth,and sixth grade students."

The article quoted John Culkin, directorof the Center for Understanding Media:"'The age of the moving image demandscritical, intelligent, discriminating andselective viewers.' " It continued: "This canbe accomplished through viewing, dis-cussing, analyzing and making films....The class was doing just that Wednesdayas reporters looked on. Some studentswere editing the films that they had shot atschool and home. Others were preparingsigns for movie titles and others werediscussing sound effects."

In Walla Walla, Washington, architectDrexel Adkison taught basic concepts ofenvironmental issues and concerns, withemphasis on what planning could do tomeet problems. Under Adkison's guidance,Armando Garza, a high school student,created an eight-foot square model of thecity representing his view of what could bedone to make it better. The youth laterreceived a six-year American Institute ofArchitects/Ford Foundation architecturalscholarship to the University ofWashington.

Elsewhere, working with elementaryschool students, Mr. Adkison demonstratedclay modeling techniques to groups of 100,with follow-up classes to smaller groups.He guided children in the construction of a40-foot mural depicting the history of WallaWalla, helped fourth-graders construct aneight-foot plywood study cube which also

26 served as a puppet theatre, and heldspecial sessions in his studio.

With secondary school students, Mr.Adkison helped them design and assemblea foyer mural, lectured on various aspectsof architecture to humanities and foreignlanguage classes, worked with studentswho designed several pieces of unique

playground equipment, assisted a group ofstudents who created a display area in theschool district's Central Services Building,and trained assistants in his studio underspecial arrangements whereby they earnedschool credit for their out-of-class studies.

College EntranceExamination Board/Advanced Placement Programin Art and MusicIn conjunction with The JIM 3rd Fund'sEducation Program, a $125,000 TreasuryFund grant in fiscal 1971 provided funds forthe second phase of the AdvancedPlacement Program in art and music. Anadditional $75,000 Treasury Fund grant wasmade in fiscal 1972, for the development ofthree new advanced placement coursestwo in visual arts and one in musicforhigh school students. For the first time,through this opportunity, students ofexceptional talent in the fine arts field canreceive recognition for advanced workaccomplished in secondary school throughthe Advanced Placement Program.

The first examination in visual arts underthis program was held during June 1972.Paintings, sculpture, photography, andother forms of visual art submitted by 189students from-158 high schools werejudged by a team of seven art teachersfrom universities and high schoolsthroughout the country. Each student'swork was graded by several examinersand the scores were sent to the student'scollege. So far, approximately half thecolleges in the country have agreed toconsider these scores in granting coursecredit.

Arts AdministrationFellowshipsThe rapid growth of arts organizations andinstitutions has engendered a tremendousdemand for administrators with bothbusiness acumen and artistic expertise.One way of meeting this demand is throughspecialized training on the graduate level inarts administration. Both the University ofCalifornia at Los Angeles and the Univer-

sity of Wisconsin, Madison have initiatedprograms in Arts Administration leading toa Master's degree. These programs focuson managerial and administrative functions,methods, and techniques, as applied to theunique needs of arts institutions. Theyemphasize, along with a regular adminis-trative curriculum, participation of studentsin internship programs with artsorganizations.

The Endowment provided fellowshipsduring Fiscal Years 1971 and 1972 to bothinstitutions and made an additional grant infiscal 1972 to Harvard College for eightfellowships to individuals attending theHarvard Summer Institute in ArtsAdministration.

Alternative Education FormsHow the arts and artists can help providealternatives to institutional education haslong concerned many educators. TheEndowment has started a pilot program toexplore some of these alternative forms.Matching grants are made to organizationssuch as inner city community centers, forprograms designed to make the arts centralto the lives of children and youth beyondthe school environment. Among the grantsawarded under this program were thefollowing:

Museum of Modern Art, New York City:$10,000 in fiscal 1971 to plan an ArtCaravan. Project funds were for thepreparation of a program, furnishing ofthe caravans, and development of coursesof study according to age level. Thesemobile teaching units incorporate bothcreative work and art appreciation basedon the concept of child involvementunder expert guidance.

Federal City College, Washington, D.C.:$10,000 in fiscal 1972 to conduct a pilotprintmaking activity with the NationalCollection of Fine Arts and the Institute ofFine Printmaking. The project offersstudents, teachers, and practicing artiststhe opportunity to learn printmaking and toexchange experiences and ideas with otherprintmakers. It makes exemplary use of themany resources in the city, and can serveas a national example to schools on how toprogram beyond their own walls.

27

tZ

.,3cmsion Arts

BackgroundIncreasingly in the last five or six years,the need for organized assistance to thevarious professionally directed communityarts programs which have been growingthroughout the country has becomeevident. In response, the Endowment begana new program, Expansion Arts, duringfiscal 1971, designed to involve thousandsof people who have lived their lives remotefrom the traditional arts institutions, suchas the theatres, opera houses, symphonyhalls, and museums.

These community arts programsdance,painting, photography, literature, andsculpture workshops, drama groups andfilmmaking gatheringstake place often inhighly unconventional but appropriatenearby surroundings, such as storefrontstudios, churches, train stations, firehouses, abandoned schools, coffee houses,and the streets. These have become the artcenters for people on the track of a newsense of personal and communityexpression.

During the 1960's, as Junius Eddy of TheFord Foundation noted in an article in theJuly 1970 issue of the Public AdministrationReview, community arts centers took on anew role.

"As the blacks, the Puerto Ricans, andthe Mexican-Americans, particularly, beganto seek out the roots of an ethnic or racialheritage which the dominant society hadsystematically ignored or denigrated, thenature of the community-based artsmovement began to change. The artsbecame an obvious and powerful vehicle inthis cultural renaissance, a vehicle throughwhich minority-group artist-leaders couldbegin to voice the social and economicconcerns of their communities, to assert anew-found historical identity, and to reflectthe new sense of ethnic pride andawareness they believe is essential to theirsurvival in white America."

This development called for a responsefrom government very different from thetraditional approach of "culturalenrichment" which Eddy characterized as"a kind of loosely organized exposure

of poor youngsters (mainly nonwhite) toenriching experiences from the Westernmiddle-class cultural tradition, intended tocompensate for presumed deprivation intheir lives and backgrounds."

The New York State Council on the Arts,in 1967, had given $300,000 of its $1.5million program to a Ghetto Arts Program,based, as the Director of the Council, JohnB. Hightower, pointed out, on "what theghetto community wanted rather than whatwe, as an outside agency, decided itshould have."

The following year, the Arts Endowment,acting in cooperation with the President'sCouncil on Youth Opportunity, madeTreasury fund grants totalling $403,497 to16 cities for summer workshop programs inthe arts under professional direction.Financial stringency made it impossible torenew the program in subsequent summers,but the Endowment continued to support asmall number of community-based urbancenters that offered professional trainingand direction in the arts.

A New ProgramIn October 1970, the National Council onthe Arts recommended establishment of theExpansion Arts Program to help thegrowing numbers of professionally directedcommunity arts groups with activitiesinvolving ethnic and rural minorities whosecultures had been inadequately supportedin the past. in April 1971, Vanti le Whitfield,former Artistic Director of the PerformingArts Society of Los Angeles, was namedDirector of the Program and an advisorypanel was appointed.

The Expansion Arts Program gave grantstotalling $307,600 during fiscal 1971. Amongthe grantees were the following:

National Guild of Community MusicSchools, Evanston, Illinois: $17,500 toassist the national office of the Guild toserve its 40-member community musicschools and to organize new schools.

Dynamic Museum, East St. Louis, Illinois:$10,000 to help achieve full utilization ofthe museum's collection and to implementthe educational efforts of the museum

30 under the direction of Katherine Dunham.The Black Arts Cultural Center, Chapel Hill,North Carolina: $2,500 to support a summerproject aimed at stimulating creativedevelopment and motivation through thearts. The project consisted of workshopsand cultural programs in painting anddrawing, dance, drama, fabric design, andphotography.Afro-American Total Theatre ArtsFoundation, New York City: $7,500 for itstraining program in theatre.

The First Full YearBy fiscal 1972 the Expansion Arts Programhad more than tripled its budget from$307,600 in fiscal 1971 to $1,137,088 in1972. It had developed five program areasto meet its rapidly growing needs withassistance offered under the followingcategories: Instruction and Training, ArtsExposure Programs, Neighborhood ArtsServices, Community Cultural Centers, andSpecial Summer Projects. As word of theprogram spread, the stream of applicationsfrom all parts of the country increaseddramatically.

Instruction and TrainingGrants totalling $526,665 went to 35professionally directed, community-basedcultural centers that offer instruction andtraining in various art disciplines andencourage active participation by the entirecommunity. Among the grants were thefollowing:Federation of Communities inService/Epworth, Knoxville, Tennessee:$11,250 to develop a coordinated artsprogram including drama, sculpture, musicfestivals, and crafts in Knoxville andsurrounding rural areas.The Puerto Rican Traveling TheatreCompany, New York City: $20,000 to assistthe Company's transition from a summer toa year-round operation. Started in 1967 byMiriam Colon, the Company has toured theNew York metropolitan area offeringtheatre in parks, community centers, andmuseums, thereby bringing professionalproductions in both English and Spanish to

many Spanish-speaking people who havenever seen a theatrical production.Houston Metropolitan Ministries(Mexican-American Theatre), Texas: $10,000for a theatre project in a settlement houseagency, where a professional director,Marcos Urbina, guides the pilot effort.

Voices, Inc., New York City: $8,250 to thisrepertory company of singer-actors whodepict the black experience from Africanorigins to the present in song, drama, anddance movements with connectingnarrative. Out of this musical theatre whichtours the United States, the ManagingDirector, Jesse DeVore, developed aBlack Arts Residency program whichincludes musical workshops, audience-performer dialogues, theatre performances,teacher-training symposia on black art,and poetry dramatizations. At conventionsand in schools and colleges, teachers,students, and parents have becomeinvolved in a personal exploration of theblack experience through dramaticpresentation.

Kentuckiana Metroversity/Youth ArtsCenter, Louisville, Kentucky: $17,500 infunds went to this consortium of higherlearning institutions in the Louisville areafor the Youth Arts Center which providesinstruction and participation in the arts forvery young children from disadvantagedbackgrounds.

Arts Exposure ProgramsThe Expansion Arts Program has sought torespond to the needs of organizations thatencourage arts activities for young peoplewho have been left out of traditional artsexperiences. Such organizations oftenprovide low-cost tickets and transportationto artistic events. Some encourage active,informal interchange between artists andthe young, outside the usual performancesetting.

Urban Gateways, Chicago, Illinois: $30,000in fiscal 1972 for this outstanding model ofcross-cultural exchange between inner cityand suburban youth. It provides a variety ofopportunities for low-income young peopleincluding low-cost tickets and transportation

to major cultural events, informal "rap"sessions following performances by artsgroups at schools, and both visual andperforming arts workshops for parents,teachers, and students, in which there isactive exchange among varied ethnicgroups, more affluent suburban sectors ofthe city, and the inner city.

In all, grants totalling $183,388 went to12 organizations in eight states for artsexposure activities during this year.

Neighborhood Arts ServicesIn response to the cortinued growth andincreasing needs of community-based artsgroups, organizations have sprung up toprovide a variety of services. Typically,these service organizations aid communitycultural activities by providing loans ofequipment, publicity, sponsorship ofactivities, and help in dealing with realestate, fund-raising, accounting and legalproblems. For example:

San Francisco Art Commission, California:$30,000 in fiscal 1972 to assist theNeighborhood Arts Program in promotingand coordinating the activities ofcommunity cultural organizationS. TheCommission helps the organizations tobuild audiences and to become self-sustaining. The Neighborhood Arts Programalso offers workshops and classes forresidents in various areas of the city.

Special Summer ProjectsTo assist community arts organizations thatrun special programs during the summermonths, the Expansion Arts Program offersgrants for outstanding professionallydirected summer projects by providingadvance funding to allow necessaryplanning. A total of $152,035 went to 25organizations in 11 states in fiscal 1972.Among those summer grants werethe following:

The Street Theatre, Inc., Ossining, NewYork: $10,000 helped defray costs oftraining and staging for summer produc-tions, mounted on portable stage, whichtoured the black communities and prisonsin Westchester County. The Street Theatreconducted apprentice workshops in theOssining community and at Sing Singprison. The prison workshop, which hasbeen highly publicized, is designed toencourage and develop talent in acting,playwriting, and technical theatredisciplines.

32 Graffiti Alternatives Workshop, Philadelphia,Pennsylvania: $5,000 for programs for theyoung people who, according to Newsweek,May 8, 1972, have earned for Philadelphiathe unwelcome title: "Graffito capital of theworld." Two young artists have devised animaginative activity through which thestifled creativity of wall defacers can beproductively harnessed. The workshop,located, in the heart of some of the worstexamples of their handiwork, trains theseyouths to become wall artists. The primaryrequirement for admission is the promise tocease illegal wall sprayings. The workshopprovides instruction in the basics of art:color and design, lettering and drawingtechniques, painting, graphics, and illus-tration. Workshop members also tour gal-leries, museums, visit printers and photo-engravers to establish contact with thebroadest spectrum of arts activities.Commissions from contractors and archi-tects enable the youths to paint murals onconstruction site fences as well as actualbuilding walls.

Community Cultural CentersTo assist the major, community-basedcultural centers, many of which have beenin existence for years, the Expansion ArtsProgram created a category through whichmajor multi-art centers could apply forgrants. To be eligible for funding, a centermust have had a continuing program in atleast two art forms for at least three years.It must offer extensive multi-art activitiesincluding workshops with the opportunityfor artists to perform or exhibit their works.

Eight major community centers receivedgrants totalling $225,000 in 1972, of whichthe following are examples:

Workshops for Careers in the Arts,Washington, D.C.: $30,000 to continue itsoutstanding training program for area highschool students in the arts and relatedtechnical crafts. The students in this pro-gram are released from their regularclasses from 1:00 to 5:00 Monday throughFriday to attend classes at the workshopthree days a week and to work asapprentices the other two days with localartists or cultural institutions. Full academic

credit is earned for these activities. TheEndowment's fuhds were used to supportthe four major departments of this com-munity cultural centerdance, theatre,visual arts, and filmmakingas well assuch related activities as open art exhibits,original productions, and the street theatreprogram.

Henry Street Settlement, New York City:$25,000 to support the New Federal TheatreProject, which conducts theatre workshopsfor the Spanish-speaking, for blacks, andfor the Chinese.

National Center of Afro-AmericanArtists/Elma Lewis School of Fine Arts,Roxbury, Massachusetts: $30,000 to expandthis Center's activities by creating a resi-dent professional theatre company ofactor/teachers to offer professional dramainstruction and experience to more than400 economically disadvantaged studentsenrolled in the Elma Lewis School, which isthe Center's "teaching arm."

The first full year of funding for Expan-sion Arts Programs brought to nationalattention an unprecedented amount of vital,original arts activity across the country.These programs, reflecting new directionsfor the arts in communities all over thecountry, are expected to play a strong rolein Endowment programming during thecoming years.

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Don't write notesWhen poets arehere. They might thinkIt's a poem.

Which it was. It was handed in by ajunior high school student at Mill CreekSchool on the Wind River Indian Reser-vation, home of the Shoshone and Arapa-hoe tribes.

She was responding to a professionalpoet who had been working in her class-room throughout the day. The poet wasthere through the joint efforts of theNational Endowment for the Arts, the U.S.Office of Education, and the WyomingCouncil on the Arts, as part of the Endow-ment's Poetry in the Schools Program.

The program, a component of theArtists-in-Schools Program described in theEducation section of this review, placespoets and other writers in elementary andsecondary school classrooms to read theirown work and the work of other writers. Inaddition to the informal reading sessions,there are opportunities for the poets towork with the students, encouraging theircreativity through the writing of their ownpoetry and leading from that personalexperience to the engagement of Interest inreading, writing, and learning. The programhas been endorsed by state arts councilsand has found friends in the school systemswhere it has been undertaken.

The first day Douglas Anderson, a poetfrom Denver, visited the three Reno,Nevada, schools he was to work in, hewore a hat decorated with silver-work fili-gree. Both he, as a live poet, and the hat,as a decorative object, were the subject ofa good deal of interest. Later in a report tothe Endowment, he described his initialexperience at the Reno High School:

"We got all the chairs in a circle.Somebody had already asked about thehat. So we passed it around. About a thirdof the way, a guy said, 'It's deeper thanjust how it looksright? It's a symbol.'(This particular class, by the way, iscomposed of alleged 'delinquents' and'kids having trouble.') Four people furtheraround, a girl offered 'It looks like the sun

with earrings.' So I lost my heart to that girl, 3 5

and to every human being person in thatcircle." In short order, the students werewriting poetry.

At the William Ferron Elementary School,Las Vegas, Nevada, Julie Bynum, athird-grader wrote:Certainly somebody must havebeen out with a bucket ofdandelions last night. Somebodymust have tossed them aboutin meadows, on roadsides, leftand rightjust look at themscattered and spatteredaround, like big yellowpennies all over the ground.

Not all poems written in the Poetry in theSchools Program were that remarkable, buta good many were, which was all to thegood since the main purpose of the pro-gram is not to develop poetsalthough itis certain that poets were and are beingdeveloped through itbut rather to inspireinterest in language as a means of self-expression and so, to self-knowledge anddiscovery.

"Again and again," wrote Frances For-rister, project director in Wyoming,"teachers indicated that a shy, retiring,non-verbal youngster who shad never donewell at anything before' produced poetry ofmerit. Often teachers commented that thosewith 'learning disabilities' had been cap-tivated by the program. There were reportsof those who had difficulty with mechanicsof writing who practiced penmanship toenable use of that skill for self-expressionthrough poetry."

One school selected for the program inWyoming was at Arminto, where the schooldraws its student body of 13, grades onethrough eight, from a surrounding rancharea in a 50-mile radius. The playground,Mrs. Forrister wrote, "might be said tostretch for a hundred miles, and it servednot only as play area, but also as anoccasional pasture for an itinerant Shetlandpony, a stray sheep or two, sometimes aheifer, several dogs belonging to students,and a multitude of hopping, skipping rab-bits darting in the sage brush." A profes-

sional poet came to outlying Arm into andfound that children there were the same aschildren everywhere: they had a greatappetite for poetry.

"Taking that which went brilliantly,"wrote Mrs. Forrister, "and that which wentawry, the joys, sorrows, woes, the rewardsand pleasures, and placing all on balance,the scales tip overwhelmingly to indicatethat the 1971 Poetry in Schools Program inWyoming was a great success, providing somany with artistic inspiration, creativeexperience, and a glimpse at the magnif-icence of human spirit and language inpoetry."

In Colorado, Dr. Judith Wray, projectdirector, reported that the feelings of themajority of teachers at the 35 schoolsincluded in the state-wide project, "mightwell be summed up in the words of oneteacher, Robert Barnes, chairman of theEnglish Department at Baker Junior HighSchool, when he wrote about Baker'spoet-in-residence, Sam Gadd:

"'It would be very hard for me to properlythank you for your efforts on behalf ofBaker Junior High. I've been wonderinghow I would justify the whole business tothe "accountability" folk. Probably I'd listthe 64 students who met with Sam (in smallgroup sessions) and came away from theencounter with beautiful smiles, a height-ened sense of their importance, and manyother feelings, all positive.

"'Then we would mention the seventeachers who to a greater or lesser degree,were rejuvenated and given a small insightinto the potential of their students. Also wewould include the other adults who heardhim and responded.

"'Suffice it to say that Sam accomplishedmore good at Baker in three days than anyother month of programs, projects, etc.,has this year. Thank you for sending him .' "

The poet, Jonathan Holden, describingan experience during 1971, at Palmer HighSchool, Colorado Springs, wrote:

"During the third-period reading, aparade went by outside. The paradewas connected with a local H.S. sports

event, and the kids were permitted to gooutside and watch it. The teachers wereastonished when, of the perhaps 80 kidsin the lecture hall, only about half a dozendecided to go to the parade...."

In fiscal 1971, the Literature Programplaced some 300 young professional poetsin classrooms of 31 states across thenation to work with an estimated half-mil-lion young people and teachers in a pro-gram that continued to create amongchildren a new atmosphere of constructiveself-expression and a greater desire to learnto read and write. In this effort, theEndowment's contribution was $269,700.

In fiscal 1972, the program was extendedinto nearly all states plus the Virgin Islandsand the District of Columbia; the Endow-ment's grant contribution was $474,041.

Other ProgramsThe support of small literary magazines,grants to service organizations for Ameri-can authors, to small presses, and amodest program to develop creative writingprograms on small campuses with pre-dominantly black enrollment all continued,in the years under review, to further thegoals of the Literature Program. There wasone new project in 1971, a grant to helpexplore new methods of wider and moreeconomical distribution for small, inde-pendent presses of quality. In 1972, grantswere made in two new areas: Fellowshipswere awarded to individual creative writers,and funds assisted a new translation project.

Fellowships forProfessional WritersIn recognition of the writer's need forunencumbered time to work at his art, theEndowment initiated a program of fellow-ships for creative writers in fiscal 1972. Alimited number was made available forpublished writers of exceptional talent; and,at the Endowment's invitation, a group ofexperts nominated writers of fiction, poetry,criticism, and plays to receive the fellow-ships. The nominees' works were reviewedby the Literature Advisory Panel and theNational Council on the Arts, and fellow-

ships of $5,000 each were awarded to 39writers.

Coordinating Council ofLiterary MagazinesWith the aid of a $50,000 matching grantfrom the Endowment, the CoordinatingCouncil of Literary Magazines (C.C.L.M.)was established in 1966 to help the causeand condition of noncommercial literarypublishing through grants to literary mag-azines and through projects directed to theshared problems of the literary magazinecommunity.

Endowment assistance to small literarymagazines through C.C.L.M. helps to insurecontinuation of some of America's mostvital and stimulating publishing enterprises.These magazines, with limited circulationand small budgets, are nonethelessresponsible for the initial publication ofmost American writers. They carry on apublishing tradition unique in this country.With the increasing curtailment in recentyears of fiction and poetry publication bythe major monthly magazines, support forthe small quarterlies becomes a necessity.

During the years under review, C.C.L.M.made matching grants to magazines forsupport of continued publication; forauthors' payments, which enable magazinesto pay contributors; support of writingcontests; payments of translators' fees;special issues and special sections ofregular issues. The Endowment grant toC.C.L.M. for fiscal 1971 was for $50,000;and in fiscal 1972, C.C.L.M. received twogrants totalling $170,000.

P.E.N. American CenterThe American Center of P.E.N. (Poets,Playwrights, Essayists, Editors, andNovelists), vv;th the aid of grants totalling$39,000 in 1971 and $45,856 in 1972 wasable to expand its program of variousservices to authors.

Promotion and DistributionA $45,000 grant was given in fiscal 1971 tothe Jargon Society and Michael Hoffman ofNew York, to develop a program for pro-viding a central promotion, distribution, and

billing organization for small publishers andliterary magazines. Plans called for theinclusion of a sales force aimed at uni-versity and college book stores.

The project was initiated in the beliefthat the proprietors of small literary mag-azines and presses are so absorbed by theproblems of editing and publishing thatthey are unable to undertake the tasks ofpromotion, distribution, and marketing.Because of lack of skill and organization inthese areas, much of the good work beingdone never reaches its potential audience.Work on this project was continuing at theclose of Fiscal Year 1972.

Poets in Developing CollegesThis program was begun in 1967 in rec-ognition of the fact that nearly all small,predominantly black colleges lack sufficientfunds to provide strong courses in creativewriting and literature. In fiscal 1971, grantstotalling $20,750 were given to five smallcolleges with predominantly black regis-tration to help place writers in residenceon the campuses. In fiscal 1972, the totalamount awarded rose to $48,863, and theconcept was expanded on an experimentalbasis to include a community collegesystem in Wyoming through a $10,000 grantto the Wyoming Council on the Arts.

Literary TranslationThe field of literary translation facesincreasing problems, particularly withtranslations from little-known languagesinto English. In recognition of this, theEndowment awarded a grant of $42,790 toColumbia University for a new progrdm toimprove the quality of literary translations.Through this grant, Columbia University, incollaboration with the P.E.N. AmericanCenter, will undertake a three-part programwhich will include: (1) Creation of fourtwo-year fellowships to encourage talentedAmerican writers to study such languagesas Chinese, Japanese, Hindi, Tamil, and theAfrican language dialects; (2) Establish-ment of a clearinghouse at Columbia toprovide information for both translators andpublishers; and (3) Support for the trans-lation seminar at Columbia, primarilyinvolving work with younger writers.

BackgroundIn the last decade, art, science, and historymuseums across the country have achievedor had thrust upon them a central role inAmerican cultural life without precedent intheir history. From 1962 to 1969, museumattendance in the United States soaredfrom 200 million visits to an estimated 600million a year. Museums, in turn, haveresponded to this interest and enhanced itby reaching out into their communities withan ever-widening array of public serviceprojects, educational programs, neigh-borhood servicesall aimed at increasingpublic involvement with American museums.

Yet this widening role for museums hasplaced severe strains on their budgets. Thisnew popularity is coupled with sharplyincreased expenses. As museums strive tokeep up with the demands placed uponthem, they fall farther and farther behindfinancially. As a result, some museumshave been forced to close portions of theirexhibits; others have closed their doorscompletely on certain days of the week;many are curtailing activities; some aredipping into endowment capital and thusjeopardizing future income.

A New ProgramTo meet both the problems and the chal-lenges of museums, the Endowmentlaunched a $1 million Museum Pilot Pro-gram in fiscal 1971. Thomas Leavitt,Director of the Andrew Dickson WhiteMuseum of Art at Cornell University, wasappointed Director of the Program inDecember 1970.

An Advisory Panel of leading museumdirectors, artists, community art centerdirectors, and critics developed and guidedthe program from its inception.

The pilot program included two cate-gories previously funded by the Visual ArtsProgramthe Museum Purchase Plan andWider Availability of Museums. To thesewere added five new categories: Aid toSpecial Exhibitions, Conservation, MuseumTraining, Visiting Specialists, and SpecialProjects. All were developed to supportessential museum activities and designedto encourage excellence in progrcmming.

Response was tremendous. Nationwide,the pilot program was received with greatenthusiasm. Building on the success ofthese efforts, the 1972 program was greatlyenlarged in both scope and funding.Monies were quadrupled to more than $4million; existing programs were expanded;and three new areas were addedReno-vation, Utilization of Museum Collections,and Fellowships for Museum Professionals.

Aid to Special ExhibitionsSpecial exhibitions are vital to anymuseum's continuing ef;orts to stimulateand challenge public understanding of ourcultural heritage. Endowment grantstotalling $347,650 in 1971 enabled 59museums in 25 states to prepare andmount such displays. The exhibitions variedwidely in scope and theme, ranging frommajor presentations of works by classicalmasters to surveys of the vital arts of ourown time; from explorations of man'sawakened concern for the environment toinvestigations of new directions in theworld of science. Some examples:

For its exhibition of Aboriginal Art fromAustralia, the Field Museum of NaturalHistory in Chicago received $8,000; theMinneapolis Society of Fine Arts wasawarded $15,000 to assist with its definitiveexhibition on Art Deco, the internationalstyle which dominated design in the 1920'sand 1930's; $5,000 went to the WorcesterArt Museum in Massachusetts for anexhibition by the sculptor Marisol.

The 1971 program was highly successful.As a result of the pilot support, it waspossible to provide exhibitions of art workswhich might not otherwise have been seenby the public. The 1972 program, withgrants totalling $939,325 to 63 museums,opened an even broader spectrum ofpresentations, such as:The Amon Carter Museum of Western Art,Fort Worth, Texas: $11,725 to mount amajor retrospective display of works by19th century American painter, AlbertBierstadt.Museum of Science and Industry, Chicago,Illinois: $45,000 to help sponsor and touran exhibition illustrating the interaction of

40 art and the environment. The exhibition isalso being shown at the cooperatingmuseumsThe Palace of Arts and Sci-ence (San Francisco) and the FranklinInstitute (Philadelphia).The Mississippi State Historical MuseumJackson, Mississippi: $6,000 for a pres-entation of Mississippi folk art.

ConservationPollution, vandalism, inadequate galleryand storage conditions are damaging ordestroying an irreplaceable part of ourcultural heritage in museums nationwide. Inrecognition of the grave problems faced bymuseums in preserving and caring for theircollections, the Endowment initiated a pilotprogram in conservation in fiscal 1971; andgreatly intensified the effort in 1972.

Three grants totalling $100,300 in fiscal1971 were awarded:American Association of Museums,Washington, D.C.: $18,800 to conduct apilot regional conservation workshop.

New York State Historical Association,Cooperstown, New York: $41,500 to providefellowships for conservation students.The New York University ConservationCenter, New York City: $40,000 to supportconservation publications, training fellow-ships, and programs at the center.

In fiscal 1972, the Conservation programcontinued to grow. Expanded scope andfunding made it possible to strengthenestablished conservation centers, to createnew centers to serve whole regions, totrain additional qualified conservators, toprovide emergency consultation andtreatment on conservation problems, and toencourage museums to develop long rangeplans to meet their conservation needs. Inall, grants totalling $443,291 were awarded:

New York University, New York City:$50,000 for training and research in arttechnology and methods of preservationand restoration.The Maine State. Museum, Augusta, Maine:$31,726 to develop a mobile conservationunit to survey collections in the state andto establish a central conservation labo-ratory at the State Museum.

The International Museum of Photographyat George Eastman House, Rochester, NewYork: $4,580 for research and practicalwork in preservation and restoration ofphotographic processes.The Museum of Modern Art, New York City:$4,275 for conservation of art works suchas collages, which involve newsprint.

RenovationClosely tied to the need for conservation isrenovationimproving the physical con-ditions in which collections are housed inorder to protect the works against deter-ioriation or damage. Two types of grantsare awarded in this program. First aresurvey grants to enable museums to assesstheir needs for security, humidity, lighting,and temperature control. Second are grantsto implement the findings of these surveysby installing security and climate controlsystems. Implementation grants must bematched by at least $3 from other sourcesfor every federal dollar. In this way theEndowment hopes to use its limitedresources to encourage public awarenessand support of these critical needs. Duringfiscal 1972, grants totalling $134,518 went to18 museums for surveys of their renovationneeds; and $513,922 in grants went to 18museums to undertake renovation ofsecurity and climate control systems.Museum Purchase PlanUnder this program, which began in 1968,grants of up to $10,000 are made tomuseums on a matching basis tor thepurchase of works of art by living Ameri-can artists. This program has the triplebenefit of helping museums to expand theirpermanent collections, of giving the publicgreater access to ouistanding contempo-rary American art, and of helping the artistby purchasing and displaying his work.Hundreds of art works have been acquiredunder this program covering a broad rangeof styles and art formspaintings, sculp-ture, prints, photography, ceramics,drawings by many artists from talented

. newcomers to well-known masters. In fiscal1971 nine grants of $10,000 each helpedmuseums purchase the works of livingAmerican artists; in fiscal 1972 the totalamount awarded rose to $500,000.

Museum TrainingAs museums continue to expand theirservices, many more museum professionalsof the highest caliber are urgently needed.Therefore, the Endowment supports grad-uate level university fellowship programs inmuseum training. Other grants assistworkshops or training courses of shorterduration for more technical museumpositions. Grants totalling $98,000 wereawarded in fiscal 1971; 1972 grants totalled$118,745.

Fellowships for ProfessionalsIn addition to helping train new profes-sionals, the Endowment is also involved inupgrading the standards and opportunitiesof the professionals already working inmuseums. To this end the FellowshipProgram, new in 1972, was launched toprovide grants for museum professionals totravel, to do research, and to write. Forty-two fellowships were awarded in the firstyear. A total of $163,150 in grants wasawarded for fellowships. A transfer of$100,000 from the National Museum Acthelped make this level of funding possible.

Visiting Specialists PfogramGrants in this program enable museums tobring in outside consultants and specialistson a short-term basis for specific activitiessuch as cataloguing and research. Forexample:In 1971, the Florida State Museum inGainesville received $4,200 to employ aspecialist in North American Indian cultureto research the museum's ethnographicitems for cataloguing.In 1972, The Asia Society, Inc. in New YorkCity was awarded $5,107 for research foran exhibition of Chinese archeologicaltreasures loaned by the People's Republicr , China.

In 1972 the Chicago Historical Society wasgranted $8,000 to survey its costumecollection.

The total amounts awarded were $98,250in fiscal 1971 ar d $181,790 in fiscal 1972.

Utilization ofMuseum CollectionsThis is a new program, designed to help

muset. .s install permanent collections ininnovative ways and to publish cataloguesand other materials to make their collec-tions better known. During fiscal 1972, 33museums received a total of $548,061. Forexample:

The Cleveland Museum of Art, Cleveland,Ohio: $87,112 for complete reinstallation ofthe collections of Ancient Art and the artsof the Near East.The Corcoran Gallery of Art, Washington,D.C.: $10,000 for installation of Americanart from the early 18th century to thepresent.

Wider Availability of MuseumsThe trend to more community participationby museums is one of the most challengingdevelopments in the field. This program isdesigned to encourage and assist the manyinnovative projects that museums arelaunching all across the country. Duringfiscal 1971, six museums were assisted fora total of $181,751; in fiscal 1972, therewere 12 groups listed or a total of$481,391.

The Illinois Arts Council: $50,000 in fiscal1971 to support the Chicago Ticket Plan, apilot project making entrance tickets to sixChicago area museums available free ofcharge to inner city residents, the aged, thehandicapped, and other special groups.

The Detroit Institute of Arta, Detroit,Michigan: $45,000 to support the thirdphase of "Project Outreach," an ambitiousseries of activities to make the museum'sresources available to communitiesthroughout the state during fiscal 1971.

The Children's Museum of Boston, Mas-sachusetts: $30,000 in fiscal 1972 to expandits Community Services Program to helpneighborhood groups develop programs,consistent with the needs and interests oftheir own communities.

El Museo del Barrio, New York City:$60,000 to assist the development of aPuerto Rican heritage series documentingfolk and fine arts, a Visual Aid program,travelling art exhibitions, aild other artsprograms for Spanish-speaking residents ofNew York City.

41

V

Music

Considering the contemporary music scenein his recent book, American Music Since1910, composer-critic Virgil Thomson,wrote: "What has occurred is a maturitywhereby America is now a music-producingcountry as well as a music-composing one.We have rich folk sources and in jazz amajor folk art. We have first-class 'ibraries,historians, pedagogues, and performers.We have a population quite expert at lis-tening and terrifyingly addicted to it. Andwe enjoy tt,e rare advantage of possessingexcellent composers of all ages and allschools. No other country in the world,save France, has that."

Also in the introduction to Thomson'sbook, composer Nicholas Nabokov com-pares what he terms "The rise to fullmaturity of American music" in this centurywith the rise of Russian music in thenineteenth century.

In Nabokov's view this maturity ofAmerican music "has been precededby a period of gestation and followed,in an equally analogical way, by thediscovery of its own, national 'self'.... America is gradually becoming thehoming ground for all kinds of musicalactivities and a guest-house for some ofthe world's best and most advanced mindsin the field of the arts and especiallymusic."

Music in America, in the Seventies, ischaracterized by great activity. Experi-mentalists are developing their art in morepersonalized ways within highly informalsettings that point toward new experiencesfor the composer as performer, and foraudiences. Symphony orchestras seek towiden their repertoires and to break up intosmaller groups for ensemble and solopresentations under conditions vastry-dif:ferent from the formality of the traditionalproscenium presentation.

Professional and amateur participation inmusic across the country is on theupswing. Excluding college and universityorganizations, the orchestras of Americahave grown in number during the pastdecade from some 800 to more than 1,200,many of them amateur, communityensembles.

And similarly, there is evidence that agrass-roots expansion in opera is takingplace, as some 1,100 organizations engagein presentations ranging from grand opera(among an extremely limited group), tochamber opera, contemporary opera, andlighter styles of musical theatre.

The figures say something pertinentabout public interest in music in ourcountry today. Alongside this wideexpansion in musical activity is the growingneed on the part of the performing orga-nizations for a stable financial structure.The development of effective businessprocedures and systems for performing artsgroups and the generation of adequateprivate and public funding occupy theorchestra and opera company manager inthe same manner that the problems ofdeveloping artistic quality dominate thetask of the artistic director.

It is toward these two areassoundfinancial structure and artistic excel-lenceas well as to the extension of musicof quality to audiences traditionally outsidethe range of professional performingorganizations, that the Endowment's MusicProgram is primarily directed. During fiscal1971 the Music Program gave 169 grants,totalling $5,188,383; in fiscal 1972there were 370 grants, totalling $9,745,797.

OrchestrasOf the 75 orchestras and arts organizationsgiven grants in fiscal 1971, 57 orchestraschose to use their grant funds to extendtheir services to a wider public, while 15concentrated on projects conceived toimprove the quality of performance andadministration.

In public service activities, 30 orchestras'established special projects to build largeraudiences outside their subscription series,while 18 developed in-school programsusing educational plans prepared jointlywith teachers in the schools. Four projectsserved a large, new regional audiencethrough sponsorship provided by state andregional arts councils, and 5 involvedcollaboration with other art forms.

In fiscal 1972, of the 93 grants awarded,41 were for youth programs, 34 for

43

expanded public programs, 11 for profes-sional services, 4 for special projects, and3 for coordinated arts programs.

Throughout all the orchestral activiiy,there appeared to be an evolution towardmore effective service to the total com-munity within broader artistic functions.

The programs of the Cincinnati Sym-phony Orchestra, which received $72,250program funds in fiscal 1971 and $200,Cfrom the Treasury Funds in fiscal 1972,serve as examples of this trend, Part of thefiscal 1971 grant to that Symphony helpedto start a program of in-school concertsperformed by Symphony members andadvanced music students from each school.During the year, the orchestra visited 21schools and gave 2 joint concert per-formances with student musicians at eachhost school.

In preparation for the concerts, per-formers were selected by audition, and twofull rehearsals were held prior to the jointconcert, enabling the music students towork closely with their professional col-leagues from the Symphony. The in-schoolconcerts were so successful that a portionof the Endowment's 1972 grant to theSymphony supported continuation of theseries.

In fiscal 1972, a Treasury Fund grant of$80,200 to Music for Long Island/Orchestrada Camera enabled the Orchestra toexpand its production season from 588 to800 presentations during the 1971-72school year. Orchestra da Camera hasbeen in residence in the Mineola (LongIsland) public schools since 1969 andoffers a broad range of performing artsexperiences to the students of the schoolsystem. The Orchestra holds its rehearsalsin the schools and gives in-school per-formances. In addition to chamberorchestra presentations, Orchestra daCamera also presents opera and balletproductions in the schools, in cooperationwith the Metropolitan Opera Guild andprofessional dance companies in the area.

The following projects illustrate some ofthe fiscal 1971 orchestra program grants:

The Utah Symphony provided concerts for

audiences in many isolated communities,including a number of Indian reservations,often through joint performances with localchoral organizations, in a tour whichranged 9,500 miles.

The Jackson Symphony, Mississippi,established a string training program inelementary and junior high schools andsought to develop new audiences throughperformances in neighborhood schools andchurches, while making use of a profes-sional string quartet for special educationaland concert presentations.

The Anchorage Symphony traveled toisolated communities in Alaska.

The West Virginia Arts and HumanitiesCouncil organized an extensive series ofperformances by tfe Charleston andWheeling Orchestras through the mountainsof Appalachia.

Overall, in fiscal 1971, the Endowment'sorchestra program gave grants totalling$3,761,031 including $785,069 in privatefunds.

In fiscal 1972, the level of funding for theorchestra program rose to a total of$5,307,259 of which $1,276,745 came fromprivate donations.

OperaIn fiscal 1972, after a year of pilot funding,the Endowment launched a major programof assistance to the nation's professionalopera companies and related organizations.Grants totalling $2,591,122, including$1,095,726 from private d:-iations, wereawarded during the first year this programwas in full operation. That marked a sub-stantial increase from its pilot level in fiscal1971 of $598,250.

Grants during fiscal 1972 enabled severalopera companies to establish apprentice-ship programs for young people and helpedcompanies to reach new audiences throughtouring, in-school performances, and per-formances for audiences not ordinarily ableto attend opera. Grants were also awardedto companies for artistic and administrativedevelopment.

In a lengthy article in September 1971 onthe work of the Santa F,: Opera, Winthrop

Sergeant, who was then music critic forThe New Yorker magazine, wrote of thevalue of an apprentice system: "I have justreturned from a week at the Santa FeOpera, and I can only say that I have had abrand-new musical experience, havingheard and seen opera as I have oftendreamed it might be."

The company, Mr. Sargeant reported, "isorganized on a unique plan. At the bottomis a group of apprentice performers aboutfifty of themwho are chosen ... everyyear, not as students in the ordinary sensebut as singers who have the potential toachieve outstanding artistry as soloists.They are paid eighty or ninety dollars aweek, and receive instruction in voice,music, diction, body movement, andmakeup. Meanwhile, they do minor roles inthe public productions and sing in thechorus. As you can imagine, this gives theSanta Fe Opera what is probably the finestchorus to be found in the world today."

Detailing the success of the Santa FeOpera, Sargeant noted that the operahouse is sold out for practically everyperformancefour nights a week duringthe peak of the seven-week season. "Aboutthirty percent of those who attend comefrom nearby Albuquerque (pop. 350,000)and suburbs, about ten percent from smallcommunities scattered around New Mexico,about twenty percent from the East andWest Coasts (including a number of fel-low-impresarios and other professionals),and, surprisingly, about thirty percent fromthe little town of Santa Fe itself (pop.40,000). That leaves only ten percentunaccounted for. Mr. Crosby (the Compa-ny's impresario) has calculated that ifinterest in opera were as high in New Yorkas it is in Sante Fe, Nev' York wouldrequire an opera house every twelveblocks." He had seldom seen, Mr. Sargeantwrote, "government and foundation grants... utilized so well." The Santa Fe Operareceived grants during both years underreview.

In other assistance to opera, TheNational Opera Institute, established infiscal 1970 with a $600,000 Treasury Fund

grant, continued providing financialencouragement to outstanding youngsingers, in addition to offering grants in aidfor the commissioning and production ofnew operas and new productions of rarelyperformed operas. To date, this assistancehas made possible world premieres of 10new operas, including Summer and Smokeby Lee Hoiby in June 1971 by the St. PaulOpera Company; Faust Counter Faust byJohn Gessner, given its premiere January1971 by the Center Opera Company ofMinneapolis; and Black Widow by ThomasPasatieri, presented in March 1972 by theSeattle Opera.

A fiscal 1972 Treasury Fund grant of$350,000 helped The National OperaInstitute to continue its work of encour-aging the growth and development of operain the United States.

JazzThe success of the introductory jazz pro-gram, begun in fiscal 1970, led to increasedprograms of support in 197' and 1972.Grants totalling $50,325 were awarded toorganizations and individuals in 1971; andin 1972, the total amount for the programrose to $244,925. New works and newarrangements were undertaken. Workshops,seminars, open-house jam sessions, andperformances in schools and churchesencouraged Jazz musicians and theiraudiences.

Some examples:A young composer from Greenbelt,

Maryland, studied in the Arrangers LabInstitute at the Eastman School of Musicand reported that in addition to what hehad learned formally, he benefitted greatlyfrom the criticism of other jazz students.He had the honor of being selected to writethe finale of the Arrangers Holiday Concertat the school.

A young jazz musician who taught drumsfor no salary in a free clinic to 35 teen-agers in a disadvantaged New York com-munity reported an average attendance of92 percent. He added an additional groupof 17 students, assuming the extra expensehimself, and called the experience a"Divine Blessing."

46 Audience DevelopmentAffiliate Artists, Inc.: This national organi-zation places young performing artists ofproven ability in short-term residencies withcolleges, universities, arts councils, andother sponsoring organizations and insti-tutions, creating a partnership that offersprofessional experience and fees to artists,and both workshop encounters and concertpresentations for audiences.

0

Under the program, the artist spends upto 56 days per year during three or fourvisits, performing formally and informallyand using the audience-building resourcesof the presenting institution and the com-munity. For the remainder of year, the artistis free to accept professional engagementsin furtherance of his career.

The period under review marks the thirdand fourth successive years in which the

Endowment has assisted the program.Three grants totalling $494,000, including$235,000 donated to the Endowment by TheSears-Roebuck Foundation, went to aid thework of young artists and to help withadministrative costs of the operation.

Young Audiences, Inc.: A nationalorganization founded over 20 years ago,Young Audiences provides in-school con-certs by professional instrumental andiocal ensembles in a program designed toexpand the musical education of Children.While the original aim of the organizationwas to give children an opportunity tolisten to music, the program has nowdeveloped a technique through whichartists, by demonstrations and informalconversations, draw children into activeparticipation as well. The Endowmentprovided a $196,950 Treasury Fund grant toassist these activities in fiscal 1971, and a$250,118 Treasury Fund grant in fiscal1972.

Contemporary Music ProjectsThe Endowment has encouraged a numberof experimental groups with orants ena-bling composers and performers to performnew works and conduct workshops.

Some examples follow:

The Bennington Composers' Conferenceand Chamber Music Center, Inc., Vermont:$5,000 (fiscal 1971) in support of a summerof 1970 conference at which young com-posers' works were read, recorded, anddiscussed; and special seminars on elec-tronic and multi-media composition wereheld. Works were performed in publicconcerts and taped for distribution tonational educational radio stations. Twomore grants of $8,000 each were awardedduring fiscal 1972 to support continueoactivities during the summers of 1971 and1972.

New Dimensions in Music, Seattle Wash-ington: For programs aimed at introducingthe works of contemporary composers topeople in the Seattle area through pres-entations to school children and collegeaudiences. In addition, the group mounteda small concert season and made an

electronic music studio available to com-posers. The 1971 grant was for $12,700. A$2,000 grant in 1972 assisted with theconcert season.

Conservatory Program 47

During fiscal 1972, the Music Programentered a new area of funding: aid toindependent professional schools of music.Grantees in 1972 were The ClevelandInstitute of Music, The Juilliard School,Manhattan School of Music, The MannesCollege of Music, The New England Con-servatory of Music, The New School ofMusic, Peabody Institute, and The SanFrancisco Conservatory of Music. Duringthe pilot year of this program, theseschools were invited to apply for TreasuryFund grants to enable them to expand theirscholarship and fellowship programs forexceptionally talented, needy students whootherwise would not be able to receiveprofessional training at the nation's out-standing schools.

as t 1. .

BackgroundFilm, radio, and television have multiplenatures. They are arts in themselves aswell as vehicles for the transmission ofother art formssuch as architecture,crafts, dance, literature, music, theatretolarge audiences. In all their multiplenatures, the public media offer a fertile andchallenging field for the work of theEndowment.

From its beginnings as a federal agency,the National Endowment for the Arts hasrecognized the importance of films and theelectronic media to the cultural life of thenation and has supported projects withinthese fields. One of the Endowment's earlyand large grants, for example, helped tocreate The American Film Institute in 1967,and the Endowment has provided con-tinuing assistance since that time. However,it was not until fiscal 1972 thatthanks toincreased funding for the agency as awholethe Endowment was able toannounce a one million dollar pilot pro-gram for the public media field.

The American Film InstituteThe AFI, originally established throughfunding fr J111 the Endowment, from themember companies of the Motion PictureAssociation of America, and The FordFoundation, continued to receive Endow-ment support for its activities in filmpreservation, film exhibition, filmmakertraining and assistance, educationresearch, and publications during the yearsunder review.

Of particular significance among AFI'sactivities during these two years was tinecoordination of a major national effort tosave the nation's film heritage. Before theearly 1950's, motion pictures were made on"nitrate film," a highly flammable, unstablematerial, subject to eventual decomposition.Thousands of feet of silent, documentary,and newsreel film have already been lostforever, and millions more are in imminentdanger. During fiscal 1972, th.r, Endowmentgave grants totalling $300,000 to TheAmerican Film Institute for preservationprojects at the Library of Congress, TheMuseum of Modern Art, George Eastman

House, and the Institute itself. Duringfiscal 1971, the Endownment awarded aTreasury Fund grant of $1,086,875 to TheAmerican Film Institute, and during fiscal1972, a total of $1,377,500 was madeavailable, of which $37,500 was in aTreasury Fund Grant.

Fiscal 1971A continuing purpose of the Endowmenthas been to develop innovative approachesto presenting the arts on film, television,and radio. Among the fiscal 1971 grantsawarded to further these aims were:WGBH Educational Foundation, Boston,Massachusetts: A $45,500 grant, with theCorporation for Public Broadcastingproviding an additional $29,500,for a television dance workshop inwhich three choreographers were invitedover the course of the 1971-72 year towork with selected WGBH staff memberson a program of individually tailored tele-vision experimentation.Allan O. Miller, Denver, Colorado: An$8,000 fellowship aimed at the deveiopmentof innovative techniques for presenting thearts on television, enabled Mr. Miller tostudy at the British Broadcasting Corpo-ration for two months and then take up atwo month residency with the Los AngelesPhilharmonic, during which time he pre-pared the script for a half hour televisionspecial on the symphony orchestra to beproduced on public television. An addi-tional grant of $21,300 from the ArtsEndowment, in fiscal 1972, has assisted inproducing the program.

In the continuing cooperation betweenthe Corporation for Public Broadcasting(CPB) and the Endowment, grants weremade for projects directed toward theobjectives of both organizations. Two ofthese grants are mentioned above. TheEndowment also provided a fiscal 1971$15,000 grant, matched by CPB, to sponsora seminar emphasizing the possibilities forarts programming for public television.

In all, funds totalling $177,580, exclusiveof support to AFI, were awarded in supPortof public media projects during fiscal 1971.

4!)

50 A New ProgramIn October of 1971, a million dollar pilotprogram in public media for fiscal 1972,also exclusive of support for AFI, wasannounced by the Arts Endowment. ChloeAaron, formerly senior editor of Video-record World and a writer in the fields offilm and television, was named ProgramDirector. Funds were made available forprojects that would:Encourage the development of regional filmcenters.

Improve the quality of arts programming onthe media.

Upgrade the standards of film study inschools and colleges.

Continue critically needed preservationwork in films.In addition to the above categories, theEndowment continued its cooperativefunding with the Corporation for PublicBroadcasting and its support for TheAmerican Film Institute in fiscal 1972.Examples of fiscal 1972 grants awardedunder the new categories follow.

Regional DevelopmentDuring fiscal 1972, the Endowment gave$146,495 in grants to encourar2 Q. film centersto help build a new audience nationwidethrough regional showcases and informa-tion services. Among those grants were thefollowing:

The Portland Art Association, Portland,Oregon: $15,000 to revive and expandPortland State University's film program.Each week films are shown with accom-panying program notes containing historicalbackground and critical commentary. Thefilm program, implemented by the staff ofthe Northwest Film Study Center, providesinformation services to individuals, schools,and institutions with film-related programs.The Portland Art Museum and the PortlandState University are joint sponsors.

University Film Study Center, Cambridge,NIL 3sachusetts: $15,000 to help expand afour-year film program to include aninformation and resource facility for

schools and colleges throughout the NewEngland region. The Center providesinformation to film programmers andeducators, helps teachers and adminis-trators plan film study programs andacquire teaching materials. The Centerused this grant to extend its servicesbeyond the consortium of 15 New Englandcolleges and universities to include manysecondary schools of the area.Walker Art Center, Minneapolis, Minnesota:$20,000 to assist the Art Center to expandits film program to include a full scheduleof public screenings, lectures, seminars,and conferences related to film. The Centerpresents important examples of historicaland recent cinema and also uses themedium to supplement its exhibitions,education, design, and performing artsprograms.

Programming in the ArtsThe Endowment continued to supportproduction, research, and developmentdesigned to improve the quality of artsprogramming on film, television, and radioby professional individuals and organiza-tions. During fiscal 1972, grants totalling$183,195 were awarded, including thefollowing:

Les Blank, Hollywood, California: A $10,000grant went to Les Blank to produce a30-minute film on the French-speakingblack people of southwest Louisiana, theirway of life and attitudes, but especiallytheir music and musicians.Educational Broadcasting Corporation/NET,New York, New York: $50,000 for a 90-minute color production of four outstandingworks from the repertoire of the AmericanBallet Theatre. NET hopes to extend thereach of the American Ballet Theatre topublic television's weekly audience of 39million viewers, many of whom have noaccess to live ballet. The works filmed willbe representative of the diversity of styleand subjects inherent in the ABT reper-toire.Carnegie Hull Corporation, New York, NewYork: $12,500 to assist a pilot project torecord young artists not well-known to the

general public. Concert managers arguethat a name cannot become recognizedwithout recordings, yet commercialrecording requires an artist to have somedegree of prominence. This grant enabledten young artists with potential concertcareers to make recordings. In order tohold costs down, these recordings, pro-duced with the highest professionalstandards, remain as edited master tapes.It is expected that the tapes will be syn-dicated to more than 200 stations of theNational Public Radio Network.

EducationThe Endowment in 1972 awarded $173,775in grants for projects designed to improvestandards of film study in schools andcolleges. Grants were given to developcurricula for film courses and holdaccredited workshops and seminars for filmteacher training. Several institutions weregiven grants to help graduate students withthe costs of equipment rental, material, andlaboratory services.

Arthur S. Barron, New York, New York:$7,000 for a presentation-lecture on the life,art, and career of D. W. Griffith. The filmwill tour nationwide to educational andcommunity sponsorships and will beavailable afterward for broadcast on tele-vision.

Center for Understanding Media, New York,New York: $25,000 to produce an L'Innotatedcatalogue of films for children which willprovide a service to teachers in schoolsthroughout the country as well as be aresource for public television programming.

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Special i-rojects

Early in the history of the Endowment, itbecame obvious that many proposals forfunding do not fit into described programareas and therefore a Special ProjectsProgram is maintained. The office isadministered by the State and CommunityProgram staff.

Special Projects provides a means ofreviewing applications that straddle two ormore program areas or those which fit nocurrent guidelines but are thought %.,rthyof consideration. it has aiso been themeans of funding regional and nationaloperations that do not fall within specificEndowment programs such as the Feder-ation of Rocky Mountain States, theAssociated Councils of the Arts, and .theNational Folk Festival. It can be a shelterfor developing concepts until they areready to be assumed by a Program orestablished as an independent Programwithin the Endowment.

The Special Projects Program is also theprimary vehicle for awarding grants to statearts councils in addition to those providedby the standard Federal-State PartnershipProgram. Funds which are unused by statearts councils from the annual appropriationmandated by Congress for ecival distribu-tion to the state councils revert to becomepart of the overall budget of SpecialProjects. They are earmarked for appli-cations from the state arts councils only.Other funds in Special Projects may beused either for state arts council projectsor those of other arts organizations.

Grants are made under three separatecategories: State Arts Council Develop-ment, Regional Development, and GeneralPrograms.

State Arts Council Development.In this section, funding was available to thestate arts councils for Special State Grantsin both years under review, and beginningin 1972, became available for. RegionalMeetings, and Internships.

In Fiscal Year 1971, grants totalling$50,379 were awarded to 13 state artscouncils under the Special State Grantscategory. Among the projects funded werethe following:

The Connecticut Commission on the Artsreceived $1,700 to further its Rural MusicProgram, a joint effort by Connecticuttowns and the state government to discovera means by which small communities withlimited financial resources might increasetheir exposure to live musie. rve townswith populations of less ti'an 5,000 wereinvolved in the project.

A grant of $5,000 assisted a contemporarytheatre festival which had seven sponsors:the Rhode Island State Council on theArts, Brown University, Rhode IslandSchool of Design, Rhode Island College,University of Rhode Island, Roger WilliamsCollege, and Trinity Square RepertoryCompany. The festival made possible18 performances throughout the state,presenting The Open Theatre; Bread &Puppet Theatre; the mime, Michael Grando;Burning City Theatre; The PerformanceGroup; The Manhattan Project; NationalBlack Theatre Workshop; and theNational Theatre of the Deaf. There were7,500 admissions to the performances.Another 3,500 persons were able to attend,free, the 11 workshops and three sym-posiums.

In 1972, a total of $160,328 in SpecialState Grants of $10,000 or less wereawarded to 25 state councils under thiscategory with a broad variety of projectsundertaken, including assistance to themusic division of the Black Hills Fine ArtsCenter in South Dakota, and a c-ant toTheatre by the Sea in Portsmouth to tour inNew Hampshire and Maine.

Internship ProgramA new arts administration internship

program, established in fiscal 1972, placedthree interns with state arts councils inMaine, Mississippi, and Oklahoma. Becauseof the increasing demand for qualified artsadministrators, the Endowment is fosteringa two-pronged effort, one through theSpecial Projects Program internships withstate arts councils, and the other throughthe Education Program which assistsseveral training programs allied withuniversities.

53

54 This new internship program not only_offers an opportunity for specializedtraining to people interested in arts man-agement but also provides much neededpersonnel assistance for state arts coun-cils. Each intern is introcuced to allaspects of operating a state council orcommission. Interns in 1972 participated inthe initiation, supervision, and evaluation ofstate grants as well as the planning ofbudgets. They traveled with the statecouncil staff members throughout their ownstates and met with staff from arts councilsin adjacent states.

Regional DevelopmentWith a growing and constantly movingpopulation, state boundaries are o'tenblurred. Rural citizens of one state fre-quently have more in common with theircounterparts in adjacent states than theydo with their own urban neighbors. Thusprojects to increase regional developmentand promote coordination of arts programsamong states are encouraged. Not only canmore people be reached, but expenses canbe reduced by well thought-out regionalcooperation.

The Fednration of Rocky MountainStates, kiV h includes Colorado, Idaho,Montana, ow Mexico, Utah, and Wyoming,exemplifies such a program which suc-ceeds. During fiscal 1971, the Federationreceived from the Endowment a grant of$75,000, which was raised to $90,000 infiscal 1972.Faced by a vast geographicalarea with low population density andmountain-travel conditions, the Federationhas assisted companies of performingartists to tour throughout the RockyMountain region and has also nrovidedapprenticeships for area artists with thesecompanim

During fiscal 1972, the Endowmentinitialed a new program which placed aregic nal coordinator in the NorthwestUnited States to serve Washington, Oregon,Idaho, Utah, Montana, Wyoming, Colorado,North and South Dakota, and Alaska,through a grant to the Colorado Foundationon the Arts and Humanities. This regionalcoordinator acted as liaison for these

states in their activities and worked directlywith local sponsors and participants invarious Endowment projects such as theCoordinated Residency Touring Programfor dance companies, as well as theArtists-in-Schools Program. It is hoped thatthis type of nnrrdinating assistance can beexpanded into other regions of the country.

General ProgramsGrants under this category are offered forprojects that meet at least two of the fol-lowing criteria:Maintain professional standards;Have potential national significance;Have potential regional significance;Are justifiable on the basis of geographicisolation from other arts activity of quality;Include components of, or service to, twoor more arts disciplines.

In fiscal 1971, grants from the Endow-ment totalling $479,150 were awardedunder this category, followed by a total of$237,600 in fiscal 1972. Some representa-tive project examples follow:Washington and the Arts: A Guide andDirectory to Federal Programs and Dollarsfor the Arts, a study of the participationand programming of federal agencies in thearts. The handbook, published by theAssociated Councils of the Arts, is not onlya basic work of research in its descriptionsof arts activities, but is also a conciselisting. making available in one place thevarious programs to which individual artistsand arts organizations may apply for fundsand other services. In future years, it willbecome a readily accessibl,2 'historicaldocumentation of the arts efforts in thefederal government in the early seventies.The handbook was commissioned throughthe Federal Council on the Arts and theHumanities, with financial assistance alsobeing provided by National Endowment forthe Humanities, the National ScienceFoundation, the Smithsonian Institution, andthe U.S. Office of Education.

One of the most imaginative state councilprojects is the Michigan Artrain, which hadbeen developing for several years and

finally went into service as a portable artexperience on May 21, 1971. The Artrain ismade up of three redesigned Pullmancoaches, a baggage car, and a caboose.Within it, the exhibition includes slides,films, photography, sculp;ure, light-sculp-ture, paintings, graphics, prints, pottery, andjewelry. A sculptor, a potter, and asilversmith travel with the P.rtrain and givedemonstrations of their crafts in the bag-gage car. In many towns, local artists aidcraftsmen come to the site of the Artrain todemonstrate their crafts and exhibit theirwork.

An editorial in the Marinette Eagle Star,Marinette, Wisconsin, describes the impactOf the Artrain, just across the border innorthern Michigan:

"This is not just a cold and impersonalexhibit which bored visitors can wanderthrough to while away 40 minutes. It is,rather, a total experience in art whitirelates its origins and practice to experi-ences most of us encounter daily in oneform or another. Part of it is related tonature with which all of us arePart of it is related to the functional designof everyday appliances and these as wellas other applications of it are shownvisually and by audio presentations of thebasic steps in art utilization in everydayliving."

The Artrain toured in 37 Michigan com-munities and was visited by over a quarterof a million people by fall of 1972.

The old, the disabled, and the sick havehad their lives brightened as a result of afiscal 1972 grant of $30,000 wt ich went toHospital Audiences, Inc. (HAI of New YorkCity. HAI provides a broad range of cul-tural services for the institutionalized andthe disadvantaged. In the three years sinceit was founded, more than 110,000 personshave been able to attend a variety of cul-tural events through donated tickets dis-tributed by HAI. Typical recipients of thetickets include such community groups aschildren's homes, old age homes, youthorganizations, community self-help centers,and public housing tenants' associations.

HAI also works with mental hospitals,rehabilitative agencies, and narcoticsaddiction treatment facilities to enablepeople in these institutions to attend cul-tural events. But, as HAI's director andfounder, Michael Jon Spencer, points out,"For each patient HAI reaches by arrangingtrips to community events, there is at leastone other patient who is too old, too ill, ortoo disabled to leave the institution. So,HAI brings performances to them, withinthe institutions." HAI is also currentlyproviding cultural services to correctionalinstitutions wross New York state.

.55

The Wall Street Journal, in an articlepublished on December 1, 1970, noted: "Inthe past several years, few theatricaldevelopments have been more encouragingthan the growing importance of regionaltheatres...."

During the years under review, theEndowment continued to support thesenonprofit, professional theatres, reinforcingthe efforts of local companies and theirpatrons in cities and towns throughout theUnited States.

Professional Theatre CompaniesUnder this program in fiscal 1971,$1,444,400 was committed for support ofnonprofit companies that had operatedunder Equity contracts or equivalent payscales for two years or more and for per-forming seasons of at least five months.Categories of support included new playproduction, services to schools, localtouring, and the training and developmentof staff. Thirty-one companies in 26 citieswere awarded grants.

In fiscal 1972 the program was expandedto include a greater diversity of profes-sional theatre institutions, and the maxi-mum grant level was increased to $100,000.A total of $1,589,500 went to 36 companiesin 27 cities.

Reports from several of the companiesindicate how the Endowment grants wereused:

Long Wharf Theatre, New Haven, Con-necticut: A fiscal 1971 $50,000 grant to thiscompany helped it to add to its staff, tocommission new productions, and to bringits Touring Theatre and its Children'sTheatre to communities throughout NewEngland, by means of a network of 300teacher representatives. "... Few regionaltheaters have managed to be moreimpressive than New Haven's Long WharfTheater," John J. O'Connor wrote in TheWall Street Journal (December 1, 1970);"... if its repertory can continue to offer animaginative mix of the old and theunfamiliar, New Haven and the theater ingeneral will be very much the richer."

Dallas Theater Center, Dallas, Texas: An

Endowment grant of $24,250 in fiscal 1971,together with independent grants from TheFord Foundation, the Moody Foundation ofGalveston, and the Zale Foundation ofDallas, enabled the Center to organize theJanus Players, a professional company ofblack and Mexican-American artists. TheJanus Players comprise a total theatricalgroup under the direction and guidance ofan outstanding professional theatricalorganization. Their aim is to establish aregional theatre serving minority commu-nities throughout the state. In addition toproducing plays, the Players also take partin a professional training program foractors, directors, and designers.

A pilot project, the Janus Players is seenas a model for the encouragement of otherprofessional community theatres throughoutthe country, which more and more arebecoming aware of their responsibility toundertake educational and public serviceprojects as the demand for them increases.The Dallas Theater Center received a$25,000 grant in fiscal 1972 for theexpanding activities of the Janus Players.

Springfiele Theatre Arts Association,Springfiell, Massachusetts: A fiscal 1971grant of $15,000 to Stage/West helped tocontinue a nd expand the theatre's HeritageSeries. The Series brings classics of thetraditional and contemporary theatre tohigh schools in the region.

In reporting on the grant, Stephen E.Hays, producing director for the Series,wrote: "We were able to double our stu-dent attendance this year, reaching 9,680students for 30 matinees." He added: "TheSeries is working well for a number ofreasons. Firstly, it is highly popular withlocal educators. Secondly, it is a highlyattractive program to point out to localbusinesses and individuals who arepotential donors to Stage/West. Thirdly,and we think most significantly, with thedoubling of attendance to the Series was adoubling of student walk-in sales to theother productions of Stage/West.... Wefeel that the Heritage Series, after threeyears, is developing an interest in thea-tre-going among our area students." Thetop price for admission was $2.00.

The Negro Ensemble Company Inc., NewYork City: A grant of $25,000 in fiscal 1971helped this group to produce five plays:Perry's Mission, by Clarence Young III ofDayton; Rosa lee Pritchett by Carlton andBarbara Molette of Atlanta; Ride a BlackHorse by John Scott, a member of thetheatre faculty at Bowling Green StateUniversity, Ohio; The Dream on MonkeyMountain by Derek Walcott of Trinidad; andOdodo by Joseph A. Walker, a playwrightrecently in residence at the Yale UniversitySchool of Drama.

All five playwrights are black, and threeof them had never before seen professionalproduction of their work. In addition, sixworkshop evenings of presentations of newmaterial were held.

The Negro Ensemble Company's work-shop training program and its Work-in-Progress Unit was helped during the1971-72 season with a $75,000 grant fromfiscal 1972 funds.

Center Theatre Group, Los Angeles, Cali-fornia: During the years under review, twogrants went to this Company. A portion ofeach grant helped support the Center'sImprovisational Theatre Project, which grewout of the highly successful production ofStory Theatre.

The Improvisational Theatre Projectdevelops presentations using materialrelated to the life within minority commu-nities and tours its productions to localschools and community centers in the LosAngeles area. Through this project youngactors receive extensive training inimprovisational theatre techniques, whichrely heavily on the use of pantomime,music, and narrative storytelling.

"The children ... pleaded to partici-pate," Winfred Blevins wrote in the LosAngeles Herald and Examiner. "Theyshouted warnings to the actors in the folktales when something bad was about to getthem. When a princess complained that noone wanted to marry her, at least two boysvolunteered plaintively that they would."

Endowment funds helped to launch theImprovisational Theatre Project with a grantof $50,000 in fiscal 1971 and to expand it

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during fiscal 1972 with a grant of $95,000.Center Theatre Group sponsored a series

of free performances by the ImprovisationalTheatre Project during the 1972 Easter

holidays for school children in Los Ange-les. Theatre critic, Dan Sullivan, summedup the experience when he said it".. . combines two lovely spectacleskidshaving fun and actors getting better atwhat they are doing." (Los Angeles Times,March 29, 1972)

Aid to Experimental Theatres,New Play Producing Groups, andPlaywright DevelopmentProgramsIn recent years, a number of experimentaltheatres and workshops have gained rec-ognition for their work in presenting newplays and in exploring new forms andtechniques. The groups vary greatly in sizeand in outlook, but they share a commoncommitment to the development of thetheatre artist. Some have produced workthat has influenced the mainstream ofestablishment theatre; others have avoidedthat mainstream in pursuing their separateobjectives. This part of the Theatre Pro-gram is based on the belief that thedevelopment of new talent and the explo-ration of new theatre forms is vital to ahealthy American theatre.

Three types of groups receive assistanceunder this program: (1) theatres whichconcentrate on performing the works ofnew playwrights and which present aseason or series of new, avant-garde, andexperimental works; (2) groups whichspecialize in developmental work with newplaywrights; and (3) groups which, underthe leadership of a highly creative artist,form a total theatre unit evolving originalworks out of a collaborative process. Infiscal 1971, 26 groups in 13 cities receiveda total of $312,000. During the followingyear, grants totalling $463,000 were madeto 29 groups in 16 cities.

The American Place Theatre, New YorkCity: received a grant of $15,000 in fiscal1971 for its Writer's Development Programwhich offers financial aid to authorsallowing them to put concentrated time ontheir work. The Program also makes pos-sible profession& consultation and earlycollaboration between writer and director;

exploratory productions during which theplaywright can see run-throughs of ascene, an act, or a draft of the completework, ranging from casual readings towork-in-progress productions; and, finally,full professional, productions with runs ofsix weeks before membership audiences.

"There is no establishment producing,company in the country more courageops,more putting-its-money-where-its-mouth-is,more important to the cause of new playsand more interested in today's violentlychanging attitudes than The AmericanPlace Theatre," Martin Gottfried wrote inWomen's Wear Daily in March, 1969.

In fiscal 1972, The American PlaceTheatre received a grant of $25,000 underthe Professional Theatre Company cate-gory.

Firehouse Theater Company, San Fran-cisco, California: received a 1971 grant of$10,000. Typically this company involves itsaudiences as participants in its produc-tions. In the 1970-71 season, the FirehouseTheater Company presented two majorproductions, a free adaptation of thenineteenth century tragedy by GeorgBuchner, Woyzeck, and Still Falling, anoriginal play by Nancy Walter. Of theWoyzeck production, Paine Knickerbocker,of the San Francisco Chronicle, wrote(May, 1971): "Novelty, challenge andinvitations take precedence over content inthe Firehouse Theater production 'Woy-zeck'... this is an audience participationevent. Masks are used for various char-acters ... these are worn by both mem-bers of the company and members of theaudience who assume the identify of acharacter by wearing his or her mask...."

A $10,000 grant in fiscal 1972 enabledthe company to mount a new production,Escape by Balloon; to continue its classesfor company members in voice, music,improvisation, gymnastics, and dancing;and to continue offering an open workshopfor actors and writers who are not part ofthe company.

The Open Theatre, New York City: received$20,000 in 1971 and $40,000 in 1972. Thesegrants helped the group to continue to

r.develop works-in-progress and to initiate anew piece which was created collectivelyby the members of the group. The OpenTheatre, in contrast to the FirehouseTheater Company, does not invite theaudience to become participants in thetheatrical event. Margaret Croyden, in TheNew York Times, explained the roles ofDirector Joseph Chaikin, and the actors:"Under Chaikin's leadership, the companydeveloped sound and gesture to a finetechnique, but perhaps the really uniqueelement in their work is their commitmentto collaboration. Chaikin is not the usualdirector, who alone infuses the actors withinspiration; in the Open Theatre, the actors'contribution is almost equal to that of thedirector. (March 29, 1970)."Theatre Workshop, Boston, Massachusetts:A grant of $15,000 in fiscal 1971 helpedit to become established in the newtheatre in the Boston Center for the Arts.Its inaugural production was widelypraised.

"There are many reasons," wrote SamuelHirsch in the Boston Herald Traveler(January 8, 1971), "to cheer about a the-atrical event that occurred last night. First,it was the world premiere of 'Head play,' anew environmental theatre play by RichardReichman, a remarkably well-written andproduced statement about the drug culture;second, it marked the debut of Boston'snewest playhouse; and finally, it formallyopened the Boston Center for the Arts, theeventual home for the many local theatreand dance companies presently searchingfor rehearsal and performance space."

Assistance was continued in fiscal 1972.

Other Performing InstitutionsAmerican Puppet Arts Council, New YorkCity: In fiscal 1971 a grant of $20,000assisted this outstanding group, led by BilBaird, to prepare, rehearse, and producenew works.Children's Theatre Company of Minnea-polis: $25,000 in fiscal 1971 enabled thecompany to expand its repertory, incooperation with the Guthrie Theatre, theMinnesota Dance Theatre, the Center

Opera Company, and the St. Paul CivicPhilharmonic Society.

The Paper Bag Players, New York City:$20,000 in fiscal 1971 helped this highlyimaginative group train young professionalsin workshops and to appear before anaudience of 60,000 fascinated children inNew Orleans, Seattle, St. Louis, Pittsburgh,and other cities.

In fiscal 1972, an additional $30,000helped The Paper Bag Players to continuetheir work.

Services to the FieldInternational Theatre Institute of the UnitedStates, New York City: The Institute,founded and sponsored by UNESCO, hascenters in 50 nations. Its activities includeconferences, publications, exchanges ofexperts, and assistance in internationaltouring.

The Unitej States Center in New Yorkmaintains a reference library, publishes ayearbook and a newsletter, arranges toursfor foreign representatives of the theatre,and provides liaison with the ITI. TheEndowment supported its work during theyears under review with grants of $35,000in 1971 and $45,000 in 1972.

Theatre Development Fund, New York City:$50,000 in fiscal 1972 to help the fundcontinue its support of the theatre pro-fession. TDF is a nonprofit, tax exemptcorporation founded to stimulate creativityand experimentation in the 'commerical andnonprofit theatre by assisting plays of meritwhich, without such aid, might not beproduced or might close prematurely. Theunique role piayed by the commercialtheatre in providing original works andartistic leadership for all elements of theAmerican theatre underscores the impor-tance of such aid. A primary purpose of theFund is to help build new audiences forserious theatre by the purchase of ticketsearly in the run and their distribution atspecial rates to persons unable or unlikelyto attend otherwise. This new audienceincludes students, teachers, union mem-bers, and the disadvantaged.

Though initially only new productions

were to be assisted, the program hasgrown to include the purchase and distri-bution of tickets for a wide range oflong-running established plays as well. Thisexpanded audience development isbeginning to demonstrate a growingappetite for theatre among young people,and an increasing market for low-pricetickets.

A $50,000 grant to TDF in fiscal 1972enabled it torcontinue its activities insupport of the theatre profession.

Educational andSpecial ProjectsBrooklyn College Theatre Artisan TrainingProgram, New York: In the second andthird years of its operation, this program,with the aid of two $70,000 grants from theEndowment, continued to provide trainingfor-talented, disadvantaged students.Twenty-nine scholarship students wereenrolled in the program which involvestwo years of study, including a period ofexternship in one of a group ofcooperating theatre companies. Thestudents were drawn from ten states,the District of Columbia, and Jamaica.

:

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During the years under review, the VisualArts Program added new areas of supportto the artists' fellowships and aid to serviceorganizations, which had been establishedin previous years.

These included pilot programs for artists'workshops and photography; grants toplace artists, critics, craftsmen, and pho-tographers in residence; and fellowshipsfor art critics. In addition, the Works of Artin Public Places Program from previousyears was diversified.

Artists' FellowshipsIn fiscal 1971, $150,000 was allocated for

artists' fellowships. Seventy-three artists,critics, teachers, and other experts wereinvited to submit nominations andresponded with 356 names. In addition, 278artists made direct application on theirown, enclosing slides of their works. Asix-member special panel undertook thetask of reviewing these applications, andrecommended 20 painters and sculptorsfrom nine states for the $7,500 fellowships.

Photography -FellowshipsThe Endowment allocated $47,000 to a pilotprogram in photography fellowships infiscal 1971. Photographers could apply forspecific projects if they wished. An Advi-sory Panel reviewed the work submitted bymore than 400 photographers. Many of theprojects involved documentary studies ofspecific groups or communities, such asGypsies, Chinese-Americans, mobile-homeowners, and rodeo circuit riders. Theresponse to the opportunity, and the highlevel of the work submitted led to theestablishment of the program on a con-tinuing basis, and fellowships in photog-raphy are now planned to alternate withthose in painting and sculpture everysecond year.

Art Critics' FellowshipsUnder a new program in 1972, ten artcritics received fellowships of $3,000 each.During the first year of the program, fel-lowship recipients were chosen from a fieldof nominees by jurors Robert Herbert,Linda Nochlin, and William Seitz. The

fellowships, planned as a yearly program,enable the critics to set aside time forresearch, writing, and, if they so desire,special projects.

Artists, Critics, Photographers,and Craftsmen in ResidenceUnder this $27,000 pilot program in fiscal1971, matching grants, generally of $1,500,were made to museums, universities, col-leges, art schools, community centers, andother institutions to obtain outstandingprofessionals for a variety of lectures,seminars, and short courses.

Institutions applying for these grantswere free to select the artist, critic, orphotographer. Ultimately, 17 institutions in14 states participated. Among the artistswho took part in the program were JohnChamberlain, Sam Gilliam, Wayne Thie-baud, and H. C. Westermann. The criticsincluded Hilton Kramer and HaroldRosenberg. In fiscal 1972, a total of$107,850 was awarded to 38 institutions in21 states.

Works of Artin Public PlacesThe EndoiNment makes matching grants tocities and towns to commission Americanartists to create works of art in anymedium for urban sites. The purpose is tobring outstanding contemporary art intocontact with the broadest possible publicand to give challenging opportunities toartists of exceptional talent. Large worksby three sculptors, Alexander Calder,Isamu Noguchi, and James Rosati, havebeen placed respectively in Grand Rapids,Michigan; Seattle, Washington; andWichita, Kansas. The Rosati work, com-missioned in 1970, was unveiled in Wichitaon March 9, 1972. The $45,000 Endowmentgrant was matched by funds from the citywhich included small donations from 21,000local school children.

In all, 12 projects in ten states worefunded in fiscal 1971 for a total of $118,500.Among the artists selected were GeorgeRickey, Tony Smith, and Peter Voulkos.During fiscal 1972, 12 grants in ten statestotalling $346,900 were awarded.

Murals on public walls, continue to be asignificant artistic and socia: expression inmany cities, including Boston, New York,and Chicago, "transforming blightedneighborhoods by the magic touch of art,"as The Chicago Sun Times stated. Amongthese grants in fiscal 1972, was one for$10,000 to the Ohio Arts Council to helpcomplete a project designed to transformten Cincinnati wall areas into a visuallyattractive environment. The sites chosenwere located in areas heavily traveled bypeople entering and leaving the city.

A similar grant of $10,000 enabled CityWalls, Inc., one of the original inner citymural groups, to continue its work in NewYork City.

Also, in fiscal 1972, the City of Joplin,Missouri, received a grant of $10,000 tocommission its most famous artist-resident,Thomas Hart Benton, to create a mural for

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the lobby of the municipal building. Themural, commemorating the beginning of the83-year old Benton's career in Joplin, willbe unveiled as the first event in Joplin'scentennial celebration in March 1973. Tenyears ago the artist completed the TrumanLibrary mural at Independence, Missouri,and declared it would be his last, but theidea of the Joniin mural, advanced by theJoplin Council for the Arts for the "homecountry folks" captured his imagination. "Ibelieve tWs may prove to be my bestwork," Fie says. Among the contributionsfor the matching funds solicited locally forthe mural, is a sum of $1,029.29 in nickles,dimes, and pennies from school children inJoplin.

Artists' ServicesDuring the years under review, theEndowment assisted organizations servingthe arts community and independent artistgroups concerned with various aspects ofthe artist's professional status. In fiscal1971, grants went to The American Fed-eration of Arts and Art Information Centerin New York City. A grant of $2,000 infiscal 1972 went to the Private ArtsFoundation of Washington, D.C. to helpwith the costs of the Conference onWomen in the Visual Arts, held at theCorcoran Gallery of Art, Washington, D.C.,in April of 1972. Also in the two yearperiod, Treasury Fund grants totalling$75,000 went to The Mac Dowell Colony ofPeterborough, New Hampshire, a majorresource center where professional artistsmay live simply and concentrate on theirwork for limited periods of time.

Short-Term ActivitiesGrants under this category are given toindividual artists and groups engaged inprocess and performance activities, tech-nological art, artist-generated exhibitions,and cooperative ventures. Fiscal 1971activities included a number of cooperativeperformances by artists and musicians, anda work of technological art, prcduced forthe San Francisco Palace of Arts and Sci-

ence.In fiscal 1972, one example of this type of

funding, is the $5,000 grant to the WestCoast-Art Centci, inc. for The MarketStreet Program in Venice, California, whichprovides West Coast artists with exhibiting

opportunities different from the traditionalcommercial galleries and museums. "TheMarket Street Program in Venice," wrotePeter Plagens in Art Forum, is well-inten-tioned, reasonable, and a seeminglypractical way to revitalize .. . the publicpresentation of serious new art."

Artists' WorkshopsThe Workshop program evolved furtherduring the years under review. Among thefiscal 1971 grantees, were the PrintmakingWorkshop in New YOrk, The CommonGround of the Arts in Detroit, and theCorcoran Gallery Workshop in Washington,D.C.

By fiscal 1972, the program had grownconsiderably, with $203,478 available forprojects such as the following:A grant of $8,500 enabled the Workshop forSilkscreen Printmaking in Washington, D.C.,to continue its activities in new quarters.Workshop activities emphasize the con-ception, execution, and preservation ofhigh quality silkscreen prints.A grant of $5,000 to The San Francisco ArtCommission assisted the AssociatedAmerican Indian Arts, a new organizationestablished to reawaken both traditionaland experimental expressions of the artand culture of the native American popu-lation within the Bay area.

At the end of the Fiscal Year 1972, theVisual Arts Program had 11 categories ofassistance developed, tested, and planned.In their September 1972 issues fournational art magazines, Arts, Art Forum, Artin America, and Art News, each donated apage to announce the Fiscal Year 1973programs and indicated interest in con-tinuing such a service in future years.

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"The considerable growth of the stet,. artscouncil movement is a proud phenomenonin American life."

Richard NixonSeptember 13, 1972

The Arts Across the NationAt the turn of the century, there were twostate arts agencies in the United States,one in Minnesota and one in Utah. Morethan half a century later, only five officialstate arts councils her! been arkled, but themovement was beginning to pick up.Between 1960 and 1964 ten more vereestablished. In 1965, the passage of theNational Foundation on the Arts and theHumanities Act provided, for the first timein the nation's history, feder&i encour-agement and funding for state arts coun-cils. Twenty new councils were establishedin that year. Fifteen more followed in 1966.Two more were created in 1967.

Today there are official state artsagencies in all 50 states, the District ofColumbia, American Samoa, Guam, theVirgin Islands, and Puerto Rico.

In fiscal 1966, the first year in which theAssociated Councils of the Arts compiledrecords of state funding, state legislaturesappropriated a total of $2.66 million. Byfiscal 1971, the figure had risen to $5.79million, plus the New York state appro-priation of $20 million. In fiscal 1972, statelegislatures' appropriations increasedagain, reaching a level of $7.64 million,excluding New York state's appropriationof $14.42 million.

This continued growth was the intent ofthe Congress when it stipulated, in thelegislation setting up the Endowment, thata mandated portion of the Endowment'sbudget was to be allocated each year tothe official arts council of each of theindividual states and special jurisdictions.

In fiscal 1971, of a total appropriation tothe Endowment of $15,090,000, the sum of$4,125,000 was designated for distributionto the official state arts councils, or $75,377each. For Fiscal Year 1972, Congressincreased the Endowment's totalappropriation to $29,750,000, of which

$5,500,000 would go to the states, thusraising the amount available for each statearts council to $101,320. American Samoaand Guam received $65,000 each in bothfiscal 1971 and 1972, by statutoryrequirement.

The examples which follow provide onlya few illustrations of the many and diverseprograms carried out by state arts councils.

In the StatesIn West Virginia, seven actors, a musician,a director, a production manager, lightingand sound equipment, and a unit set werepacked aboard two small West VirginiaUniversity vans and set out on the back-roads of the Mountain State. In 20 days,the "Theatre-Go-Round" give 35 per-formances in 24 communities spreadacross the extreme boundaries of the state.Performing shows based on material drawnfrom folk-tales of the Appalachian region,the troupe played on courthouse steps, instreets, in state and city parks, on lawns infront of municipal buildings, in gymna-siums, concert halls, forest clearings, 4-Hcamps, and even, on occasion, in theaters.

"The program will continue," wrote EwelCornett, Executive Director of the WestVirginia Arts and Humanities Council. "Ithas become an integral part of the cur-riculum of the largest educational institu-tion in the state. It will become a trainingground for actors and technicians. Therepertoire is to expand in order to adjust toaudience level. General American folk-talesare to be included in the repertoire as wellas stories of the mountains. It will growand continue to travel West Virginiaroads."

In Wyoming, the discovery of primitive rockdrawings similar to the petroglyphs foundin Altamira, Spain, excited cowboys,ranchers, sheepherders, and scientists andprompted Dr. George Fisson of the Uni-versity of Wyoming's Department ofAnthropology to initiate a major project.Conducted with the assistance of HelenSchuster, an anthropologist, and MaryHelen Hendry, a member of the WyomingCouncil on the Arts, the project involves

locating the old rock drawings, cataloguingand preserving them, and finding methodsof taking rubbings or otherwise repro-ducing the pictorial images for public viewas well as scientific study.

The Bureau of Land Management, Forestand Park Services, State HighwayDepartment, Wyoming ArchaeologicalSociety, and private citizens have allhelped, providing expert personnel, guides,maps, and cliff-scaling expertise. A trav-eling exhibit available to schools, libraries,and other institutions is being prepared,and the State Archeological Society isplanning production of a film to be circu-lated to service clubs and other outlets toacquaint the public with the rock art of thestate and the need for its preservation.

In South Carolina, in an effort to presentlive theatre to people who have fewopportunities to see such productions, thestate Arts Commission organized a tour ofthe Henjorson-Davis Players of SouthCarolina State College in Orangeburg. Thegroup, which has won over two dozennational and international awards since1967, gave 25 free performances. Morethan 85 percent of the audience had neverbefore seen a live theatrical performance.Traveling by bus, the company of 20 actors,three technicians, and the director, stagedplays before 17,316 persons, of whom themajority lived in isolated rural communities.In South Dakota, a group of instructorsskilled in drawing, painting, sculpture, andcollage toured the state in a program forchildren arranged by the state Fine ArtsCouncil. Under the local sponsorship oforganizations such as recreation boards,community art groups, and service clubs,the four instructors and their supervisorremained for a full week in each commu-nity visited.

Work produced in the state-wide pro-gram formed an exhibit shown at the Whitelouse Conference on Children in Wash-

ington, D.C. in December 1976. Thecollection of paintings and drawings bychildren under the age of 14 from ruralareas of the state was later sent on tour bythe arts cou loll.

In Oregon, with the aid of a special grantfrom the Endowment, the state Arts Com-mission, developed "Transpostructure", aportable, collapsible open-air arts pavilionproviding about 2,000 square feet of roofed,wall-less area for outdoor exhibitions,demonstrations, puppet theatres, and otheractivities.

A grant from the New Jersey State Councilon the Arts helped establish a community-based, permanent crafts center in PetersValley, part of the Delaware Water GapPark Area. Plans for the center includethree major courses for 120 students andshorter courses for 200 others, permanenthousing for three resident craftsmen, roomand board for about 20 students, and theestablishment of a crafts shop for work ofhigh quality.

The Peters Valley Crafts Village, acrossroads hamlet in the 'mountains ofnorthwestern New Jersey, is expected tobe the site of a thriving professional craftscommunity and school center, a modelwhich might serve as an example forcommunities in other regions.In Nebraska, Omaha's Joslyn Art Museum,with the aid of a grant from the NebraskaArts Council, mounted an exhibition,"Looking West: 1970," which caused theart critic of the San Francisco SundayExaminer and Chronicle to write, onNovember 29, 1970, "You have to come toNebraska to see the most impressivesurvey of contemporary California art yetassembled under a single roof. 'LookingWest: 1970' fills five spacious galleries ...with 75 works by as many painters andsculptors whose names form a visualWho's Who of the California scene."Formed just six months before the end offiscal 1971, the American Samoa ArtsCouncil mounted two initial projects. Onewas a series of tapes of Samoan music,songs which tell of local history, legend,myths, and contemporary events. Withtranslations in English added, the tapescomprise a live archival record of thecustoms and history of the islands.

The other made possible the first artfestival presented in American Samoa, an

event held In conjunction with Samoa'sbiggest holiday, Flag Day, which celebratesthe first raising of the American Flag there,on April 17, 1900.

An exhibition of the work of inmates of theNew Mexico State Penitentiary, held in theoffices of the state Arts Commission,caused two professional artists to volunteerto donate a day a week to teach artclasses at the Penitentiary. The ArtsCommission gave a grant of $403 toProject Newgate, a federally funded highschool program at the Penitentiary, and aprofessional art class was begun. Sincethen two artist-inmates have been paroled.One earned an art scholarship to theUniversity of New Mexico and the other isworking part-time and going to college.Inmates of the Penitentiary are now creatingand marketing works of art.

The range of activities inspired and sup-ported by the Maine State Commission onthe Arts and the Humanities serves toillustrate the design and the utility of theidea of state arts councils as envisionedby Congress. In fiscal 1971 theCommission:

Gave grants to the Portland SymphonyOrchestra for general development, for itsFamily Series, its special low-price con-certs, and for its string quartet tours;

Helped the Portland Society of Art toestablish a program to further art educationin the area public schools and to hire acurator of education and an assistant in aprogram that developed a summer artschool for children;

Aided the Haystack Mountain School ofCrafts, an internationally known Maineinstitution which offered, for the first time,a summer crafts program for high schoolstudents;

Supported the production for television ofthe official sesquicentennial play, "Birth ofa Nation," the first original drama everproduced in Maine for television. The filmof the production was made available toeducational and commercial televisionstations and to the State Department ofEducation for distribution to schools;

Made grants to various museums, his-torical societies, libraries, and other publicorganizations to help in the care of objectsof value to the state;

Supported the Artists on Tour program,which made possible the services ofpainters, writers, musicians, filmmakers,craftsmen, and lecturers to groups orcommunities;

Brought to the state, Tony Montanaro, thepantomimist, who spent three-day resi-dencies in a number of communities and cfwhose work the Ellsworth American wrote:"If Mount Desert Island High School incooperation with the State Commission ofthe Arts and the Humanities can come upwith more cultural entertainment of the highcaliber and broad appeal of Tony Mon-tanaro's presentation of the al;rrie October14, we say more power to them. Give usthis sort of thing again and againthroughout the winter;"

Aided a dance program which broughtthe Boston Ballet Company and the Uni-versity of Utah Repertory Dance Theatre forperformances in the central area of thestate.

69

At the close of Fiscal Year 1972, theNational Endowment for the Arts hadreceived a total of more than $13 million inprivate and other non-federal donationsduring the seven years of its existence.This impressive record of non-federalgiving reinforces the validity of the conceptof federal-private partnership written intothe Endowment's legislation at its incep-tion.

The legislation establishing the Endow-ment includes a unique provision whichenables this federal agency to work inpartnership with private and other non-federal sources of funding for the arts.Designed to encourage and stimulate pri-vate funding for the arts, the Treasury Fundmethod of granting encourages non-federalcontributors to join the Endowment in thegrant-making process.

The Endowment's Treasury Fund consistsof funds appropriated by the Congresswhich are earmarked for use when gifts aremade to the Endowrner ources outsidethe Federal Governmer :n a donationis received and accepted, irees an equalamount from the Treasury Fund, and thedoubled amount is then made available tothe grantee, again on a matching basis.

The Endowment encourages use of theTreasury Fund method as a means ofproducing larger awards. The Fund is anespecially effective way of combiningfederal and private support, and is anencouragement to any potential donor,particularly of new sources of funds, forthe donor's $1 will create $4 in benefits(his $1 plus the Endowment's $1 plusthe grantee's matching $2). Endowmentprants generally fund only half the totalbudget of a project.

Gifts may be made to the Endowment forunrestricted purposes or for the specificsupport of a particular arts organizationsuch as a symphony orchestra, amuseum, a dance, opera, or theatre com-pany. Gifts may also be made to theEndowment for support of a particularprogram within the Endowment such asfellowships, conferences, and workshops.In the case of restricted gifts, either for a

specific organization or purpose, the rec-ommendation of the Council must first beobtained. Treasury Fund grants are subjectto the same rigorous professional evalua-tion process as all other Endowmentgrants, and generally are made only forpurposes which fall clearly within theEndowment's established program areas.

The Endowment is gratified by the con-tinued non-federal support for the arts asmanifested in the increasing number ofgifts made to the Treasury Fund for thebenefit of arts activities and organizationsin all regions of our country. It is withappreciation and pride that the Endowmentacknowledges the generosity of the FiscalYear 1971 and 1972 Treasury Fund con-tributors who are listed on the followingpages.

The Adolph's FoundationAkron Community TrustsHenry Albrecht FoundationThe Av lord FoundationAmerican Federation of MusiciansAmerican Security & Trust CompanyAmerican Society of Composers, Authors

and PublishersAMREP CorporationAlbert AppelThe Armand Hammer FoundationARTS Rhode IslandAlma Stewart BallingerMrs. Zlatko BalokovicW. N. Banks FoundationMrs. J. Breckinridge BayneThe Louis D. Beaumont FoundationBechtel CorporationMrs. Roland H. BeckerBeckwith Motors, Inc.Peter Be linMrs. G. R. BellJudson BemisThe Benjamin Family Foundation, Inc.Mr. and Mrs. Warner BentleyThe Bernhard FoundationMr. and Mrs. James BiddleBillirene FundBlinken Foundation, Inc.Eleanor A. BlissMr. and Mrs. Richard J. BlumMr. and Mrs. Herman BlumenthalThe Blythswood Charitable TrustEva H. BothwellMrs. Fredson BowersMrs. Frank BowdleMrs. Marie Graves BullockThe Bush FoundationLee D. ButlerElliot CadesThe, Morris and Gwendolyn Cafritz noun -

dationWilliam N. CafritzThe Calderwood Charitable FoundationCalifornia Theatre FoundationCAMELOTSylvia CarewcMeyer L. CasmanCatron, Catron & DonnellySelah Chamberlain, Jr.Champlain Oil Company, Inc.Paul G. Chancellor

Mrs. David Hyde ChickMrs. Cyrus S. ChingT. T. ChurchCincinnati Institute of Fin?, ArtsMrs. John F. J. ClarkW. A. ClarkeMrs. Wayne CollinsColumbia FundsBenjamin Cone, Jr.Edward T. ConeElizabeth W. ConeThe Corbett FoundationWomen's Committee of the Corcoran

GalleryH. E. Corrigan, Jr.Cortese, McGuire & Co.George A. CowanMrs. Gardner CoxMrs. Raymond E. CoxMr. and Mrs. Arthur U. CrosbyPhilip F. CroslandC. Lawrence CushmoreLloyd N. CutlerGeorges L. DapplesRalph K. DaviesDayton Hudson FoundationW. Cornell DechertMrs. John M. DimickJoseph L. Dowling, Jr.Mrs. Murray DraperMargaret W. Driscoll TrustJoseph N. DuCantoMrs. Thomas M. DuthieEastern Music Festival AuxiliaryKnight EdwardsMrs. Richard M. EhretRobert M. EichlerEldorado at Santa Fe, Inc.Elva Fund Inc.Roselyn Payne EppsEverett Opera GuildMrs, Philip B. FaheyPeter FaragoMr. and Mrs. Charles D. FieldMartin D. FifeFirestone FoundationCarl T. FischerCarl T. Fischer, Jr.Terry H. FischerThe 0. D. Fisher Charitable FoundationMrs, Eugene W. FiskeMrs. Horace Fleisher

Susan FleisherMr. and Mrs.. E. E. FogelsonEugenia FolliardThe Ford FoundationFortin Foundation of MortanaFoundation for Economic Aid to Strings,

Inc.Mr. and Mrs. Stanley FrankArthur L. FriedmanHy GarfinkelThe Honorable and Mrs. George A. GarrettMr. and Mrs. Cassius GatesGeneral Electric Company, Louisville,

KentuckyGeneral Motors CompanyGeorgia Power CompanyVirginia B. GerityDon H. GilesThe Giles FoundationPeter L. GilseyDavid GinsburgMrs. C. Leslie GlennGlens Falls National Bank and Trust

CompanyHerman GoldGolden Grain Macaroni CompanyC. Gerald and Barbara Goldsmith Foun-

dationMrs. Dean GordenMrs. Robert 0. GorsonMrs. E. Carleton GranberyCrawford H. GreenewaltS. T. Griswold & Company, Inc.George GundDr. and Mrs. Sven M. GundersenWalter and Elise Haas FundHalcyon Book ClubJohn Hudson Hall, Jr.J. V. HallettThe Luke B. Hancock FoundationMrs. Edward T. HarrisonHenry C. Hart, Jr.The Hechinger CompanyThe Sidney L. Hechinger Foundation,

Richard England and John W. Hechinger,Trustees

Mrs. Richard H. HellmannEstate of Blanche S. HenryHerald Press, Inc.Hess Foundation, Inc.The W. R. Hewlett FoundationRuth Hoffman

Robert L. HoguetMrs. Edward HchfeldMr. and Mrs. Sherman R. HuffineMrs. F. C. HutchensThomas H. IngleInternational Business Machines Corpo-

rationP. M. IsaacsMr. and Mrs. Jay JacobsThe JDR 3rd Fund, Inc.Jefferson Lines, Inc.Huth Elizabeth JenkinsThe Jimsomare FoundationDonald W. JudkinsKaiser ServicesThe J. M. Kaplan Fund, Inc.Jacob Epstein KatzUlysses KayMrs. Shaun Kelly, Jr.Kerry Investment CompanyMrs. John R. KielyRobert D. KilmarxMilton W. KingThe Kip linger Foundation, Inc.Mr. and Mrs. Hans A. KlagsbrunnMrs. Elizabeth L. KleeMr. and Mrs. Harold E. KohnJerome W. KomesDavid Lloyd KreegerSamuel H. K'ress FoundationH. H. KynettLado, Inc.Felicia LamportLan-Nor-Greene Foundation, Inc.James LawrenceE. Joseph Le BauerChristel Merz LeeMrs. Benjamin H. LehmanJ. H. LehmannElwood Leonard, Jr.The Lepercq FoundationMrs. William LescazeF. A. LeSourdRobert A. LevinElizabeth LichtMrs. William E. Lingelbach, Jr.Mr. and Mrs. Edmund W. LittlefieldJohn E. LittletonMrs. Demarest LloydMrs. H. Gates LloydMrs. John A. LoganLos Alamos Choral Society

The Mac Dowell Colony BenefitJohn W. MackayMrs. Paul MagnusonMrs. Alan MandellDr. and Mrs. A. Kelly Maness, Jr.Mrs. Guy MartinDr. and Mrs. Bernard MausnerMaya CorporationJohn A. McCarthy FoundationMarshall L. McCuneA. B. and Flavia McEachern Charitable

TrustLouise Trigg M7:KinneyRichard J. McManus, Jr.Faith B. Meem and John G. MeemMerola Memorial FundMerrill Lynch, Pierce, Fenner and Smith

Foundation, Inc.Eugene and Agnes E. Meyer FoundationMichigan Foundation for the ArtsMichigan State UniversityDale MillerMrs. Robert Watt MillerMinneapolis Star and Tribune CompanyWilliam H. Moennig, Jr.Robert E. MontgomeryEllen H. MooreHenry and Lucy Moses Fund, Inc.Moss Key-Rec Systems, Inc.Motion Picture Association of America, Inc.Stewart Rawlings MottMountain BeaMount Snow Development CorporationMr. and Mrs. Charles H. Muhlenberg, Jr.Mrs. Pat MunroeMurden and Company, Inc.James M. Murray, Jr.The National Bank of WashingtonNational Savings and Trust CompanyJohn U. or Evelyn Nef FoundationJanet Neff Charitable TrustRoy R. and Marie S. Neuberger Foundation,

Inc.New Court Securities Foundation, Inc.The New Hope Foundation, Inc.The New Mexico Opera Guild, Inc.Nirvana RestaurantThe Noble FundGerson Nord linger, Jr.Harold Norman FundNorthwestern FoundationGary Noss

Roscoe and Margaret Oakes FoundationOgden Charitable Trust FundGaylord W. OjersOlin Corporation Charitable TrustLucien E. OliverMae Z. OrvisI. A. O'Shaughnessy Foundation, Inc.Mr. and Mrs. Larry M. O'ShaughnessyAnderson A. OwenMaxwell OxmanPace Editions inc.Pacific Gas and Electric CompanyPalisades Foundation, Inc.Panwy FoundationHenry D. PaxsonGabriele P. PendletonMr. and Mrs. John PenninkPepsico Foundation, Inc..Mr. and Mrs. Karl PetersMr. Sheffield PhelpsCelia C. and David V. Picker FoundationPiper, -Jaffrey & Hopwood FoundationAnnabelle S. f-siperLachlan PitcairnMr. and Mrs. Michael PitcairnBernard R. PollockPONCHOJulian Price, IIPeter P. PrichettJohn M. PrielEleanora PurdyPutnam FoundationQuincy FoundationJudith S. RandalJohn Rao, Jr.Gertrude RedhefferReed Union School DistrictMrs. Charles Lee Reese, Jr.Retail Dry Goods Association of San

FranciscoRosalie ReviglioMrs. Walter E. Rex, Jr.Mrs. William E. RichardsonThe Frederick W. Richmond Foundation,

Inc.Stuart W. Rider, Jr.Ralph L. RiehleThe Renah Blair Rietzke Family FoundationRio Rancho Estates, Inc.Jean E. Roberts.Rockefeller Brothers Fund, Inc.The Rockefeller Foundation

The Martha Baird Rockefeller Fund forMusic, Inc.

Dr. Esther Katz RosenE. John Rosenwald, Jr.Mr. and Mrs. Lessing J. RosenwaldThe Rouse Company0. C. RowntreeSamuel Rubio Foundation, Inc.Sachs, New YorkNell a SacksSafeway Stores, Inc.Mrs. Charles M. SailorArthur K. SalomonBoard of Education, Salt Lake CityNaomi A. SandeSan Francisco Opera GuildSan Francisco Symphony FoundationSan Jose Unified School DistrictLila M. SapinsleyGwen W. SargentB. F. Saul CompanyGeorge S. ScheirerJames F. SchererS. H. and Helen R. Scheuer Family Foun-

dation, Inc.Jos. Schlitz Brewing CompanyMr. and Mrs. Peter G. Schmidt, Jr.Roslyn SchnaperHelen M. ScholzMrs. Hennes SchrollRuth H. SchumacherMr. and Mrs. S. Donald SchwabacherMrs. Winfield T. ScottMrs. Robbie M. ScreenSears, Roebuck and CompanyThe Sears-Roebuck FoundationSeattle Opera GuildWomen of the Seattle Opera Doard and

GuildMartin E. Segal & Company, Inc.Seder & De Cuevas Foundation, Inc.James R. Seitz, Jr.Shawnee Mission Unified School District

Number 512Mr. and Mrs. Robert E. SherDennis SherwinCarl L. ShipleyMrs. Daniel G. ShoupJulia F. SiebelMrs. Adrian SiegelRobert M. SilverMr. and Mrs. Leonard Silverstein

Ernest J. SimmonsSisler-McFawn FoundationArthur W. SloanJ. Seymour and Gertrude H. SloanSmith Cycles, Inc.Mr. and Mrs. Carleton D. SmithMr. and Mrs. Justin V. SmithPatricia S. SmithMr. and Mrs. Paul Roland SmithMr. and Mrs. W. Prescott SmithMr. and Mrs. Young M. Smith, Jr.Mrs. John L. SoellingSouthern Union Gas CompanyAnn R. SpencerArthur H. SpiegelSpringate CorporationSquibb Beeuh -Nut, Inc.J. I. StaleyMrs. Claud StanleyLoretta H. StermerHerbert M. SternRichard J. SternJohn P: Stevens, IllRoger L. StevensEaruce StewartThe Florence Louchheim Stol FoundationJohn StrausLevi Strauss FoundationHenry StrongMrs. Charles E. StuartMr. and Mrs. Lloyd SymingtonTaft, Warren & Taft, Inc.Robert B. TaylorTeledyne Charitable Trust FoundationThe Honorable Robert H. ThayerEileen W. TibbittsMrs. John TinkerCalvin K. and Doreen Townsend FoundationTransamerica CorporationElspeth M. UdvarhelyiUnion Free School District Number 1Union Pacific Railroad FoundationUnited States Steel Foundation, Inc.United States Trust CompanyTomas S. VanasekVancouver Funeral Chapel, Inc.Vancouver Rotary ClubMrs. Wynant D. Vanderpool, Jr.Vermillion Music ClubMr. and Mrs. C. Woods Vest, Jr.Vinmont Foundation Inc.Mrs. Charles P. Vogel

76 Chauncey L. WaddellMr. and Mrs. Thomas E. Wagg, IllArchie D. and Bertha H. Walker FoundationMr. and Mrs. Robert M. WalkerMrs. Samuel J. WalkerF. D. WardenMrs. Hempstead WashburneWashington Gas Light CompanyTne Paul L. and Phyllis Wattis FoundationAlec WaughMr. and Mrs. Charer, B. WebsterMarjorie Strong WE,-:".ieMrs. HermanWilliam L. WeinrodMr. and Mrs. Osby L. WeirRichard E. WelchMrs. C. Davis WeyerhaeuserSally W. IVII:teleyWhitfield CompanyE. B. b A. C. Whiting CompanyDavid F. WilliamsWilliamsville Music BoostersAudrey WilsonWinfield Baird FoundationFirst National Bank of WinonaWinona Junior High SchoolThe Winona Knitting Mills.Winona National and Savings BankGladys W. WinterSheila R. WitteMr. and Mrs. Walter L. WolfHerman WoukLucy B. WrightThomas G. WymanThe Wyomissing Foundation, Inc.Sidney A. and Helen S. YasgurYeilow Freight System, Inc.Maury YoungThe Zallerbach Family FundHarold and Doris Zellerbach FundMrs. J. a ZellerbachDr. and Mrs. Samuel ZieglerMrs. F. J. ZimmermannMr. Sidney Zlotnick

Con1ributot.s Fi3cal Year 1972

AAA Carpet MaintenanceAbalene Pest Control Service, Inc.Mrs. Robert T. AbbeMr. and Mrs. D. S. AbellDr. Bernard AbramsEmma AdlerThe Adolph's FoundationAHS FoundationAlbany Savings BankMrs. Alexander AlbertAlbuquerque National BankAlcoa FoundationMrs. Elizabeth D. AldenDr. and Mrs. Ellsworth C. AivordAmerace-Esna CorporationAMERCOAmerican Airlines, Inc.American Electric Power Service Corpo-

rationAmerican Express FoundationAmerican Federation of MusiciansAmerican Society of Composers, Authors,

and PublishersMrs. Amyas AmesMrs. Ruth H. AndersonIsaac ArnoldKatherine B. ArrottArt Commission, City and County of San

FranciscoThe Arts and Education Council of Create!'

St. LouisThe Austin Company FoundationMrs. Charles R. AustrainMrs. Milton AveryAviat'on Road Development CorporationDr. Alexander AvrinMrs. Joseph W. BachLows BachmanMrs. Lucy L. BackstromRichard C. BackusE. rruoe BaetierBaker, Watts & Company Foundation, Inc.The Baltimore Life Insurance CompanyThe Baltimore Radio Show, Inc. (WFBR)Courtlandt D. Barnes, Jr.Mr. and Mrs. Richard BartlettDr. and Mrs. Arnold M. BaskinMr. and Mrs. Frank BatemanThe Howard Bayne FundMrs. Gerald BeanEdgar W. BeckmanMrs. Lyman A. Beeman

Mrs. Claude BelcourtAlbert G. BellosBemis Company FoundationThe Benjamin Family FoundationMrs. Nan BennettEliot S. BerkleyMr. and Mrs. Jerry BerkowitzGerald BerlinT. Roland BernerSimon Michael BessieMrs. Marie BicktilhauptJames Bidci,eDr. and Mrs. Jo.yiph S. BiermanDr. and Mrs. Harry B. BinderDr. and Mrs. James F. BingLouise and Sheldon BinnsStephen T. BirdsallDr. and Mrs. William L. BitnerBlessed Sacrament School P.T.A.Blinken FoundationBlue Water ManorMr. and Mrs. Richard J. BlumBoard for Utah Symphony SocietyBodine's Inc.Mrs. Joseph H. BolandMrs. Dorothy W. BowdenMrs. Jean S. BradfordWilliam 0. BradleyMrs. Leland S. BriggsMrs. Reid R. BriggsBrigham Young UniversityMr. and Mrs. John A. BrillingV. M. Brinckeroff, IIIThe Bristol-Myers FundMrs. Jack W. BrockhouseDr. and Mrs. William S. BronkSally M. BronkAlex Brown & SonsGraham BrownMr. and Mrs. Hubert C. BrownMrs. Morris E. BrownBrown-Strauss CorporationMr. and Mrs. Willard W. SownMrs. Albert C. BruceHelen A. BuckleyThe Buhl FoundationJohn S. BullM. Louise Burguieres FoundationWilliam T. Burnett & Company, Inc.Mr. and Mrs. Harold P. C. BurrellMrs. Robe!: BusseHaler L. Cackoner

77

Calvert Trust for Mrs. Ruth Crary YoungCAMELOTThe Campbell Foundation, Inc.Charlton G. CampbellR. McLean CampbellMrs. John W. CanadayDavid H. CanfieldBeekman C. CannonWilliam J. CaponeMrs. William R. CaponeRobert L. CarruthersMary Flag ler Cary Charitable TrustRichard W. CaseCedar City Arts CommitteeCedar City Music Arts AssociationChamplain Oil Company, Inc.Anne R. ChapinDavid ChapmanMrs. Frederick B. ChapmanA. Austin CheneyChestnut Hill Parent Teacher AssociationChicago Lyric Opera FoundationChicopee Manufacturing CompanyChrysler Corporation FundCincinnati Institute of Fine ArtsThe Cincinnati symphony Oro'nestraElaine ClarkMrs. Howard ClarkThomas R. ClarkDr. and Mrs. E. Yale ClarkeThe Cleveland Chamber Music SocietyThe Cleveland FoundationThe Cleveland Institute of Music Alumni

AssociationCleveland Trust CompanyHelen G. CoatesAlexander S. CochranHenry A. CohnRuth lit CollinsMrs. Palmer K. ColsonColt industries, Fairbanks Morse Weighinn

Systems DivisionColumbia FundsCommunity Projects, Inc.John ConnellMary L. ConnorConsultants, Inc.Mrs. Marilyn R. CookSusan K. CookMr. and Mr:. Parker E. CookMr. and Mrs. Per CooksonMrs. Bettie Minnette Coop. r

Margaret K. CooperAaron CoplandHerman CopenThe Corbett FoundationSteven K. CornwellRichard K. CotantGeorge R. CoughlanMrs. Gardner CoxCrocker National BankMrs. F. S. CroftsJames CronkhiteMr. and Mrs. Hume CronynThe Cross Foundation, Inc.The Crowell Collier and MacMillan Foun-

dationEdward P. CurtisMr. and Mrs. Lewis P. CurtisG. Ripley CutlerC. V. Literary Clue and Beta Sigma PhiMrs. S. Hopkins DamonGeorge H. DapplesMrs. Justin DartMrs. Eugene A. DavidsonGeorge I. DavisMr. and Mrs. Nathanial P. DavisDavid J. DawsonDayton Hudson FoundationMr. and Mrs. Jerrold W. DeanGabriel Marcel lo DellAnthony V. De MayoDenver Elementary SchoolDr. Francis X. DeverMrs. Dudley DiggesDistrict Employees One Fund DriveThe D.J.B. FoundationJason and Debby DlugaczSally DodgeDoll Foundation, Inc.The Robert Dollar CompanyMrs. John H. Dor!onChristopher J. DorseyMr. and Mrs. Charles DreyerMorris E. DreyfusThe Driscoll FoundationJoseph N. Du CantoMr. and Mrs. Stephen P. Duggan, JrThe H.A.B. Dunning Foundation, Inc.Henry DuqueDysart Elementary SchoolEastman Dillon, Union Securities and Co.

Foundation, Inc.Eaton Corporation

Paul A. Ebbs, Jr.Dr. and Mrs. C. R. EisenhartMr. and Mrs. Reginald D. EllisHerbert R. ElsasElsmere Foundation, Inc.Florence C. and Harry L. English Memorial

FundHenry D. and Dasha A. Epstein FoundationThe Equitable Trust CompanyErie Elementary SchoolMilton H. Esberg, Jr.Mrs. John W. EustanceRichard 'EverettMr. and Mrs. John E. FagelSeth S. FaisonWashington Falk, IIIMrs Dolores FalkensteinChuck FantiFidelity and Deposit Company of MarylandMiriam G. FieldSampson R. FieldFinch, Pruyn Foundation, Inc.Beatrice B. ':inkJack M. Fire3toneFirst Maryland FoundationFirst Minneapolis FoundatiOnThe First National Bank of AlbuquerqueFirst National Bank, Gib:1S Falls, New YorkFirst National Bank of OregonFirst Security Bank of UtahGramma Fisher FoundationJ. Robert FisherW. H. FisherGina FitzhughMr. and Mrs. Albert A. FlaccoeDr. and Mrs. Thomas V. FlanaganGeorge FlintFMC CorporationAnne C. FoleyEleanor Clay Ford FundMr. and Mrs. Thomas I. FordFor:most-McKesson Foundation, Inc.Linda FosburgLawrence Fox FoundationThe Jacob and Annita France Foundation,

inc.Bertram A, FrankCharles R. FrankMr. and Mrs. Richard E. FraschPatricia R. FreebetnMr. and Mrs. H. Gordon FreemallJulia P. Fremon

Robert C. FrenchIrwin FreundlichLydia B. FriedlanderBernard H. FriedmanFriends of MusicMr. and Mrs. Alfred FrommFr mm Mus;c FoundationMr. and Mrs. Peter E. FuerstOrpha GardnerMr. and Mre Cassius E. GatesGeneral Signal CorporationKoert and Joan GerzonSue G. GibsonHugh W. GilbertLouis GilbertGilmer Lectures, TrusteesGimbel Saks Foundation, Inc.Dr. and Mrs. Irwin GinsbergGail M. Gird lerMrs. Dorothy GlassGlens Falls National Bank and Trust Com-

panyGlens Falls Portland Cement CompanyMr. and Mrs. Edwin P. GobleDr. and Mrs. Stanley M. GoldbergMorris GoldeGolden Grain Macaroni CompanyThe Goldman Sachs FundAnn L. GoldsmithMr. and Mrs. David GoldwasserMrs. Harriet W. GoodmanMr. and Mrs. Frank X. GossOliver R. GraceGreat Western Savings and Loan Asso-

ciationThe Irvin Grief Foundation, Inc.The S.T. Griswold-Eshleman CompanyMrs. Dorothy Haverty GroveJulian GumperzThe George Gund FoundationMrs. Aline D. GunzbergJames K. GuthrieJoseph F. HaasWalter and Elise Haas FundJ. J. Haines and Company, Inc.Mrs. John V. HallettMrs. George HamelinE. Reginald.HancockJohn HanesC. Edward Hansa IIJames C. and Emily P. Hama!'Mr. and Mrs. Sheldon Harnick

7 9

James Berton HarrisMrs. Lucie King HarrisMr. and Mrs. Robert C. HarrisMrs. Stephen F. HarrisConrad B. HarrisonFrank D. HartensteinHarvard Business School Club of ClevelandElizabeth K. HarveyRobert D. H. HarveyCharles HatcherDr. John Rhodes HavertyRobert E. HayWilliam Randolph Hearst FoundationThe Moses H. and Blanch H. Hecht Foun-

dationThe Hecht-Levi Foundation, Inc.Mr. and Mrs. Robert E. D. HeckmanHoward Heinz EndowmentBen HellerWilliam Heller, inc.Mr. and Mrs. Marco F. HellmanMr. and Mrs. Richard H. HellmanBarbara IL. HennigLowell C. HenryMargarot HenryDr. and Mrs. R. L. HenryHercules IncorporatedMrs. Leonard S. HerzigThe W. R. Hewlett FoundationRichard HsxterHeyman-Wolf FoundationMrs. Nellie HigbeeDr. Rebecca B. HildebrandLouis W. and Maud Hill Family FoundationHobbs FoundationJ. E. HoeftMr. and Mrs. C. Beecher HoganMrs. J. .Robert HoganFrank HolleyHelen HollingsworthHoneywell FundMrs. Wolcott n HookerThe Hope FoundationMrs. Stephen J. HopkinsTvIr. and Mrs. Jack H. HowFlorence Powel HowardMrs. Thomas Carr HowePeter HuangMrs. Hert.,Ftrt HudnutMr. and Mrs. Cherman R. HuffineHuman Resources Center AuxiliaryRichard Humphrey

I.M.M. Charities, Inc.Indianapolis Public SchoolsDa,,id IngallsIntLoational Business Machines

CorporationInternational Paper CompanyMr. and Mrs. James D. IrelandR. L. Ireland, IIIThe Irvine FoundationHorace IrvineHorace H. Irvine, IIMrs. Thomas E. IrvineThe William G. Irwin Charity FoundationLionel S. JacksonMrs. Rulon A. JacksonMrs. Frederick JacobiBradford McE. JacobsMolly Bruce JacobsMrs. Jeanne JacobsonMrs. John B. JamisonJefferson Lines, Inc.A. Lynn JensenJohnson & Johnson Research LaboratoriesArthur S. JohnsonMrs. Gordon K. JohnsonRobert S. JohnsonMrs. a.id Mrs. George F. JonesThe J.S.O. Foundation, Inc.H. Wayne JudgeDonald W. JudkinsJuilliard Musical FoundationJunior League of Portland. OregonMr. and Mrs. Lawrence J. Kantrowitz and

FamilyMrs. Felicia Lamport KaplanGilbert E. KaplanThe J. M. Kaplan Fund, Inc.Mr. and Mrs. Frank A. KaufmanMrs. Seymour A. KaufmanEdgar J. Kaufmann FoundationSteven N. KaufmannAlbert Keidel, Jr.Edward P. KelleyDr. and Mrs. Shaun Kelly,Kennecott Copper CorporationThornton KennedyFrederick J. Kennedy Memorial FoundationThe Kercher Foundation, Inc.Mr. and Mrs. Albert S. KerryThe Kerry Foundation, Inc.Mr. and Mrs. Ralph E. KieneSylvia L. Kimbal

Jean KingMrs. John T. King, Jr.J. W. KircherDorothy KirstenKiwanis Club of Lansing, Inc.Louise KjellstromEdwin F. KnoblockMrs. William F. KnudtsenStanley Ki llinKoppers Company, Inc.David Lloyd Kreoger Charitable FoundationThe Mathilde and Arthur B. Krim Founda-

tion, Inc.Mrs. Eleanor G. KubieI. L. KunianSamuel L. KurlandOliver A. LaaksoZchra LampertMrs. Roy LamsonMr. and Mrs. G. H. LangeSidney Lansburgh, Jr.Mr. and M. Robert P. LarsonDr. C. V. Latimer, Jr.La Veen Elementary SchoolL.A.W. Fund, Inc.Mouzon LawMr. and Mrs. Theodore N. LawH. R. LawsonMrs. Helen Sperry LeaThe Lebensfeld FoundationMrs. D. Veola LedererMr. and Mrs. Halfdan LeeMrs. Henrietta de S. LehmanThe Lemberg Foundation, Inc.H. Elizabeth LenzStewart L. LeonardThe Lepercq FoundationMr. and Mrs. F. A. LeSourdThe Edgar M. Leventritt Foundation, Inc.The Benjamin and Charlotte D. Levin

Charitable TrustLevi Strauss FoundationThe Leviton Foundation, Inc.Arthur Levitt, Jr.Eli Lilly and CompanyLions Club of Glens FallsNathan LipsonElizabeth O'C. LittleDavid G. LivingstonFrederick R. LivingstonMrs. Helen Gates LloydMr. and Mrs. Frederick W. Lord

Mr. and Mrs. Jack JordanLos Angeles County Music and Performing

Arts CommissionMrs. Ian 7.. LoudenG. Nel6on LoweMrs. Edward G. Low)Charles Craig LucasMary Virginia LucasSalem LudwigHarold LundstromMrs. Reuben L. LurieValtin H. LustRobert P. LyonsMrs. 3etty Myers McAllisterMrs. M.L.M. Mc CahillJohn A. McCarthy FoundationMr. and Mrs. Robert E. McCarthy, Jr.Mc Cone FoundationMcCormick & Company FundLouise Trigg McKinneyEdward McSweeneyRanald H. MacdonaldThe Mac Dowell Colony BenefitMrs. Dale MadsenMrs. Leon MagidMrs. Paul B. MagnusonThomas and Constance MahoneyLewis Mani lowWilliam L. MarburyWalter MarchandDoris K. MarcuseMrs. Ernest D. MarianiMarsh and McLennan Foundation, Inc.Edgar W. MartinMaryland Casualty CompanyThe Maryland National BankMrs. Floyd S. MasonDr. Theodore B. Masse IIRoscoe C. tvlastermanElizabeth Ring Mather and William Gwinn

Mather FundMrs. Flager MatthewsMaury Donnelly & Parr, Inc.Helen and Leo Mayer Charitable TrustMrs. Cynthia MazerCarroll. W. MeadEdgar N. MeakinElinor H. MeansMr. and Mrs. William C. MearsMrs. Thomas E. MeathMedusa FoundationJohn and Faith Meem

Ben MeiselmanMelanol Foundation, Inc.Barbara Ellen MelserRichard MenschelMercantile-Safe Deposit & Trust CompanyMerola Memorial FundCharles E. MerrillThe Charles E. Merrill TrustMrs. Rowland H. MerrillThe Metropolitan Opera Guild, Inc.James MetzlerKlaus H. MeyerMeyerhoff Fund, Inc.The Miller Fund, Inc.Dr. and Mrs. Edd hei ierRichard K. MillerThe Mission FundDonald T. MoellerMonsanto FundMontgomery, Federici, Andrews, Hannahs &

MorrisLynn MontgomeryCharlotte MooreMr. and Mrs. John B. MooreMonumental CorporationRita MorenoThe h.ilorrow FoundationMrs. Richard C. MorseHenry and Lucy Moses Fund, Inc.Albert and Rosemond A. Moss FoundationMrs. Anne K. MossMount Snow Development CorporationThe Muller Fund, Inc.Herman E. Muller, Jr.Francis D. Murnaghan, Jr.Mrs. Michael G. MurrellMusic School FoundationMusicians of the Milwaukee Symphony

OrchestraMrs. Paul N. Myers, Jr.Gregory B. NashNational Music Publishers' Association, Inc.Mrs. Bernard N. Neal, Sr.Janet Neff Charitable TrustJohn M. Nelson, IllJohn M. Nelson, Jr. FoundaticnRoy R. and Marie S. Neuberger Foundation,

Inc.Nevada National Ice and Cold Storage

CompanyTheodore M. Newcombf he New Mexico Opera Guild, Inc.

The New York Community TrustMartha J. Nicklin.Carl NiemeyerNorcliffe FundRoderick H. NordellErma L. NordquistGary NossRoscoe and Margaret Oakes FoundationTerence G. O'BrienEdward P. and Ella R. O'ConnorOgden Symphony GuildOgilvy & Mather, Inc.Mar, H. O'KeefeMr. and Mrs. John E. OlenikOlin Corporation Charitable TrustOpera Associates of the Music CenterMrs. Monroe OppenheimCarl N. Osborne

A. O'Shaughnessy FoundationRichard N. OsterLouise L. Ottinger Charitable TrustThe Overbrook FoundationPacific Gas and Electric CompanyDr. Bernard H. PaleyDr. Walter PalmerParent Teacher Organization, Siebert

SchoolThe Martin Paskus Foundation, Inc.Patrons of Northwest Civic, Cultural, and

Charitable OrganizationsNorman Holmes PearsonPeat, Marwick, Mitchell, and Co.Francis A. PelosoPendergasit SchoolCharles R. PenneyThe Penton Publishing FoundationPepsico Foundation, Inc.Performing Arts Council of the Music

CenterMr. and Mrs. Henry Ten Eyck PerryPeterborough FoundationMrs. Eleanor PetersAnthony PezzulaPHH Foundation, Inc.Mr. and Mrs. Sheffield PhelpsPhoenix Clearing louse AssociationDavid V. PickerCelia C. and David V. Picker FoundationMrs. Homer PiperMrs. Ann F. PoindexterKate Mullin PollockPortland State Bank, Texas

Stanley Powell, Jr.David A. PragerDr. and Mrs. David S. PriceT. Rowe Price & Associates, Inc.Mrs. Margaret PrimeMrs. Robert PrischQueensbury Hotel and Motel InnThe Rall Foundation, Inc.Mrs. Judith S. RandalFrancis F. RandolphMr:id M. RankinMrs. Marie S. ReaMrs. oack ReeceNell Quilan Reed FoundationReginstein FoundationReliance Electric Company Charitable,

Scientific and Educational TrustRetail Dry Goods Association of San

FranciscoDr. and Mrs. Raymond L. RhodesRicnard H. RichWalter H. and Marjorie M. Rich Memorial

FundMrs. Margaret RichardsMrs. G. La Mont RichardsThe Frederick W. RichmonZI Foundation,

Inc.Ralph L. RiehleRuth E. Rink linRist-Frost AssociatesMrs. Jack RobertsonJames D. RobertsonDavid V. RobisonThe Martha Baird Rockefeller Fund for

Music, Inc.Mr. and Mrs. Paul F. RombergRosarita Mexican Foods CompanyRose AssociatesHenry and Ruth Blaustein Rosenberg

Foundation, Inc.David and Anne Rosenthal FoundationMrs. Syrille RosmanRandolph S. RothschildThe Rouse CompanyDr. and Mrs. William RoweMr. and Mrs. Aaron M. RubinNorton A. RussellThe Sachs Foundation, Inc.Sachs, New YorkRichard C. SachsNell G. SacksMrs. Robb Sagendorph

SakowitzGene SaksArthur K. SalomonAlexander SandersonSan Francisco Opera GuildSan Francisco Symphony FoundationSan Jose Unified School DistrictSavings Bank of BaltimorePhilip A. SchaeferThe Scherman Foundation, Inc.Thomas K. SchermanS. H. SchauerRuby SchinasiSchlage Lock CompanyMr. and Mrs. Peter G. Schmidt, Jr.Schmitt Music CompanyMrs. Nathan SchnaperMrs. Janos ScholzMr. and Mrs. Kent SchroederMrs. Maud Hill SchrollJames H. SchwabacherThomas J. ScottMrs. Eleanor M. ScottMrs. Winfield T. ScottScripps CollegeThe Josephine Stedem Scripps FoundationMrs. Paul T. ScullJoseph E. Seagram & Sons, Inc.The Sears-Roebuck FoundationSeattle Charitable OrganizationsSeattle Opera Endowment TrustSeattle Opera GuildMrs. Frank SeaverMartin Segal & CompanyZella B. Se !denEthylni J. SeligmanSelkirk Hardwick, Inc.Elizabeth E. SextonShapirc Brothers Charitable Foundation,

Inc.Sharcar, Inc.Shell Oil CompanyMrs. Olga N. SheldonChar line and Thomas ShelleyMrs. Shih Chang ShenThe Shemiin-Williams FoundationRosamond SherwoodSam S. Shubert Foundation, Inc.Mrs. William A. ShurcliffMrs. Frances L. SiegelMrs. Virginia Cowan SimmonsRobert E. Simon, Jr.

Rev. and Mrs. Walter J. SkellieMargo SkinnerTed SkinnerMrs. Betty SlegmanJ. Seymour and Gertrude H. Sloan Foun-

dation, Inc.Smith, Currie & HancockMrs. David SmithMrs. Ferdinand SmithG. Maynard SmithMrs. Harvey H. SmithMrs. Homer C. SmithMrs. Justin V. SmithSammy SmithMr. and Mrs. W. Prescott SmithJames T. SobyMr. and Mrs. Gerald SolomonMr. and Mrs. Joseph L. SolomonSonnenblick-Goldman CorporationMrs. Louis SoslandRobert B. SourSouth Dakota Department of Public

InstructionMrs. Otto L. SpaethMaurice R. SpearElizabeth SpeigleLeonard M. Sperry, Jr.Arthur H. SpiegelSpokane FoundationMrs. Winifred J. SpradlirigSpringate CorporationSquibb CorporationDe lance W. SquireJ. I. StaleyDr. and Mrs. Frederick J. StareMrs, Richard StareThe Starr FoundationMrs, Raymond StarrLouis Dee Statham FoundationWilliam A. StensonJoseph SternRobert A. M. SternRoger L. StevensNathan StillmanMilan StittThe Aaron Straus and Li Ili? Straus Foun-

dationJohn W. StrausOscar S. StrausMrs. Charles E. StuartEva S. Stubbs _

Dr. Virginia M. Stuermer

The William Mathews Sullivan MusicalFoundation, Inc.

R. L. Sweet Lurk sler CompanyMr. and Mrs. Robert TaftFrank E. Tap linTension Envelope FoundationAaron ThalLucius E. ThayerJudith S. Thomas FoundationDr. and Mrs. William H. ThomasMr. and Mrs. Kent L. ThompsonDr. Gary To lboeToreson Elementary School, Unit 1Transamerica CorporationThe Charles Irwin Travel li FundMrs. Michael TreshowEdward J. TrimbeyRoger J. TrimbeyMr. and Mrs. Hardy W. TrolanderTuba City. High SchoolRichard E. TullisMrs. Christopher TunnardDouglas C. Turnbull, Jr.Mrs. Edward L. TurnerDr. and Mrs. George B. UdvarhelyiThe Union Commerce BankUnion Elementary District No. 62Uniroyal FoundationThe United Arts Council of Puget SoundUnited States Fidelity and Guaranty Com-

pany .

United States Trust Company of New YorkThe University of Buffalo Foundation, Inc.The University of RochesterJohn Urban.Utah International Inc.C. Jordan VailValley National BankHendrick C. Van NessVanSant, Dugdale & CompanyPorter W. Van ZandtMr. and Mrs. Alan C. VedderMrs. Roseanne VeigaMrs. Arthur E. VershbowVinmont Foundation, Inc.Mr. and Mrs. C. L. WadeHudson D. WalkerMrs. Dorothy WallaceMrs. Polly 0. WallaceLila Acheson Wallace Fund No. 2Eli WallachKathryn S. Walsh

Mr. and Mrs. Arthur WardenMr. E. R. WardwellMr. and Islas. Harold L. WarnerWhitney WarrenDr. Lyvonne Mackel WashingtonRobert Denny WattThe Paul L. and Phyllis Wattis FoundationWBAL-TV (Baltimore)Ormon WeightLeslie E. WeinerMilton WeinsteinMrs. Katherine G. WellsDr. and Mrs. Jesse WernerMrs. Robert Nias WestE.B. and A.C. Whiting CompanyJohn Hay WhitneyMr. and Mrs. Raymond WilesMrs. Maclean WilliamsonR. Gerald Wilsse, Jr.Mrs. Carolyn R. WilsonClark K. Wilson, Jr.Mr. and Mrs. Alexander WinnickGladys W. WinterHwr ..%on L. WinterMn. o Harrison L. WinterWomen's Association Minnesota "Wamso"Women's Board of the Peabody InstituteWomen's Federal Savings and Loan

AssociationWomen's Guild of the Greater Miami

Philharmonic Society, Inc.Woodcrest Organization of Parents and

TeachersMelle WoodMrs. Marjorie W. WoodsWooiford FoundationMrs. E. R. WordwellDouglas P. Wright

Ella Wyman & Thomas G. Wyman Trusteesof the Ella Wyman "C" Trust

Mr. and Mrs. Sidney A. YasgurYellow Freight System, Inc.Young Audiences, Inc., Baltimore ChapterJudge and Mrs. Joser,:i H. YoungMrs. Milton S. YountMrs. Eugene P. ZeemanThe Jcseph M. Zarnoiski CompanyThe Zellerbach Family FundHarold and Doris Zellerbach FuniMrs. James D. ZellerbachZephyr Cove Elementary SchoolDr. and Mrs. Dewey K. ZieglerZions First National Bank, Payson, UtahZions First National Bank, Provo, UtahZions First National Bank, Spanish Fork,

Utah

Fiscal 1966

CP;;;:; Cif

Authorization

E.0 ':273

Appropriation 2

National Program Funds $ 5,000,000 $ 2,500,000Federal Funds to match private donations 2,250,000 34,308(Subtotals) (T. 7,250,000) ($ 2,534,308)Fiscal 1967National Program Funds $ 5,000,000 $ 4,000,000Federal-State Partnership Funds 2,750,000 2,000,000Federal Funds to match private donations 2,250,00:3 1,965,692(Subtotals) ($10,000,000) ($ 7,965,692)Fiscal 1968National Program Funds $ 5,000,000 $ 4,500,000Federal-State Partnership Funds 2,750,000 2,000,000Federal Funds to inatch private donations 2.250,000 674,291

(Subtotals) ($10,000,000) ($ 7,174,291)Fiscal 1969National Program Funds $ 6,000,000 $ 3,700,C00Federal-State Partnership Funds 2,000,000 1,700,000Federal Funds to match private donations 3,375,000 2,356,875(Subtotals) ($11,375,000) ($ 7,756,875)Fiscal 1970National Program Funds $ 6,500,000 $ 4,250,000Federal-State Partnership Funds 2,500,000 2,000,000Federal Funds to match private donations 3,375,000 2,000,000(Subtotals) ($12,375,000) ($ 8,250,000)Fiscal 1971National Program Funds $12,875,000 $ 8,465,000Federal-State Partnership Funds 4,125,000 4,125,000Federal Funds to match private donations 3,000,000 2,500,000(Subtotals) ($20,000,000) ($15,090,000)Fiscal 1972National Program Funds $21,000,000 $20,750,000Federal-State Partnership Funds 5,500,000 5,500,000Federal Funds to match private donations 3,500,000 3,500,000(Subtotals) ($30,000,000) ($29,750,000)Fiscal 1973National Program Funds $28,625,000 $27,825,000Federal-State Partnership Funds 6,875,000 6,875,000i-"ederal Funds to match private donations 4,500,000 3,500,0003(Subtotals) ($40,000,000) ($38,200,000) 3

Total Federal Funds Authorized $141,000,000

Total Federal Funds Appropriatedto the Endowment $116,721,166 3

Total Private Donations 16,548,548 3Total U.S. Office of Education Transfersas of June 30, 1972 1,000,000National Museum Act Funds Transfer 100,000

Total Available for Obligation $134,369,7143

1 Budget ceiling originally set by Congress.2 Funds actually made availably., by Con-

gress.

3 Final total depends on amount of dona-tions received and accepted.

Surdmary c f Grants 0 bligate_-d Fiscai Year

Architecture +Environmental Arts $178,681Environmental DesignProgram

The Amerivan Society of Li %dscapeArchitects Foundatic.::,Washington, D. C.

Architectural Foundation ofNorthern California,San Francisco

The Arts Council of GreaterNew Haven, Inc., Connecticut

James Bock, Cambridge,Massachusetts

Richard P. Dober, Cambridge,Massachusetts

Paul S. Dulaney, Greenwood,Virginia

Donald W. Evans, Washington,D. C.

Jack P. Freeman, Brooklyn,New York

Barrie B. Greenbie, Amherst,Massachusetts

Arnold G. Henderson, Norman,Oklahoma

Carl !noway, Salt Lake Cify, UtahWilliam M. C. Lam, Cambridge,

MassachusettsThe Philadelphia Architects

Charitable Trust, PennsylvaniaSherwood B. Stockwell,

San Francisco, CaliforniaTuskegse Institute, AlabamaJames H. Tyner, New York,

New YorkMyles Weintraub, New York,

New YorkChi K. Wong, Philadelphia,

Pennsylvania

General ProgramsAmerica the Beautiful Fund of the

Natural Area Council, Inc.,Washington, D. C.Massachusetts Institute ofTechnology, Cambridge

Robert R. Nathan Associates, Inc.,Washington, D. G.

G. E. Kidder Smith, New York,New York

University of Pennsylvania,Philadelphia

Student Travel Awards(carry-over from 1970)

William Harvey. Bolding, Jr.,Norman, Oklahoma

David Friedman, Pittsburgh,Pennsylvania

Gordon W. Whirry, Bozeman,Montana

110,000

10,000

4,500

9,400

5,000

1,000

5,000

4,900

4,200

4,000

5,0005,000

1971

TRW5T61).1 87

DanceCommissioning

$1,251,170392,950

7 Choreography Fellowships 146,2505,000 Merce Cunningham, Brooklyn,

New York 11,49610,000 Eliot Feld, New York, New York 12,800

Kazuko Hirabayashi, New York,4,500 New York 8,740

18,900 Hanya Holm, New York, New York 8,640Richard Kuch, New York, New York 6,660

7,100 Mich Lopuszanski, Upper Darby,Per, ilvania 8,740

5,000 Murray Louis, New York, Now York 10,200Meredith Monk, New York,

2,200 New York 10,300Alwin Nikolais, New York.

New York 12,800Carl Ratciiff, Liburn, Georgia 4,900Rod Rogers, New York, New York 9,700Anna Sokolow, New York,

New York 10,400Paul Taylor, New York,

New York 10,720Twyla Tharp, New York,

New York 7,700Antony Tudor, New York,

NJw York 8,914Martha B. Wittman,

Leinington, Vermont 3,5401,500 Production Challenge Grants 246,700

Foundation for Ame; ican Dance,500 Inc./City Center Joffrey Ballet,

New York,, New York 113,400OO City Center -of Music and Drama,

Inc./New York City Ballet,500 New York, New York 133,300

66,481

25,000

2,000

1,281

12,500

25,700

Support for Institutions 126,500Association of American Dance

Companies, New York,New York

Brooklyn Academy of Music,New York

Dance Notation Bureau, Inc.,New York, New York

Hampton Cente? of ContemporaryArts, Inc./Jose Limon CanoeCompany, New York,New York 15,000

Directors of Development 12,500Foundation for American Dance,

I.1c./City Center Joffrey Ballet,New York, New York 12,500

Touring 693,480American Dance Foundation,

Inc./American Ballet Company,New York, New Y0,1(

Foundation for Ameriran Dance,Inc./City Center JcffreyBallet, New York, New York

Martha Graham Center ofContemporary Dance, Inc.,New York, New York

Coordinated ResidencyTouring Program 330,480

Maine State Commission on theArts and Humanities 45,500

Maryland Arts C uncil 48,200Minnesota State Arts Council 20,960North Carolina Arts Council 34,820Ohio Arts Council 94,500Oklahoma Arts and Humanities

Council 15,400Utah State Institute of Fine Arts 71,100

Workshops 38,240Connecticut College (Summer

1970), New London 9,000Connecticut College (Summer

1971), New London 10,000National Association for Regional

Ballet, New York, New York 19,240

Education. $571,831Artists-in-SchoolsProgram 426,831

Dance 93,333Alabama State Council on the

Arts and Humanities 18,000Ohio Arts Council 42,333Oregon Arts Commission 13,500Commonwealth of Pennsylvania

Council on the Arts 19,500Film 92,508Alaska State Council on the Aris 10,000Arkansas State Arts and

Humanities 10,000

25,000

39,00U*

35,000

63,010*

250,000*

50,000

*Treasury Fund

,tNtA.

N nriamone!ECenter for Understanding Media,

Inc., New York, New York 62,508Nebraska Arts Council 10,000

Music 26,300Affiliate Artists, Inc., New York,

New York 26,000Affiliate Artists, Inc., New York,

New York 300

Poetry(listed under Literature)Theatre 25,000Minnesota State Arts Council 25,000Visual Arts 183,000Alabama State Council on the

Arts and HumanitiesConnecticut Commission on the

ArtsDistrict of Columbia Commission

on the ArtsHawaii State Foundation on

Culture and the ArtsIndiana State Arts CommissionIowa State Arts CouncilKansas Cultural Arts CommissionLouisiana Council for Music and

the Performing Arts, Inc.New Mexico Arts CommissionOhio Arts CouncilOregon Arts CommissionSouth Carolina Arts CommissionTennessee Arts CommissionWashington State Arts

CommissionWest Virginia Arts and Humanities

CouncilFellowships for Summer

Workshops

12,200

12,200

12,200

12,20012,20012,20012,200

12,20012,20012,20012,20012,20012,200

12,200

12,200

6,690

Rhode Island State Council onthe Arts

University of Utah, Salt Lake CityGeneral Programs

College Entrance ExaminationBoard, New York,_New York

The Museum of Modern Art,New York, New York

University of WisconsinFoundation, Madison

3,6403,050

145,000

125,000*

10,000

10,000

Expansion Arts $307,600Afro-American Total Theatre Arts

Foundation, Inc., New York,New York

Appalachian Research and DefenseFund, Inc., Charleston,West Virginia

Association for the SuburbanSchool for Cultural Development,Malden, Massachusetts

The Bli,Ick Arts Cultural Center,Inc., Chapel Hill, North Carolina

* Treasury Ft:nd

7,500

5,000

.4";:o Capitol Ballet Guild. Inc.,Washington, C, C. 5,400

Community Music School, Inc..St. Louis, Missouri 7,000

,%ommunity Radio Workshop, Inc./Your Own Thing TheatreProductions, Durham, NorthCal olina 5,000

Conce2t East, Incorporated, Detroit,Michigan 15,000

El Nuevo Teatro Pobre de America,Inc., New York, New York 9,500

ruundation for Develovtent andPreservation of Cultdral Arts, Inc.for Dynamic Museum, East St. Louis,Illinois 10,000

The Harlem School of the Arts, inc.,New York, New York 50,70C

Inner City Cultural Center,Los Angeles, California 50,000

National Guild of Community MusicSchools, Evanston, Illinois 17,500

New Thing Art and ArchitectureCenter, Inc., Washington, D. C, 15,000

Performing Arts Society of LosAngeles, California 40,000

Puetto Rican Traveling TheaterCompany, Inc., New York, New York 10,000

San Francisco Art Commission,.California

City of Williamsport, Pennsylvania 8,000Youog Saints Scholarship

Foundation, Los Angeles,California 7,000

40,000*

LiteratureDiscovery Awards

Gary Gildner, Des Moines, IowaCraig Nova, New York,

New York

Independent Literary andArt Presses

Banyan Press, Inc., Pawlett,Vermont

Book Design Foundation, Inc.,San Francisco, California

C. R. Hammer Books, Inc.,Lexington, Kentucky

Trask House Books, Inc.,.Portland, Oregon

Unicorn Foundation for theAdvancement of ModernPoetry, inc., Santa Barbara,California

$470,4506,0003,000

3,000

25,000

5,000

5,000

5,000

5,000

5,000

Poets in DevelopingColleges 20,750

2,500 Albany State College, Georgia 2,250LeMoyne-Owen College,

2,500 Memphis, Tennessee 4,000

Lincoln University, Jefferson City,Missouri

Miles College, Fairfield, AlabamaSt. Augustine's College, Raleigh,

North Carolina

Poetry in the SchoolsAlabama State Council on the

Arts and HumanitiesAlaska State Council on the ArtsUniversity of Arizona, TucsonThe Colorado Council on the

Arts and HumanitiesConnecticut Commission on the

ArtsDelaware State Arts CouncilGeorgia Commission on the ArtsIndiana State Arts CommissionKansas Cultural Arts CommissionKentucky Arts CommissionMaine State Commission on the

Arts and Humanitiestiaryland Arts CouncilMassachusetts Council on the

Arts and HumanitiesMichigan State Council on the

ArtsMinnesota State Arts Co.mc.ilMissouri State Council oi) the

ArtsMontana Arts CouncilNew Hampshire Commission on

the ArtsNew Jersey State Council on

the ArtsNorth Carolina Arts CouncilNorth Dakota Council on the

Arts and HumanitiesOhio Arts CouncilOklahoma Arts and Humanities

CouncilOregon Arts CommissionSt. Paul Council of Arts and

Sciences, MinnesotaSouth Dakota State Fine Arts

CouncilTennessee Arts CommissionUtah State Institute of Fine ArtsVermont Council on the Arts, Inc.Washington State Arts CommissionWisconsin Arts CouncilWyoming Council on the/Arts

Services to the FieldThe Americari Federation of Arts,

Provincetown, MassachusettsCoordinating Council of Literary

Magazines, New York,New York

Cultural Council Foundation!Teaches and WritersCollaborative, New York,New York

* Treasury Fund

4,500A;100

5,900

269,700

5,0002,500

11,000

10,000

15,0004,0007,5008,0006,000

10,000

2,50020,000

1,700

10,00010,000

10,00010,000

5,000

5,00015,000

2,00010,000

10,00010,000

10,000

3,00017,50010,0002,000

12,0005,0005,000

149,Z00

5,000

50,000

10,000

The Jargon --ociety, Inc.,New York, New York

P.E.N. American Center,New York, New York

45,000

39,000

Museums $926,957

!mprovement of Collections 537,950

Aid to Special ExhibitionsProgram 347,650

Akron Art Institute, Ohio 5,000The American Museum of Natural

History, New York, New York 3,000Ames Society of the Arts/Octagon

Art Center, Iowa 3,000Amon Carter Museum of Western

Art, Fort Worth, Texas 3,000Art Institute of Chicago, Illinois 10,000The Asia Society, Inc./Asia

House Gallery, New York 10,000Atlanta Arts Alliance/High

Museum of Art, Georgia 6,000Baltimore Museum of ist,

Maryland 10,000Buffalo Fine Arts Acadc. ny

for Albright-Knox Gallery,New York 5,000

University of CaliforniaArt Museum, Berkeley 5,000

California Academy of Sciences,San Francisco 3,000

China Institute in America,Inc./China House Gallery,New York, New York 2,500

The Cleveland Museum of Art,Ohio 15,000

Colorado Springs Fine ArtsCenter, Colorado 2,100

The Columbus Gallery of FineArts, Ohio 10,000

Corcoran Gallery of Art,Washington, D. C.

Dallas Art Association/DallasMuseum of Fine Arts, Texas 5,000

Dayton Art Institute, Ohio 8,000Isaac Delgado Museum of

Art Association, New OrteatsLouisiana 5,000

The Denver Art Museum,Colorado 6,000

Founders Society Detroit Instituteof ifts, Michigan 5,000

Edmundson Art Foundation,Inc./Des Moines Art Center,Iowa 5,000

Field Museum of NaturalHistory, Chicago, Illinois 8,000

Fine Arts Society ofSan Diego, California 8,000

Franklin Institute of the State ofPennsylvania, Philadelphia 5,000

11,050*

Solomon. R. GuggenheimMuseum, New York,New York

Harvard University/Fogg ArtMuseum, Cambridge,Massachusetts

Historical Museum and Instituteof Western Colorado,Grand Junction

The Historical Society of YorkCounty, Pennsylvania

Indianapolis Museum of Art,,diana

histitute of Contemporary Art,Boston, Massachusetts

University of Kansas Museumof Art, Lawrence

Los Angeles County Museumof Art, California

University of Michigan Museumof Art, Ann Arbor

The Minneapolis Society ofFine Arts/Minneapolis Instituteof Arts, Minnesota

The Museum of the AmericanIndian, Heye Foundation,New York, New York

Museum of Fine Arts, Boston,Massachusetts

Museum of Fine Arts/Vuseumof the National Cer ter 41fAfro-American Art,Massachusetts

The Museum of Modern Art,New York, New inrk

New York Historical SocietyNew York

Resealch Foundation ofState University ofNew York, Binghamton

The Newark Museum Association,New Jersey

City of Pacific Grove/PacificGrove Museum of NaturalHistory, California

University of PennsylvaniaMuseum, Philadelpnia

The Phillips Collection,Washington, D. C.

Phoenix Fine Arts Association/Phoenix Museum of Art,Arizona

Princeton University,New Jersey

John and Mable RinglingMuseum of Art,Sarasota, Florida

City Mu3eum of St. Louis,Missouri

San Francisco Museum of Art,Califo' -de

Seattle ,rt Museum'Wash Agton

Sheldon Jackson College,Sitka, Alaska 1,000

10,000 The J. B. Speed Art Museum,Louisville, Kentucky 10,000

State Capitol Historical3,000 Association/State Capitol

Museum, Olympia,Washington 2,500

3,000 Wadsworth Atheneum, Hartford,Conrecticut 3,000

2,000 Walker Art Center, Minneapui,:,Minnesota 7 500

4,000 Whitney Museum of AmericanArt, New York, New York 5,000

Worcester Art Museum,Massachusetts 5,000

M. H. de Young MemorialMuseum, San Francisco,California 3,500

5,000

3,500

5,000

3,500

15,000

10,000

Conservation ProgramAmerican Association of

Museums,Washington, D. C.

New York State HistoricalAssociation, Cooperstown

New York University/Conservation Center,New York

5,000 Museum Purchase PlanBaltimore Museum of Art,

MarylandThe Brooklyn Museum,

2,500 New YorkUniversity of California Art

5,000 Museum, BerkeleyCarnegie Institute Museum

3,000 of Art, Pittsburgh,Pennsylvania

Honolulu Academy of Arts,2,500 Hawaii

Indianapolis Museum of Art,3,000 Indiana

Oklahoma Art Center,Oklahoma City

1,000 Santa Barbara Museum of Art,Califoi hie

3,000 Utah Museum of Fine Arts,Salt Lake City

10,000

100,300

18,800

41,500

40,00090,000

10,000

10,000

10,000

10,000

10,000

10,000

10,000

10,000

10,000

Professional Training andStaff 196,250

10,000 Museum Training Program 98,000University of Michigan,

6,500 Ann ArborMinneapolis Society of Fine

Arts/Minneapolis Institute ofArts, Minnesota

New York State HistoricalAssociation, New York

Visiting Specialists ProgramThe American Museum of

Natural History, New York,New York

6,000

5,000

10,000

15,000

60,000

11,000

27,00098,250

5,000

The Butler Institute ofAmerican Art, Youngstown,Ohio

Isaac Delgado Museum ofArt, New °Nears,Louisiana

Founders Society DetroitInstitute of Arts, Michigan

George Eastman House,Inc./International Museumof Photography, Rochester,New York

Eastern Washington StateHistorical Society/CheneyCowles Memorial Museumof History and Art, Spokane

Field Museum of NaturalHistory, Chicago, Illinois

University of Florida/FloridaState Museum, Gainesville

University of Illinois/KrannertA.-t Museum, Champaign

Indianapolis Museum of Art,Indiana

The Jewish Museum, New York,New York

Maine State MuseumCommission, Augusta

Museum of Fine Arts,Boston, Massachusetts

The Museum of Modern Art,New York, New York

Museum of Primitive Art,New York, New York

The Newark MuseumAssociation, New Jersey

The North Carolina Museumof Art, Raleigh

Rhode Island School ofDesign/Museum of Art,Providence

San Joaquin Pioneer andHistorical Society,Stockton, California

State Capitol HistoricalAssociation, Olympia.Washington

The Walters Art Gallery,Baltimore, Maryland

Wider Availability ofMuseums

Amon Carter Museum ofWestern Art, Fort Worth,Texas

Brooklyn Institute of Artsand Sciences/BrooklynMuseum, New York

Detroit Institute of Arts,Michigan

Illinois Arts CouncilMichigan State Council

on the Arts

Studio Watts Workshop,Los Angeles, California

4,0.;3 Special ProjectsThe National Portrait Gallery,

Washington, D. C.William A. Palmer,

Los Angeles, California

1,900

3,500

40,000

11,1100

10,000

1,000

amuiraw aistrqmotor-Arcamases**to111111111111 allit4,000

1 ialigamstauftergailil

3,500

4,000

4,200

8,000

4,500

5,000

6,000

5,000

8,000

2,500

1,500

5,000

11116111111

elagMPT*7--19.

Music $5,188,3838,000 Composer-Performer

Commissioning Program 48,568

5,000 American Music Center, Inc.,New York, New York 1,650

Louis W. Ballard, Santa f=e,1,400 New Mexico 900

Midland Center for thePerfor ing Arts, Inc./MidlandSymphony Orchestra Society,Michigan 2,880

Pan American DevelopmentDevelopment Foundation,Inc./Inter-American MusicFestivai, Washington, D. C.

Peabody Institute of the Cityof Baltimore, Maryland

University (31' Rochester,New York

45,000 Virgil Thomson, New York,50,000 New York

Stanley Wolfe, New York,/8,000 New York

8,250

181,757

10,757

18,000

20,000*

2,150

15,000

4,000

1,988

General ProgramsAffiliate Artists, Inc., New York,

New YorkAffiliate Artists, Inc., New York,

New YorkAmerican Musical Digest, Inc.,

New York, New YorkAssociation of College and

University Concert Managers,Inc., Madison, Wisconsin

Association of College andUniversity Concert Managers,Inc., Madison, Wisconsin

Bennington Composers'Conference and ChamberMusic Center, Inc.,Middlebury, Vermont

The Choral Arts Society ofWashington, D. C.

Contrasts in Contemporary Music,Inc., New York, New York

Eastern Music Festival, Inc.,Greensboro, North Carolina

The Festival OrchestraSociety, Inc./New York ChamberSoloists, New York

University of Illinois, Urbana. (Kodaly Program)

New Dimensions in Music,Seattle, Washington

The New School of Music,Philadelphia, Pennsylvania

Karl Hampton Porter, New York,New York

Alexander L. Ringer, Urbana,Illinois (Kodaly Program)

Washington Performing ArtsSociety, D. C.

Washington Theater Club/Theater Chamber Players,Washington, D. C.

Young Audiences, Inc.,New York, New York

Young Concert Artish., Inc.,Now York, New York

Jazz ProgramAssistance To OrganizationsAmerican Association of

Junior Colleges,Washington, D. C.

Carnegie-Mellon University,Pittsburgh, Pennsylvania

East Texas State University,Commerce

Huntington Performing ArtsFoundation, Inc., Huntington,New York

University of Illinois, UrbanaIndiana University Foundation,

BloomingtonCity of Jackson,

Mississippi

* Treasury Fund

730,209

230,000*

24,000

8,750

4,000

11,200

5,000

5,000

8,000*

20,000*

20=12,000

12,700

50,000*

1,000

8,000

95,609*

3,000*

196,950*

15,000

50,32531,855

2,480

1,000

250

-Loon1,0CJ

1,430

780

The Jazz Composer'sOrchestra Association, Inc.,New York, New York 2,500

Lawrence University,Appleton, Wisconsin 1,500

University of Maryland,College Park 1,500

University of Massachusetts,Amherst 1,000

Memphis State University,Tennessee 1,000

Morgan State College, Baltimore,Maryland 750

Mountain View College of DallasCounty Junior College District,Texas 400

New Orleans Public Schools,Louisiana 975

New York Hot Jazz Society,Inc., New York 1,140

New York University, New York 1,600Rhythm Associates, Inc.,

New York, New York 1,000Richmond College of The City

University of New York,Staten Island 1,250

..2.ichmond College of The CityUniversity of New York,Staten Island (carry-over from1970) 350

St. Peter's Lutheran Church(Jazz Interactions, Inc.)New York, New York 2,000

St. Peter's Lutheran Church(Soul Rock From The Rock,Inc.), New York, New York 2,000

University of South Alabama,Mobile 500

Southern iJniversity of NewOrleans, Louisiana 450

Tougaloo College, Mississippi 2,000Wesleyan University, Middletown.

Connecticut 2,000Fellowships 18,470Newman T. Baker, Salisbury,

North Carolina 500Karl H. Berger, Weehawken,

New Jersey 500Mark E. Blumberg, Greenbelt,

Maryland 500Edward V. Bonnemere, Teaneck,

New Jersey 500Leon Breeden, Denton, Texas 500Ruth M. Brisbane, New York,

New York 1,350John M. Burnau, Mobile,

Alabama 480Herman D. Burrell, Bronx,

New York 500Henry C. Butler, New Orleans,

Louisiana 500Alvin G. Cohn, New York,

New York 2,000

Julius L. Farmer, Baton Rouge,Louisiana

Charles B. Fowlkes, St. Albans,New York

Andrew L. Goodrich,Washington, D. C.

Ralph E. Hampton, Houston,Texas

William Andrew Hille,New York, New York

Chuck F. Mangione,Rochester, New York

Calvin Massey, Brooklyn,New York

Gary B. Nyberg, Lincoln,Nebraska

Stephen A. Reid, St. Albans,New York

Roswell H. Rudd, Jr.,New York, New York .

Herbert C. Sanford, New York,. New YorkWilliam Saxton, Boston,

MassachusettsJohn R. Sox, Greencastle,

IndianaRobert L. Steele, Houst,..., TexasMarcus Williams, Gary, IndianaWilliam T. Wynn, Petersburg,

Virginia

Opera ProgramThe Baltimore Opera Company,

Inc./O.P.E.R.A. America, Inc.,Maryland

Center Opera Company,Minneapolis, Minnesota

Goldovsky Opera Institute, Inc.,Brookline, Massachusetts

Opera Association of NowMexico/Santa Fe Opera

Opera Association of NewMexico/Santa Fe Opera

St. Paul Opera Association,Minnesota

San Francisco Opera/WesternOpera Theater, California

Seattle Opera Association,Inc., Washington

Orchestra Program

500

1,000

500

500

1,000

500

1,000

415

750

2,000

530

Cincinnati Symphony Orchestra,>Inc., Ohio

Music Arts Association/TheCleveland Orchestra, Ohio

Denver Symphony Society,Colorado

Denver Symphony Society,Colorado (carry-over from1970)

Detroit Symphony Orchestra,Inc., Michigan

Houston Symphony Orchestra,Texas

Indiana State Symphony Society,Inc./Indianapolis SymphonyOrchestra

Kansas City PhilharmonicAssociation, Missouri

Milwaukee SymphonyOrchestra, Inc.,Wisconsin

The Minnesota OrchestralAssociation /Minnesota

500 Orchestra, M inneai: pHsThe Minnesota Orchestral

500 Association/Minnesota500 Orchestra, Minneapolis475 National Symphony

Orchestra Association of500 Washington, D. C.

National SymphonyOrchestra Association ofWashington, D. C. (carry-overfrom 1970)

New Orleans PhilharmonicSymphony Orchestra,Lpuisiana

Philadelphia OrchestraAssociation, Pennsylvania

The Philharmonic-SymphonySociety of New York, Inc.,New York

The Philharmonic-SymphonySociety of New YorY., Inc.,New York

Rochester Civic MusicAssociation, Inc./RochesterPhilharmonic Orchestra,New `fork

St. Louis Symphony Society,Missouri

San- Francisco SymphonyAssociation, California

Seattle Symphony Orchestra,Inc., Washington

Southern CaliforniaSymphony-Hollywood BowlAssociation/Los AngelesPhilharmonic Orchestra

Symphony Society ofSan Antonio, Texas

Utah Symphony Society,Salt Lake City

598,250

15,000

40,000*

30,000*

10,000

178,250*

50,000*

175,000*

100,000*

3,761,031Major Orchestras 2,255,310American Symphony Orchestra,

Inc., New York, New YorkAtlanta Symphony Orchestra,

GeorgiaBaltimore Symphony Orchestra

Association, Inc., MarylandBoston Symphony Orchestra,

Inc., MassachusettsThe Orchestral Association/

Chicago Symphony Orchestra,Illinois 100,000

50,000*

21,050

100,000

75,000

72,250

50,000*

43,510

1,000*

100,000

50,000

39,000

200,000*

36,500

6,000

200,000*

70,000*

25,000*

66,000

15,500

50,000

75,000

35,000

200,000*

200,000*

100,000

100,000

99,500

100,000

Metropolitan OrchestrasGreater Akron Musical

Association, Inc./AkronSymphony, Ohio

Birmingham SymphonyAssociation, Alabama

Brooklyn Philharmonic, Inc..New York

Columbus SymphonyOrchestra, Ohio

Duluth Civic SymphonyAssociation, Minnesota

El Paso Symphony OrchestraAssociation, Texas

Erie Philharmonic Society,Pennsylvania'

Evansville, PhilharmonicOrchestra, Indiana

Florida Gulf Coast Symphony, Inc.,St. Petersburg

The Florida Symphony Orchestra,Inc., Orlando

Fresno Philharmonic Association,California

Symphony Society of GreaterHartford, Inc., Connecticut

Jackson Symphony OrchestraAssociation, Mississippi

Knoxville Symphony Society,Inc., Tennessee

Louisville Philharmonic OrchestraSociety, Inc., Kentucky

Memphis Orchestral Society, Inc.,Tennessee

* Treasury Fund

797,282

16,000*

5,000

15,000

15,200

4,282

10,000

8,700

15,000

22,500

15,000

17,700

15,000

30,000

10,300

40,000*

19,900

Greater Miami PhilharmonicSociety, Inc.. Florida

Nashville Symphony Association,Tennessee

New Haven Symphony Orchestra,Inc., Connecticut

New Jersey Symphony Orchestra,Newark

Norfolk Symphony Association,Virginia

The North Carolina SymphonySociety, Inc., Chap?! Hill

Oklahoma City SymphonySociety, Oklahoma

The Omaha Civic MusicAssociation, Nebraska

Oregon Symphony Society,Portland

Phoenix Symphony Association,Arizona

Portland Symphony Orchestra,Maine

Richmond Symphony, Inc..Virginia

Rhode Island PhilharmonicOrchestra, Providence

Sacramento Symphony Association,Califon is

San Diego Symphony OrchestraAssociation, California

Shreveport Symphony Orchestra,Louisiana

Spokane Symphony Orchestra,Washington

The Springfield OrchestraAssociation, inc.,Massachusetts

Symphony of the New World,Inc., New York, New York

Syracuse Symphony Orchestra,Inc., New York

Tucson Symphony Society,Arizona

Wichita Symphony Society,Kansas

Youngstown Symphony Society,Ohio

SpecialAmerican Symphony Orchestra,

Inc., New York, New YorkAmerican Symphony Orchestra

League, Vienna, VirginiaAmerican Symphony Orchestra

League, Vienna, VirginiaAmerican Symphony Orchestra

League, Vienna, VirginiaAnchorage Symphony Orchestra,

AlaskaBoston Philharmonic Society, Inc.,

MassachusettsThe Carnegie Hall Corporation,

New York, New York

60,900

17,400

17,800,

72,300

16,200

25,000

26,000

25,000

16,500

25,000

12,700

20,000

35,000

9,000

19,700

6,400

25,000

13,800

25,000

30,000*

9,000

10,000

20,000

708,439

6,000

50,000

20,000*

9,000

10,000

7,300

27,500

Colorado Philharmonic Orchestra,Inc., Evergreen

National SymphonyOrchestra Association ofWashington, D. C.

St. Paul Civic PhilharmonicSociety, Inc., Minnesota

The Sioux F -ils Symphony,South Dak 'a

Texas Fine Arts Commission/The Austin SymphonyOrchestra

The Vermont SymphonyOrchestra Association, Inc.,Middlebury

West Virginia Arts andHumanities Council/Charleston Symphony andWheeling Symphony

WGBH Educational Foundation,5,000 Boston, Massachusetts 45,500

WNET-TV EducationalBroadcasting Corporation,

447,139 New York, New York 3,750

25,000

5,000

General ProgramsThe American Film Institute,

Washington, D. C.Chimera Foundation for Dance,

Inc., New York, New York1,500 Douglas M. Davis,

Washington, U. C.Film Culture Non-Profit

Corporation,New York, New York

William J. L. Holloway,Yellow Springs, Ohio

Judith Pearl,-nan, New York,New York

Southern Methodist University,Dallas, Texas

20,000*

Public Media $1,264,455Corporation for PublicBroadcasting/NationalEndowment for theArts-Joint Programming 103,500

Erik Bauersfeld, Berkeley,California

Corporation for PublicBroadcasting,Washington, D. C.

Corporation for PublicBroadcasting,Washington, D. C.

Allan D. Miller, Denver,Colorado

Special ProjectsGeneral Programs

Arizona Commission on theArts and Humanities

Associated Councils of theArts, New York, New York

Associated rouncils of theArts, New York, New York

Federation of Rocky MountainStates, Inc., Denver,Colorado

Michigan State Councilon the Arts

Montana Arts CouncilNational Folk Festival

Association, Inc.,Washington, D. C.

Oakland University, Rochester,Michigan

Pennsylvania State University,College Park

Pioneer Playhouse of Drama,Inc., Danville, Kentucky

Texas Tech University,Lubbock

Theatre Center of Mississippi,Jackson

Miscellaneous Contracts

Special State ProjectsAlabama State Council

6,250 on the Arts and HumanitiesArizona Commission on the

Arts and Humanities15,000 Connecticut Commission

on the ArtsIowa State Arts Council

25,000 Iowa State Arts CouncilKansas Cultural Arts

8,000 Commission

1,160,955

1,086,875*

24,900

4,000

9,800

2,880

12,500

20,000

$538,529479,150

10,000

100,000*

25,000

75,000

100,000*80,000*

25,000

35,910

4,500

10,000

5,000

7,5001,240

50,379

3,300

3,000

1,7004,8601,356

3,000

Louisiana Council for Musicand the Performing Arts, Inc.

Minnesota State Arts CouncilNew Hampshire Commission

on the ArtsNew Mexico Arts CommissionRhode Island State Council

on the ArtsSouth Dakota State Fine Arts

CouncilTennessee Arts CommissionVirginia Commission of the

Arts and Humanities

Arts AdministrationFellowships

Sid L. Conrad, Los Angeles,California

Randall L. Holden, Seattle,Washington

Jere W. Tognazzini, Los Angeles,California

TheatreEducational and SpecialProjects

Brooklyn College of CityUniversity of New York,New York

Performing InstitutionsResident Professional TheatresActors Theatre of Louisville,

Inc., KentuckyAlley Theater, Houston, TexasThe American Conservatory

Theatre Foundation,San Francisco, California

American Shakespeare FestivalTheatre and Academy ofConnecticut, Stratford

The Art Institute of Chicago/Goodman Theatre, Illinois

Aso lo Theatre FestivalAssociation, Inc.,Sarasota, Florida

Atlanta Arts Alliance, Inc.,Georgia (carry-over from1970)

Atlanta Arts Alliance, Inc./Atlanta Alliance Theatre,Georgia

The Barter Foundation, Inc./Barter Theatre, Abingdon,Virginia

Center Stage Associates, Inc.,Baltimore, Maryland

Center Theatre Group ofLos Ange:es, California

Connecticut Players Foundation,Inc./Long Wharf Theatre,New Haven

A Contemporary Theatre, Inc.,10,000 Seattle, Washington1,763 Dallas Theater Center, Texas

Foundation for Repertory Theatre3,500 of Rhode Island/Trinity Square5,000 Repertory Company,

Providence5,000 Guthrie Theatre Foundation,

Minneapolis, Minnesota5,000 Hartford Stage Company, Inc.,1,200 Connecticut

Milwaukee Repertory Theatre, Inc.,1,700 Wisconsin

The Mummers Theatre, Inc.,Oklahoma City, Oklahoma

9,000 The Negro Ensemble Company,Inc., New York, New York

3,250 New York ShakespeareFestival, New York

2,500 Old Globe Theatre, San Diego,California

3,250 Playhouse in the Park,Cincinnati, Ohio

$2,021,482

* Treasury Fund

70,000

70,000

1,891,4821,444,400

15,00020,000

100,000*

29,150

15,000

12,500

65,000*

20,000*

7,500

20,000

50,000

50,000

n

II

.

nr,

7,50024,250

100,000*

48,500

17,500

25,000

7,500

25,000

200,000*

5,000

15,000

93 Repertory Theatre, New Orleans,Louisiana

Repertory Theatre of LincolnCenter, Inc., New York,New York

Seattle Repertory Theatre,Washington

Springfield Theatre ArtsAssociation, Inc. forStage/West, Massachusetts

Studio Arena Theatre,Buffalo, New York

Theatre Company of Boston, Inc.,Massachusetts

The Washington Drama Society,Inc./Arena Stage,Washington, D. C.

The Washington Drama Society,Inc./Arena Stage forLiving Stage,Washington, D. C.

Washington Theater Club, Inc.,Washington, D. C.

Yale University/YaleRepertory Theatre,New Haven, Connecticut

Professional ExperimentalTheatres and Workshops

The American Place Theatre,Inc., New York, New York

Berkshire Theatre Festival, Inc.,Stockbridge, Massachusetts

Boston University/SymposiumWorkshop for Playwrights,Massachusetts

Bread & Puppet Theatre, Inc.,New York, New York

Central Area Citizens'Committee/Black Arts West,Seattle, Washington

The Changing Scene, Inc.,Denver, Colorado

Chelsea Theater Center, Inc.,Brooklyn, New York

Firehouse Theater Company,San Francisco, California

First Repertory Company ofSan Antonio, Texas

Group Concept, Inc.,New York, New York

Illinois Arts CouncilFoundation/Free Street Theatre,Chicago

The Julian Company Theatre,San Francisco, California

Kingston Mines TheatreCompany, Chicago,Illinois

La Mama Experimental TheatreClub, Inc New York,New York

Magic Theatre, Berkeley,California

The National Shakespeare7,500' Company, Inc. for Cubiculo

Experimental Arts Center,New York, New York

100,000* New African Company,Brookline, Massachusetts

50,000 New York University/TheManhattan Project

Eugene O'Neill Memorial15,000 Theatre Foundation,

Inc./O'Neill Theatre Center,15,000 Waterford, Connecticut

The Open Theatre, Inc.,7,500 New York, New York

St. Peter's EpiscopalChurch/The Dove Company,New York, New York

Studio Watts Workshop,Los Angeles, California

Theatre For The Forgotten, Inc.,New York, New York

Theatre Genesis, Inc.,New York, New York

Theatre Workshop, Boston,Inc., Massachusetts

The Wooster Group, Inc./ThePerformance Group,

312,000 New York, New YorkOther Performing Institutions

15,000 American National Theatre andAcademy, New York,

30,000 New YorkAmerican National Theatre and

Academy, New York,15,950 New York

American Puppet Arts Council,5,000 Inc., New York, New York

Grand Rapids Civic Theatre,Inc., Michigan

Minneapolis Society of FineArts/Children's TheatreCompany of Minneapolis

The Paper Bag Players, Inc.,New York, New York

Services to the FieldAmerican Educational Theatre

Association, Inc., for UniversityResident Theatre Association,Washington, D. C.

International Theatre Instituteof the United States. Inc.,New York, New York

300,000*

25,000

25,000

20,000

2,500

2,500

20,000

10,000

5,000

5,000

7,500

2,500

5,000

30,000

Visual ArtsArtists and Critics inResidence Program

Atlanta Art Association,Georgia

Cranbrook Academy of Art,5,000 Bloomfield Hills, Michigan

5,000

5,000

15,000

43,550

20,000

2,500

2,500

7,500

15,000

15,000

20,000135,032

56,082

10,000

20,000

4,000

25,000

20,000

60,000

25,000

35,000

$552,141

27,000

1,500

2,000

Foundation for Development andPreservation of Cultural Arts,Inc., for Dynamic Museum,East St. Louis, Illinois

Finch College Museum of Art,New York, New York

The Gallery of ContemporaryArt, Winston-Salem,North Carolina

Institute of American IndianArts, Santa Fe, New Mexico

Maryland Institute, College ofArt, Baltimore

Mobile Art Gallery EndowmentTrust, Alabama

New Mexico HighlandsUniversity, Las Vegas

New York Studio School ofDrawing, Painting andSculpture, Inc., New York

City of Racine for WustumMuseum of Fine Arts,Wisconsin

Sacramento State CollegeFoundation, California

San Francisco Art Institute,California

Skowhegan School of Paintingand Sculpture, Maine

University of South Dakota,Vermillion

The Studio Museum in Harlem,Inc., New York

University of Wyoming,Laramie

Artists Fellowships (1970)Leon Berkowitz, Washington, D. C.Ron Cooper, Venice, CaliforniaEmilio Cruz, Chicago, IllinoisJordan A. Davies, New York,

New YorkMelvin E. Edwards, New York,

New YorkRichard Estes, New York,

New YorkVija Celmins Givler, Venice,

CaliforniaRockne Krebs, Washington, D. C.Sol Le Witt, New York, New YorkAlvin D. Loving, Jr., San 'Diego,

CaliforniaFred Martin, Oakland,

CaliforniaKatherine P. Porter, Cambridge,

MassachusettsDon E. Potts, Berkeley,

CaliforniaRoland M. Reiss, Boulder,

ColoradoGary A. Rickson, Roxbury,

Massachusetts

* Treasury Fund

Richard B. Shaw, Stinson Beach,California

Daniel J. Solomon, Richmond,2,000 Virginia

Marvin Torffield, Branford,2,000 Connecticut

William T. Williams, New York,New York

Karl Wirsum, Rose lawn,Indiana

General ProgramsThe American Federation of Arts,

New York, New YorkThe American Federation of Arts/

Provincetown Fine Arts WorkCenter, Massachusetts

The Artists Technical ResearchInstitute, Inc., New York,New York

The Mac Dowell Colony, Inc.,Peterborough, New Hampshire

The Mac Dowell Colony, Inc.,Peterborough, New Hampshire

National Park Service(Transfer)

Penland School of Crafts,North Carolina

1,500

1,500

1,500

1,500

1,500

1,500

1,500

1,500

1,500

1,500

1,500

1,500

1,500

7,500

7,500

7,500

7,500

7,500

140,541

50,000*

5,000

10,000

46,791'

25,000'

2,500

1,250

Intermediate Programs 63,100Acts of Art, Inc., New York,

New York 3,000The American Federation of Arts,

New York, New York 1,500American Foundation on

Automation and Employment,New York, New York 3,000

Art Information Center, inc.,150,000 New York, New York 2,000

7,500 The Common Ground of the Arts,7,500 Detroit, Michigan 2,3007,500 Corcoran Gallery of Art,

Washington, D. C. 4,0007,500 Karl E. Fortess, Boston,

Massachusetts 1,0007,500 Tatyana Grosman, West Islip,

New York 8,3007,500 Historic Pensacola, Inc., Florida 2,000

University of Kansas,7,500 Lawrence 3,0007,500 University of Missouri, Columbia 1,0007,500 Museum of Black History and

Culture, New York,7,500 New York

Palace of Arts and Science7,500 Foundation, San Francisco,

California 3,0007,500 Palace of Arts and Science

Foundation, San Francisco,7,500 California 1,000

Printmaking Workshop, New York,7,500 New York 5,000

Sculpture in the Environment.7,500 Inc., (SITE), New York, New York 3,000

20,000

99

Photography FellowshipsWilliam I. Adler and John S.

47,000 Works of Art in PublicPlaces 118,500

Margolies, Santa Monica,California 2,000

City of Bellingham,Washington 6,000

Jeffrey Blankfort, Studio City,California 750

The Boston Foundation, Inc.,Massachusetts 20,000

Paul J. Caponigro, Redding,Connecticut 4,000

City Walls, Inc., New York,New York 10,000

William R. Current, Pasadena,California 2,000

City of Highland Park,Illinois 20,000

Joseph Dankowski, New York,New York 3,000

Illinois Arts CouncilCity of Indianapolis, Indiana

5,00020,000

George B. Fry, Atherton,California 2,000

City of Jackson, MississippiMinnesota State Arts Council

10,0004,000

Paul B. Herzoff, North Hollywood,California

Leslie R. Krims, Buffalo,New York

2,500

2,000

City of New York, New York,Department of Cultural Affairs,Parks, Recreation, and CulturalAffairs Arinlinistration 6,000

R. Randolph Langenbach,Cambridge, Massachusctt 2,000

University Circle, Inc., forThe Kent Smith Quadrangle

William G. Larson, Elkins Park,Pennsylvania 1,500

Committee, Cleveland, OhioVermont Council on the Arts, Inc.

4,0007,500

Al Lieberman, Montello,Wisconsin . 2,000

Wayne State University, Detroit,Michigan 6,000

Benjamin M. Lifson, Los Angeles,California 2,000

Daniel J. Lyon, Bernalillo,New Mexico 3,000

Grayson L. Mathews, Klamath Falls,Oregon 1,000

Elaine Mayes, San Francisco,California 1,000

Joe B. Ramos, Salinas,California 1,250

Naomi S. Savage, Princeton,New Jersey 2,000

B. Roy Shigley, San FranciscoCalifornia 2,000

Eve P. Sonneman, New York,New York 2,000

William B. Suttle, New York,New York 2,000

Alwyn Scott Turner, New Orleans,Louisiana 4,000

Harold T. Walker, Gainesville,Florida 2,000

Harold Zegart, San Francisco,California 1,000

Photography ProgramBureau of Reclamation, Department

of the InteriorMetro North Association, Inc.,

New York, New York

Promoting Increased Liaisonbetween Universities andMuseums

Long Beach California StateCollege Foundation, Inc.

Ohio Northern University, Ada

3,000

2,400

600

3,000

1,5001,500

Architecture +Environmental Arts $785,162

127,666Facilities for the ArtsThe Chicago School of

Architecture Foundation,Illinois

Community School District #9,Bronx, New York

Educational Facilities Laboratory,Inc., New York, New York

Roger T. Hagan, Seattle,Washington

Human Services Corporation,Lowell, Massachusetts

Minnesota State Arts CouncilQueens Council on the Arts,

Queens Village, New YorkSureva Seligson,

Washington, D. C.United States Institute for

Theatre Technology,New York, New York

Graduate Thesis FellowshipsRoger P. Ake ley, Jr., Madison,

TennesseeNeil J. Andrew, East Lansing,

MichiganJames E. Berry, East Lansing,

MichiganLucy E. Blackmer, Los Angeles,

CaliforniaJames H. Boniface,

Charlottesville, VirginiaRobert N. Booze, Bend,

OregonCarl E. Brown, New 'lark,

New YorkWilliam C. Bullock, Tuscumbia,

AlabamaHeather Willson Cass, New Haven,

ConnecticutChung T. Chang and William C.

Fronick, Manhattan, KansasChih-Hsiung Cheng, Princeton,

New JerseyJoseph E. Cucchiara, Berkeley,

CaliforniaRonald B. Freilich, Boston,

MassachusettsCaren E. Glotfelty, Tracy,

CaliforniaRobert D. Jacoby, Salt Lake City,

UtahDaniel J. Lewis, Urbana,

IllinoisJames W. Lipe, Jr., Baton Rouge,

LouisianaKenneth J. Livingston and Morris

Lynn Schopf, Lincoln,Nebraska

Ray D. Loyd, Bryan, Texas

6,000

10,000

23,550

20,313

21,20020,000

10,000

8,603

8,000

28,500

750

750

750

750

750

750

750

750

750

750

750

750

750

750

750

750

750

750750

Jeffrey Anderson Lundahl,Redondo Beach, California

Richard E. McCommons, Raleigh,North Carolina

Stephen Bruce Marcus, Berkeley,California

Sharon H. Poggenpohl, Chicago,Illinois.

Richard K. Pohl, Ames, IowaDavid R. Poole, Wilmington,

DelawareJoseph S. Popadic, Shelton,

ConnecticutHarvey C. Schorr, Brighton,

MassachusettsSharon A. Schuchardt,

East Lansing, MichiganAnatole Senkevitch, Jr., Ithaca,

New YorkDavid R. Shilling, Seattle,

WashingtonDanny D. Snyder, Middleburg,

PennsylvaniaFred I. Stahl, Troy, New YorkMaher Moheb Stino, Athens,

GeorgiaDavid M. Vale, Portland,

OregonHilaire P. Valiquette,

Cincinnati, OhioJames M. Waite, Pasadena,

TexasF arrest A. Warthrnan, Berkeley,

CaliforniaWilliam N. Wood, Logan, Utah

Professional Educationand Development

America the Beautiful Fundof the Natural Area Council,Inc., Washington, D. C.

The American Society ofLandscape ArchitectsFoundation, McLean,Virginia

Boston Architectural Center,Massachusetts

California State PolytechnicCollege, San Luis Obispo

The Regents of the Universityof California, Berkeley

Carlos Campbell, Reston,Virginia

Community Design and ResearchCorporation, Trenton,New Jersey

Laurence S. Cutler, Cambridge,Massachusetts

Delaware Stale Arts CouncilFoundation for Interior Design

Education Research,McLean, Virginia

Frank 0. Gehry, Santa Monica,California

750

750

750

750750

750

750

750

750

750

750

750750

750

750

750

750

750750

436,224

30,000

10,000

3,000

1,504

20,000

12,000

20,000

5,00018,200

10,000

10,000

102 Hampton Institute, VirginiaJohn Hejduk, New York,

New YorkHoward University,

Washington, D. C.Industrial Designers Society of

America, Inc.,New York, New York 30,010

The Institute for Architectureand Urban Studies,New York, New York

Robert A. Melting, Detroit,Michigan

Montana State University/TheNorthwest Schools ofArchitecture, Bozeman

Natioral Recreation and ParkAssociation, Arlington,Virginia

National Trust for HistoricPreservation,Washington, D. C. 12,000

National Urban Coalition,Washington, D. C. 15,000

Thomas E. Nelson, San Francisco,California 3,000

North Carolina Agricultural andTechnical State University,Greensboro 6,539

Norton Simon Inc., Foundationfor Education, Fullerton,California/InternationalDesign Conference in Aspen,Colorado 10,000

University of Pennsylvania/Gabriele Gutkind,Philadelphia 17,200

William K. Reilly, Alexandria,Virginia 5,000

Research Foundation of StateUniversity of New York,Albany 13,000

Richmond Restoration, inc.,Staten Island, New York 10,000

Margaret A. Robinette, Reston,Virginia 5,000

Friedrich St. Florian,Cambridge, Massachusetts 10,000

Sculpture In The Environment,Inc. (SITE), New Ye k,New York 10,000

Roger D. Sherwood, Ithaca,New York 5,000

Calvin Ray Smith, w Yo: k,New York 5,000

University of Tennessee,Knoxville 20,000

Texas Commission on theArts and Humanities 9,500

Tocks Island Regional AdvisoryCouncil, Stroudsburg,Pennsylvania 2,000

Tuskegee Institute, Alabama 12,516

11,000 Walker Art Center,Minneapolis, Minnesota

5,000 Edmund Waller, Philadelphia,Pennsylvania

12,500 Joseph B. Watterson,Titusville, Florida

Public Education andAwareness

Auburn University, Alabama16,000 Ball State University, Muncie,

Indiana4,970 Christopher B. Bedford,

Washington, D. C.Boston Architectural Center/

2,785 Association of CollegiateSchools of Architecture,Washington, D. C.

15,000 Land Use Foundation ofNew Hampshire, Concord

Los Angeles Unified SchoolDistrict/Doreen G. Nelson,California

Maryland Arts CouncilNew York State Council on

Architecture, New YorkNew York State Council on

Architecture, New YorkThe Philadelphia Architects

Gharitsble Trust/Group forEnvironmental Education, Inc.,Pennsylvania

The Philadelphia ArchitectsCharitable Trust/ArchitectsWorkshop, Pennsylvania

Public Television Foundationfor North Texas, Dallas

Michael Sena, Princeton,New Jersey

22,500

2,000

4,000

192,77210,000

13,435

10.000

25,000

10,000

30,32510,000

33,263

9,989

12,500

10,000

15,000

3,260

Dance $2,267,741

CommissioningChoreographer FellowshipsAlvin Ailey, New York,

New YorkGerald Arpino, New York,

New YorkLouis Falco, New York,

New YorkLotte Goslar, New York,

New YorkErick Hawkins, New York,

New YorkMurray Louis, New York,

New YorkArthur Mitchell, New York,

New YorkAlwin Nikolais, New York,

New YorkYvonne Rainer, New York,

New YorkProduction CommissionsBallet Theatre Foundation,

Inc./American Ballet Theatre,New York, New York

City Center of Music and Drama,Inc./New York City Ballet,

New YorkDance Theatre Foundation,

Inc./Alvin Ailey, New York,New York

Paul Taylor Dance Foundation,Inc., New York,New York

Visiting ChoreographerCommissions

Ballet West, Salt Lake City, UtahCincinnati Ballet Company,

Inc., OhioDance Theatre Foundation;

Inc./Alvin Ailey, New York,New York

Contemporary Dance PlayhouseSchool/Minnesota DanceTheatre, Minneapolis

Lubovit Dance Foundation,Inc., AL../ York, New York

Mary A;ilho,../ DRnc Theatre,Founoatior., Inc , ZsE:w York,New \,*.irk

Works:,epManner All , Ne.v York,

New Yoe K

Manuel Alum, New York,New York

Toby Armour. Lexington,Massachusetts

Richard Arve, Calumet City,Illinois

Arthur M. Bauman, New York,New York

308,515123,755

20,000

26,855

9,480

10,040

9,480

8,860

14,280

15,280

9,480

Todd Bolender, New York,New York

Joy Boutilier, New York,New York

Alfred Brooks, Denver,Colorado

Trisha Brawn, New York,New York

Sonia Capadocia, Los Angeles,California

Ze'eva Cohen, New York,New York

Alice Condodina, New York,New York

Raymond Cook, Philadelphia,Pennsylvania

Leslie Crockett, Sacramento,California

Madeline Cantarella Culpo,Pittsfield, Massachusetts

Jean Leon Destine, New York,New York

Jeff Duncan, New York,123,000 New York

Laura Foreman, New York,New York

28,000 Richard Gain, New York,New York

Stanley Hall, Austin, Texas45,000 Maggie Kest, Chicago, Illinois

Evelyn LeMone, Pasadena,California

25,000 Lar Lubovitch, New York,New York

Sophie Maslow, New York,25,000 New York

Elvi Moore, Chicago, Illinois26,560 Shirley Mordine, Wilmette,

1,620 IllinoisJennifer Muller, New York,

7,480 New YorkSeamus Murphy, New York,

New York4,200 Marjorie Mussman, New York,

New YorkDom Oreiudos, Chicago, Illinois

5,880 John Parks, New York,New York

5,360 Rudy Perez, New York,New York

Barbara Roan, New York,2,020 New York

35,200 Lila Zali, Laguna Beach,California

1,000 Coordinated Residency1,200 Touring Program

Alabama State Council on the1,200 Arts and Humanities

(Southern Circuit)1,200 Maine State Commission on

the Arts and the Humanities1,000 (Northeast Circuit)

1,200

1,000

1,000

1,000

1,200

1,200

1,000

1,000

1,000

1,000

1,000

1,000

1,000

1,0001,0001,000

1,000

1,000

1,0001,000

1,000

1,000

1,000

1,0001,000

1,000

1,000

1,000

1,000

429,197

53,486

82,345

103

Maryland Arts Council(Mid-Atlantic Circuit)"

Minnesota State Arts Council(Midwest Circuit)

Ohio Arts Council(Great Lakes Circuit)

Oklahoma Arts and HumanitiesCouncil (CentralSouthwestern Circuit)

Utah State Division of FineArts (Western Circuit)

Washington State ArtsCommission (NorthwestCircuit)

General ProgramsBrooklyn Academy of Music,

New YorkCity Center of Music and Drama,

Inc./New York City Ballet/Stravinsky Festival, New York

Composers and ChoreographersTheatre, Inc., New York,New York

Dance Theatre Workshop, Inc.,New York, New York

Hampton Center of ContemporaryArts, Inc., New York,New York

Martha Graham Center ofContemporary Dance, Inc.,New York, New York

New York Shakespeare Festival/New York Dance Festival,New York

Repertory Theatre of LincolnCenter/Player's Project/AnnaSoko low, New York,New York

St. Felix Corporation/BrooklynAcademy of Music, New York,New York

Large Company TouringProgram

Sponsors GrantsAllied Arts Foundation,

Seattle, WashingtonAuditorium Theatre Council,

Chicago, IllinoisThe Regents of the University of

California, BerkeleyC.A.M.P.U.S. Foundation, Inc.,

San Francisco, CaliforniaC.A.M.P.U.S. Foundation, Inc.,

San Francisco, CaliforniaIllinois Foundation for the Dance,

Champalgt. -UrbanaThe Board of Trustees of the

University of Illinois,Champaign

John F. Kennedy Center for thePerforming Arts,Washington, D.C.

* Treasury Fund

83,395

33,633

41,554

36,550

64,900

33,334

280,533

11,000*

25,000

5,000

2,000

20,000

40,000

25,000

5,000

147,533*

917,454591,570

12,990

25,980

71,670

12,990

20,910

20,910

10,455

125,460

The Metropolitan DenverCivic Ballet Guild, Inc.,Colorado

Milwaukee County War MemorialCenter, Inc./MilwaukeePerforming Arts Center,Wisconsin -

Music Center Presentations,Los Angeles, California

Musical Arts Association/TheCleveland Orchestra, Ohio

Pacific Northwest BalletAssociation/Oregon BalletCouncil, Portland

Pacific Northwest BalletAssociation, Seattle,Washington

Pittsburgh Ballet Theatre, Inc.,Pennsylvania

Ravinia Festival Association,Chicago, Illinois

Ravinia Festival Association,Chicago, Illinois

Saratoga Performing Arts Center,Saratoga Springs, New York

Society for the Performing Arts,Houston, Texas

Wolf Trap Foundation forPerforming Arts, Vienna,Virginia

Travel rtra fitsBallet Theatre Foundation,

Inc./Amuican Ballet Theatre,New York, New York

City Center of Music andDrama, Inc./New York CityBallet, New York

Foundation for American Dance,Inc./City Center Joffrey Ballet,New York, New York

Regional Developmentof Resident Professional

20,910

20,910

41,820

12,990

12,990

12,990

10,455

12,990

22,050

88,200

20,910

12,990325,884

150,000

40,134

135,750

Dance Companies 217,480Atlanta Ballet, Inc., Georgia 10,000Ballet West, Salt Lake City,

Utah 20,000Boston Ballet, Inc.,

Massachusetts 30,000Dancers' Workshop Company of

San Francisco, California 20,000Bella Lewitzky, Hollywood,

California 12,280National Ballet Society, Inc.,

Washington, D. C. 30,000Gloria Newman, Orange,

California 10,600North Carolina School of the

Arts, Winston-Salem 38,000The School of the

Pennsylvania Ballet Company,Philadelphia 30,000

San Francisco Ballet Company,California 16,000

Workshops and ServicesAssociation of American Dance

Companies, New York,New York

Connecticut College/AmericanDance Festival, New London

Connecticut College/Dance CriticsProgram, New London

Cunningham Dance Foundation,Inc., New York, New York

Hawaii State Foundation on Cultureand the Arts

National Association forRegional Ballet, Inc., New YorkNew York (summer of 1971)

National Association forRegional Ballet, Inc., New York,New York (summer of 1972)

114,562

25,000

20,000

10,000

10.000

1,000

28,562

20,000

44

Education $1,750,736Alternative Education Forms 142,409

Federal City College,Washington, D. C. 10,000

Foundation for Development andPreservation of Cultural Arts,Inc./Dynamic Museum,East St. Louis, Illinois 12,500

The George WashingtonUniversity/Workshops forCareers in the Arts,Washington, D. C. 7,500

The Harlem School of the Arts,Inc., New York

Henry Street Settlement/UrbanLife Center, New York,New York

Inner City Cultural Center,Los Angeles, California

Karamu House, Inc., Cleveland,Ohio

National Center of Afro-AmericanArtists, Inc./Elma Lewis Schoolof Fine Arts, Roxbury,Massachusetts

New Thing Art andArchitecture Center, Inc.,Washington, D. C.

New York Foundation for theArts, Inc./The MetropolitanMuseum of Art, New York

Performing Arts Society ofLos Angeles, California

20,000

5,000

5,000

20,000

10,000

7,500

34,909

10,000

Artists-in-Schools Program 1,417,897Dance ComponentAlaska State Council on the

ArtsDistrict of Columbia Commission

on the ArtsIdaho State Commission

on Arts and HumanitiesIndiana Arts CommissionNevada State Council

on the ArtsNew Jersey State Council

on the ArtsNorth Dakota Council

on the Arts and HumanitiesOhio Arts CouncilOregon Arts CommissionCommonwealth of Pennsylvania

Council on the ArtsTennessee Arts CommissionFilm ComponentAlaska State Council

on the ArtsThe Office of Arkansas State

Arts and HumanitiesCenter for Understanding Media,

Inc., New York, New YorkThe Colorado Council on the

Arts and HumanitiesIllinois Arts CouncilKansas Cultural Arts

CommmissionKentucky Arts CommissionMaine State Commission on the

Arts and the HumanitiesMichigan Council for the ArtsNebraska Arts CouncilNew Hampshire Commission

on the ArtsNew Jersey State Council

on the Arts

191,000

10,000

10,000

10,00010,000

15,000

11,000

10,00075,00010,000

10,00020,000

320,160

15,000

15,000

104,760

6,0006,000

6,0006,000

6,0006,000

15,000

6,000

6,000

106 The New Mexico Arts The Colorado Council on theCornmissicn 20,000 Arts and Humanities 10,000

New York Foundation for the Connecticut Commission onArts, Inc., New York 30,000 the Arts 20,000

Ohio Arts Council 8,400 Delaware State Arts Council 4,000Oregon Arts Commission 6,000 District of ColumbiaSouth Carolina Arts Commission on the Arts 3,000

Commission 20,000 Fine Arts Council of Florida 5,000Texas Commission on the Idaho State Commission on

Arts and Humanities 6,000 Arts and Humanities 5,000Vermont Council on the Arts, Inc. 6,000 Illinois Arts Council 10.000Virgin Islands Council Indiana Arts Commission 10,000

on the Arts 20,000 Kansas Cultural Arts Commission 6.000Washington State Arts Kentucky Arts Commission 10,000

Commission 6,000 Louisiana Council for MusicMusic Component 85,337 and Performing Arts, Inc. 5,000Connecticut Commission on the Maine State Commission on the

Arts 30,837 Arts and the Humanities 5,000Louisiana Council for Music Michigan Council for the Arts 10,000

and Performing Arts, Inc. 29,500 Mississippi Arts Commission 10,000New Jersey State Council Montana Arts Council 10,000

on the Arts 12,000 Nevada State Council on the Arts 10,000West Virginia Arts and New Hampshire Commission

Humanities Council 13,000 on the Arts 5,000New Jersey State Council

on the Arts 10,000The New Mexico Arts

Commission 10,000North Dakota Council on the

Arts and Humanities 4,000Ohio Arts Council 12,000Oklahoma Arts and Humanities

Council 20.000Oregon Arts Commission 10,000Commonwealth of Pennsylvania

Council on the Arts 15.000South Carolina Arts Commission 15,000South Dakota State Fine Arts

Council 10.000Tennessee Arts Commission 20,000

1,1 -r Texas Commission on theArts and Humanities 10,000

ikdUtah State Division of Fine ArtsVermont Council on the Arts,

Inc.

7,000

4,000Virgin Islands Council on the

Arts 5,000Washington State Arts

Commission 20,000West Virginia Arts and

Humanities Council 5.000Wisconsin Arts Council 10.000Wyoming Council on the Arts 10,000

Special Component 40,000

Poetry Component 355,500

Institute of American Indian Arts,Santa Fe, New Mexico ($20,000transfer from the Bureau of

Alaska State Council on theArts

Arizona Commission on the7,000

Indian Affairs, United StatesDepartment of the Interior) 40,000

Arts and Hu ranities 8,500 Theatre Component 50,000The Office of Arkansas State Arts Fine Arts Council of Florida/

and Humanities 5,000 Asolo Theatre, Sarasota 25,000

s,

sa

Lid

Texas Comrniscion on the Arts andHumanities/Dallas TheatreCenter

qte

Washington State Arts CommissionWest Virginia Arts and Humanities

CouncilWisconsin Arts Council

14,000 107

12,20012,200

Central Midwestern RegionalEducational Laboratory, Inc.,St. Ann, Missouri 2,000

Arts AdministrationFellowships 49,760

The Regents of the Univorsity ofCalifornia, Los Angeles (1971-72school year) 20,000

The Regents of the University ofCalifornia, Los Angeles (1972-73school year) 20,000

The President and Fellows ofHarvard College for HarvardSummer School Institute in ArtsAdministration, Cambridge,Massachusetts 9,760

Film Documentation 45,000University of Southern California,

Los Angeles 17,000West Virginia Arts and Humanities

Council 28,000

General Programs 95,670College Entrance Examination

Board, Advanced Placement,373,900 New York, New York

12,200 Lincoln Center for the Performing12,200 Arts, Inc., New York, New York 10,000

Minnesota State Arts Council 8,97012,200 National Collection of Fine Arts/

Smithsonian Institution,24,400 Washington, D.C. 1,70012,200

Visual Arts ComponentAlaska State Council on the ArtsAmerican Samoa Arts CouncilArizona Commission on the Arts

and HumanitiesConnecticut Commission on the

ArtsDelaware State Arts CouncilDistrict of Columbia Commission

on the ArtsIndiana Arts CommissionInsular Arts Council of GuamKansas Cultural Arts CommissionLouisiana Council for Music and

Performing Arts, Inc.Montana Arts CouncilNew Jersey State Council on the

ArtsThe New Mexico Arts CommissionOhio Arts CouncilOklahoma Arts and Humanities

CouncilOregon Arts CommissionSouth Carolina Arts CommissionSouth Dakota State Fine Arts

CouncilTennessee Arts CommissionTexas Commission on the Arts

and HumanitiesUtah State Division of Fine ArtsVermont Council on the Arts, Inc.

Treasury Fund

25,000

75,000*

12,200Expansion Arts $1,137,088

24,400 Arts Exposure Program 183,38812,200 -American Institute for Cultural12,200 Development, San Francisco,

California 20,00024,400 American Theatre Association,12,200 Washington, D. C. 1,488

Black Academy of Arts and12,200 Letters, Inc., New York. New13,300 York 20,00012,200 University of California Black

Culture Center, Berkeley 15,00012,200 City Center of Music and Drama,12,200 Inc., New York, New York 17,00012,200 Council of the Arts nr Children,

New Orleans, Louisiana 5,00012,200 Modern Organization for Dance12,200 Evolvement, Inc., New York,

New York 14,90036,600 Puerto Rican Forum, Inc./Institute12,200 of Contemporary Hispanic Art,12,200 New York, New York 5,000

Community Consolidated SchoolDistrict #65/The Children'sTheatre of Evanston, Illinois

Triangle Association of Collegesof Scgith Carolina and Georgia,Inc.. Columbia

Uplands, Inc., Durango, ColoradoUrban Gateways, Chicago, Illinois

Community CulturalCenters 225,000

Foundation for Development andPreservation cf Cultural Arts,Inc./Dynamic Museum, East St.Louis, Illinois 30,000

The George WashingtonUniversity/Workshops forCareers in the Arts, Washington,D. C. 30,000

The Harlem School of the Arts,Inc., New York, New York 30,000

Henry Street Settlement/Urban LifeProject, New York, New York 25,000

Inner City Cultural Center, LosAngeles, California 20,000

National Center of Afro-AmericanArtists, Inc./Elma Lewis Schoolof Fine Arts, Roxbury,Massachusetts 30,000

New Thing Art and ArchitectureCenter, Washington, D. C. 30,000

Performing Arts Society of LosAngeles, California 30,000

Instruction and Training 526,665Adept Publications New American

Folk Center and Gallery,Houston, Texas 20,000

Afro-American Cultural Develop-ment Foundation, Inc./AmericanBlack Artist, Inc., Detroit,Michigan 15,000

Afro-American Studio for Actingand Speech, New York, NewYork 17,500

Afro-American Total Theatre/Arts Foundation, Inc., NewYork, New York 8,250

The AMAS Repertory Theatre,Inc., New York, New York

Arts for Racial Identity/Voices,Inc./Black Musical Theatre,New York, New York

Atlanta Children's Center, Inc.,Georgia

Capitol Ballet Guild, Inc.,Washington, D. C.

Community Music SchoolsFoundation, Inc., St. Louis,Missouri

Compton-Willowbrook EnterpriseCommunity Action Agency,Compton, California

10,000

25,00020,00030,000

15,000

8,250

12,500

14,000

15,000

20,000

it

.... ',. 4

y S,,,,,,,, ,

t. .... `,, '..1'.- ..,,,. 01.. e

Cultural Council Foundation /' nSearch of Frederick Douglass,"New York, New York

Culture in Black and White,Mobile, Alabama

D. C. Black Repertory Company,Washington, D. C.

Ebony Talent Associates, Chicago,Illinois

The Educational Foundation ofthe New York Board of Trade,Inc./Alliance of Latin Arts, Inc.,New York, New York

Fides House CommunicationsWorkshop, Washington, D. C.

Federation of Communities inService/Epworth, Knoxville,Tennessee

Hough Area DevelopmentCorporation/Humanist Theatre,Cleveland, Ohio

Houston Metropolitan Ministries/Mexican American Theatre,Texas

Human, Organizational, Political,Economic Development, Inc./Black Arts Center, Houston,Texas

The Independent Foundation,Washington, D. C. 15,512

7, 500

15,000

30,000

12,500

15,000

15,000

11,250

12,500

10,000

17,500

Kentuckiana Metroversity/YouthArts Center, Louisville, Kentucky

Mechicano Art Center, LosAngeles, California

Milwaukee Inner City Arts Council,Inc., Wisconsin

The National Black TheatreWorkshop, Inc., New York,New York

National Mexican American Anti-Defamation Committee, Inc./"La Camera Grafica,"Washington, D. C.

New Heritage Repertory Theatre,Inc., New York, New York

The New Theatre School ofWashington, inc., Washington,D. C.

New York Free Theatre, Inc.,New York

The Puerto Rican TravelingTheatre Company, New York,New York

San Francisco Art Institute,California

Southern Education Program, Inc.,Atlanta, Georgia 12,500

West Side Players, Louisville,Kentucky 12,500

Westchester Young Actors Theatre,New Rochelle, New York 6,750

Your Heritage House, Inc., Detroit,Michigan 20,000

Neighborhood Arts Services 50,000Bronx Council on the Arts, Inc.,

New York 20,000San Francisco Art Commission,

California 30,000

County/Portrait of Ten Towns,17,500 New York 7,500

Federation of Communities in14,653 Service/They Can't Put It Back,

Capon Bridge, West Virginia 5,00015,000 Health and Welfare Planning

Council of the Dayton Area/Theatre West, Inc., Ohio 8,500

20,000 Human, Organizational, Political,Economic Development, Inc./South Park Community ParishSummer Program for Youthful

15,000 Musicians, Houston, Texas 6,260Huntington Theatre, Inc., Bay

15,000 Village, Ohio 1,000Institute for Services to Education,

Inc./Reston Black Focus,20,000 Reston, Virginia 7,500

The Julian Company Theatre, San15,000 Francisco, California 3,000

The Neighborhood SettlementAssociation of Cleveland, Inc./

20,000 Collinwood Arts Center, Ohio 7,500Nosotros, Los Angeles, California 10,000

15,500

Special Summer ProjectsAfro-American Cultural Develop-

ment Foundation/The DetroitRepertory Theatre, Michigan

152,035

5,000

fti;..11

Basement Workshop, Inc./YellowPearl Project, New York, NewYork 4,675

Christina Community Center ofOld Swedes, Inc./Del Cinema,Wilmington, Delaware 1,500

City Street Theatre Ensemble, Inc.,Brooklyn, New York . 10,000

Compared To What, Inc.,Washington, D. C.

Cultural Council Foundation/City5,000

1:1-4 +-4

Arts Workshop, Inc., New York,New York 8,000

East Baltimore EducationalFoundation, Inc./Model CitiesCultural Arts Program, Maryland 8,000 004

*;,4Episcopal Diocese of Pennsylvania/

Philadelphia Dance Company 7,500 0`.

Everson Museum of Art ofSyracuse and Onondaga

10 Our Lady of the Lake College/Creative Arts of San Antonio,Texas

Commonwealth of PennsylvaniaCouncil on the Arts/SymbrinckAssociates, Inc., Williamsport

Philadelphia College of Art/Graffiti Alternatives Workshop,Pennsylvania

Plaza de la Raza, Inc., LosAngeles, California

The Salesian Boys' Club of LosAngeles, California

San Antonio Community DanceProgram, Inc., Texas

The Street Theatre, Inc., Ossining,New York

Young Saints ScholarshipFoundation, Los Angeles,California

1,300

10,000

5,000

8,000

500

1,300

10,000

10,000

Literature $636,050Aid to Independent Presses 5,000

Unicorn Foundation for theAdvancement of Modern Poetry,Inc., Santa Barbara, California 5,000

Fellowships for ProfessionalWriters 195,000

Frederick Buell, New York,New York 5,000

Jerald Bullis, Appleton,Wisconsin 5,000

Joseph Ceravolo, Bloomfield,New Jersey 5,000

Jean Valentine Chance,New York, New York 5,000

Charles Dizenzo, New York,New York 5,000

Stanley Elkin, Universal City,Missouri 5,000

Richard Elman, New York,New York 5,000

Leslie Epstein, New York,New York 5,000

Warren Fine, Milwaukee,Wisconsin 5,000

Fred Gaines, Somerset,Wisconsin 5,000

John C. Gardner, Jr., Carbondale,Illinois 5,000

Stephen Goodwin, Lexington,Virginia 5,000

Alvin Greenberg, St. Paul,Minnesota 5,000

Pauline Hanson, SaratogaSprings, New York 5,000

Lawson !nada, Ashland,Oregon 5,000

Marvin X. Jackmon,San Francisco, California 5,000

Adrienne Kennedy, New Haven,Connecticut 5,000

Etheridge Knight, Jefferson City,Missouri

James J. McAuley, Four Lakes,Washington

James McPherson, Berkeley,California

William Meredith, New London,Connecticut

John Ford Noonan, New York,New York

Mary Oliver, Provincetown,Massachusetts

Charlotte Painter, Berkeley,California

Linda Pasten, Rockville,Maryland

Lawrence Raab, Manlius,New York

Carl Rakosi, Minneapolis,Minnesota

Stanley Rice, Berkeley,California

Edward Rivera, New York,New York

James Schuyler, Southampton,New York

Hugh Seidman, New York,New York

William Jay Smith,Washington, D. C.

Laurence Stapleton, Bryn Mawr,Pennsylvania

David Steingass, Haverhill,New Hampshire

Lynn Strongin, Albuquerque,New Mexico 5,000

Megan Terry, Omaha, Nebraska 5,000Robert Ward, Geneva, New York 5,000Alan B. Williamson,

Charlottesville, Virginia 5,000Susan Yankowitz, Pine Bush,

New York 5,000

General Programs 268,646Associated Writing Programs,

Chestertown, Maryland 10,000Columbia University in the City

of New York, New York 42,790Coordinating Council of Literary

Magazines, New York,New York 50,000

Coordinating Council of LiteraryMagazines, New York,New York 120,000

P.E.N. American Center,New York, New York 45,856

Poetry in the SchoolsProgram 118,541

(The following grants were made .

for the 1971-72 school year.Grants for school year 1972-73are listed under Education.)

5,000

5,000

5,000

5,000

5,000

5,000

5,000

5,000

5,000

5,000

5,000

5,000

5,000

5,000

5,000

5,000

5,000

Alaska State Council on theArts 5,000

Arizona Commission on the Artsand Humanities 10,000

The Frederic Burk Foundationfor Education/San FranciscoState College, California 25,391

District of Columbia Commissionon the Arts 3,000

Hawaii State Foundation onCulture and the Arts 4,350

Illinois Art Council 10,000Maine State Commission on the

Arts and the Humanities 1,000Massachusetts Council on the

Arts and Humanities 20,000Massachusetts Council on the

Arts and Humanities 2,500Mississippi Arts Commission 5,000Nevada State Council on the

Arts 5,000New Jersey State Council on the

Arts 5,000Commonwealth of Pennsylvania

Council on the Arts 7,500South Carolina Arts Commission 5,000Texas Commission on the Arts

and Humanities 5,000Virginia Commission of the Arts

and Humanities 4,800

Poets in Developing Colleges 48,863Atlanta University Center

Corporation, Georgia 6,000Coppin State College,

Baltimore, Maryland 3,500Fisk University, Nashville,

Tennessee 10,000LeMoyne-Owr n College,

Memphis, Tennessee 6,750Morgan State College, Baltimore,

Maryland 3,000

North Carolina Agricultural andTechnical State University,Greensboro

Texas Southern University,Houston

Wyoming Council on the Arts/Wyoming Community Colleges

Xavier University of Louisiana,New Orleans

Museums $4,1Aid to Special Exhibitions

Amon Carter Museum ofWestern Art, Fort Worth, Texas

Arkansas Art Center, Little RockThe Art Institute of Chicago, IllinoisThe Asia Society, Inc./

Asia House Gallery,New York, New York

Baltimore Museum of Art, Inc.,Maryland

* Treasury Fund

3,000

5,000

10,000

1,613

49,273939;325

11,7252,500

25,000

15,000

25,000

Board of National Missions of theUnited Presbyterian Church inthe United States of America/Sheldon Jackson College,Sitka, Alaska

Brooklyn Institute of Arts andSciences/The BrooklynMuseum, New York

Brooklyn Institute of Artsand Sciences/The BrooklynChildren's Museum,New York

The Regents of the University ofCalifornia/Museum of CulturalHistory, Los Angeles

The Regents of the University ofCalifornia/University Art

Morgan State College,Baltimore, MarylandMuseum, Berkeley

The Regents of the University ofCalifornia/University ArtGalleries, Los Angeles

China Institute in America, Inc./China House Gallery,New York, New York

City Art Museum of St. Louis,Missouri

The Columbia Art Association,South Carolina

Contemporary Arts Association ofHouston, Texas

The Contemporary Arts Center,Cincinnati, Ohio

The Corcoran Gallery of Art,Washington, D.C.

The Corcoran Gallery of Art,Washington, D.C.

The Corcoran Gallery of Art,Washington, D.C.

Corpus Christi Art Foundation,Inc./Art Museum of SouthTexas

Dallas Art Association/DallasMuseum of Fine Arts, Texas

Trustees of Dartmouth College/Hopkins Center Art Galleries,Hanover, New Hampshire

Dayton Art Institute, OhioEdmundson Art Foundation, Inc.,

Des Moines, IowaEverson Museum of Art of

Syracuse and OnondagaCounty, New York

Everson Museum of Art ofSyracuse and OnondagaCounty, New York

Fine Arts Society of San Diego,California

Flint Institute of Art in theDeWaters Art Center,Flint, Michigan

4,726

24,000

4,250

12,000

3,00025,000

14,600

7,500

5,000

23,000

20,000

9,100

20,000

10,000

60,000*

18,750

12,850

5,0005,302

20,000

7,50C

8,000

10,000

10,000

111

0

Founders Society Detroit Instituteof Arts, Michigan

Franklin Institute, Philadelphia,Pennsylvania

The Gallery of ContemporaryArt of Chicago, Illinois

Grand Rapids Art Museum,Michigan

The Solomon R. GuggenheimFoundation, New York,New York

Hudson River Museum atYonkers, New York

Indianapolis Museum of Art,Indiana

International ExhibitionsFoundation, Washington, D.C.

The Minneapolis Society ofFine Arts, Minnesota

Mississippi State HistoricalMuseum, Jackson

Missouri Botanical Garden,St. Louis

Museum of American Folk Art,New York, New York

Museum of Fine Arts, Boston,Massachusetts

The Museum of Fine Artsof Houston, Texas

20,000

22,988

10,750

8,900

20,000

5,000

6,350

10,000

25,000

6,000

6,500

26,000

10,000

10,000

Museum of Fine Arts ofSt. Petersburg, Florida, Inc.

The Museum of Modern Art,New York, New York

Museum of Science and Industry,Chicago, Illinois

Museum of Science and Industry,Chicago, Illinois/FranklinInstitute, Philadelphia,Pennsylvania/The Palace ofArts and Science,San Francisco, California

The Museum of the AmericanIndian, Heye Foundation,New York, New York

The New York Historical Society,New York

The New York Public Library,New York

Newport Harbor Art Museum,Newport Beach, California

Pasadena Art Museum, CaliforniaThe Pennsylvania State University/

Museum of Art, University ParkRhode Island School of Design,

ProvidenceSan Antonio Museum Association/

Witte Memorial Museum, TexasTrustees of the San Francisco

Museum of Art, CaliforniaUniversity of Southern California/

University Art Galleries, LosAngeles

Spiva Art Center, Inc., Joplin,Missouri

Tennessee Arts Commission/Tennessee State Museum,Nashville

Tucson Art Center, ArizonaUniversity of Utah/Utah Museum

of Fine Arts, Salt Lake CityWalker Art Center, Inc.,

Minneapolis, MinnesotaUniversity of Washington/Henry

Art Gallery, SeattleWhitney Museum of American

Art, New York, New YorkThe Wilmington Society of Fine

Arts/Delaware Art MuseumUniversity of Wisconsin

Foundation/Elvehjem ArtCenter, Madison

Yale University/Yale University ArtGallery, New Haven,Connecticut

Conservation ProgramEmergency Consultation and/or

TreatmentThe Buffalo Fine Arts Academy/

Albright-Knox Gallery, Buffalo,New York

6,000

25,000

50,000

45,000

22,500

9,500

30,000

6,00013,000

9,312

5,000

15,0

10,G

5,450

6,000

6,9722,500

5,000

25,000

3,975

15,275

3,000

10,05J

6,500

443,291

36,069

3,000

The University of Chicago/OrientalInstitute, Illinois

The Columbus Gallery of FineArts, Ohio

E. B. Crocker Art Gallery,Sacramento, California

President and Fellows of HarvardCollege/Peabody Museum ofArchaeology and Enthnology,Cambridge, Massachusetts

Huntington Galleries, Inc.,West Virginia

Merrimack Valley Textile Museum,Inc., North Andover,Massachusetts

The Museum of Modern Art,New York, New York

The Museum of Modern Art,New York, New York

The Newark Museum Association,New Jersey

Long-range ConservationPrograms

Association for Preservation ofVirginia Antiquities, Richmond

The Butler Institute of AmericanArt, Youngstown, Ohio

George Eastman House, Inc./International Museum ofPhotography.. Rochester,New York

Hampton Institute/The CollegeMuseum, Virginia

The State University of Iowa/Iowa Museum of Art Iowa City

Museum of Fine Arts, Boston,Massachusetts

Museum of the American Indian,Heye Foundation,New York, New York

Staten Island Institute of Artsand Sciences, New York

The Textile Museum, Inc.,Washington, D.C.

University of Wyoming/ArtMuseum, Laramie

Regional ConservationCentersKimbell Art Foundation,

Fort Worth, TexasMaine State Museum, AugustaMerrimack Valley Textile

Museum, Inc., North Andover,Massachusetts

Portland Art Association,Oregon

Special Projects inConservation

American Association ofMuseums, Washington, D.C.

The National Gallery of Art,Washington, D.C.

5,000

3,600

10,000

2,920

1,000

1,000

4,275

4,099

1,175

37,541

1,500

5,000

4,580

230

1,381

12,000

9,730

1,000

1,000

1,120

147,226

31,80031,726

3,700

80,000

71,000

60,000

11,000

Training in ConservationThe Regents of the University of

California, DavisPresident and Fellows of

Harvard College, Cambridge,Massachusetts

The Institute of Paper Chemistry,Appleton, Wisconsin

Intermuseum ConservationAssociation, Oberlin, Ohio

Intermuseum ConservationAssociation, Oberlin, Ohio

New York State HistoricalAssociation, Cooperstown

New York University, ConservationCenter of the Institute of FineArts, New York

Fellowships for Museum

151,455

1,500

25,000

7,635

4,875

2,070

60,375

50,000

Professionals 163,150Judith Applegate, Watertown,

Massachusetts 3,359William Bigel, Baltimore,

Maryland 2,154Elsa S. Cameron, San Francisco,

California 3,400Eugenie Candau, Berkeley,

California 4,061Victor Carlson, Baltimore,

Maryland 6,635Linda Cathcart, New York,

New York 895F. duPont Cornelius,

Cincinnati, Ohio 1,550Louise Allison Cort,

Cambridge, Massachusetts 3,913Alan Dubois, St. Petersburg,

Florida 2,428Virginia Field, New York,

New York 3,663Suzanne Foley, San Francisco,

Calif.,; 3,880Richard Fong, San Francisco,

California 3,240Druscilla A. Freeman, Beloit,

Wisconsin 3,228Robert 0. Gant, Helena, Montana 3,360Phyllis C. Hattis,

San Francisco. California 8,500Barbara D. Jackson,

New York, New York 7,500Elden Johnson, Minneapolis

Minnesota 3,066Robert Childress Jones, Jr.,

Jackson, Mississippi 5,100Adrienne L. Kaeppler, Honolulu,

Hawaii 2,000Thomas F. Kehoe, Milwaukee,

Wisconsin 4,000John W. Krill, Baltimore,

Maryland 2,392Mary M. Lee, Honolulu, Hawaii 1,481Louise W. Mackie,

Washington, D.C. 1,648

114 Joyce P. Messer, North Andover,Massachusetts

Robert C. Moeller III, Boston,Massachusetts

Robert L. Morgan, Stanford,California

Beverley Mowbray, Philadelphia,Pennsylvania

Thomas P. Myers, Bloomington,Indiana

David Nasgowitz, Chicago,Illinois

Frank A. Norick, Berkeley,California

Nina Felshin Osnos,Washington, D.C.

Teri-Oikawa Picante,San Francisco, California

Paul F. Rovetti, Storrs,Connecticut

Lloyd J. Soehren,Honolulu, Hawaii

Athena Spear, Oberlin, OhioDonna M. Stein,

New York, New YorkRichard L. Stucker, Farmington,

ConnecticutRoss E. Taggart, Kansas City,

MissouriJohn Lloyd Taylor, Milwaukee,

WisconsinDudley M. Varner, Austin, TexasJason D. Wong, Long Beach,

CaliforniaBarton Wright, Flagstaff,

Arizona

Museum Purchase PlanAkron Art Institute, OhioArnot Art Museum, Elmira,

New YorkArt Center in La Jolla/La Jolla

Museum of Contemporary Art,California

Atlanta Arts Alliance/The HighMuseum of Art, Georgia

Brooklyn Institute of Arts andSciences/The Brooklyn Museum,New York

Buffalo State College AlumniFoundation/Charles BurchfieldCenter, New York

The Regents of the University ofCalifornia/University Art Museum,Berkeley

The Canton Art Institute, OhioChattanooga Art Association, Inc.,

TennesseeCity Art Museum of St. Louis,

MissouriThe Columbus Gallery of Fine Arts,

Ohio

The Coos Artists League, Inc./1,357 Coos Art Museum, Coos Bay,

Oregon7,860 E. B. Crocker Art Gallery,

Sacramento, California2,428 The Currier Gallery of Art,

Manchester, New Hampshire1,903 Dallas Art Association/Dallas

Museum of Fine Arts, Texas6,743 Trustees of Dartmouth College/

Hopkins Center Art Galleries,5,220 Hanover, New Hampshire

Everson Museum of Art of Syracuse5,169 and Onondaga County,

New York3,332 Fine Arts Society of San Diego,

California7,130 Fort Worth Art Association/

Fort Worth Art Center3,600 Museum, Texas

Greenville Art Association/2,800 Greenville County Museum of1,500 Art, South Carolina

The Solomon R. Guggenheim5,000 Foundation, New York,

New York2,211 Guild Hall of East Hampton,

New York2,772 President and Fellows of Harvard.

College/Fogg Art Museum,9,587 Cambridge, Massachusetts4,660 Trustees of Indiana University/

Art Museum, Bloomington,4,500 State University of Iowa/

Museum of Art, Iowa City3,925 Joslyn Art Museum, Omaha,

NebraskaThe University of Kansas/

Museum of Art, LawrenceCharles H. MacNider Museum,

Mason City, IowaMichigan State University/

Kresge Art CenterGallery, East Lansing

10,000 The Museum of Fine Arts ofHouston, Texas

10,000 Museum of Fine Arts of St.Petersburg, Florida, Inc.

The Museum of Modern Art,5,000 New York, New York

University of New Mexico/University Art Museum,

5,000 AlbuquerqueNew York University,

New York10,000 The North Carolina10,000 Museum of Art, Raleigh

North Dakota State University/10,000 North Dakota State University

Student Art Collection, Fargo10,000 Northern Arizona Society

of Science and Art/Museum of10,000 Northern Arizona, Flagstaff

500,00010,000

10,000

10,000

10,000

10,000

10,000

5,000

10,000

10,000

10,000

10,000

10,000

10,000

10,000

10,000

10,000

10,000

10,000

10,000

10,000

10,000

5,000

10,000

10,000

10,000

10,000

10,000

5,000

St. Joseph Art League/Albrecht Gallery-Museum ofArt, Missouri 5,000

The St. Lawrence University,Canton, New York 10,000

San Antonio Museum Association/Witte Memorial Museum, Texas 10,000

The Sheldon Swope Art Gallery,Inc., Terre Haute, Indiana 5,000

The J. B. Speed Art Museum,Louisville, Kentucky 10,000

Staten Island Institute of Arts andSciences, New York 5,000

Storm King Art Center, Mountain-ville, New York 10,000

Tougaloo College/Tougaloo ArtGallery, Mississippi 10,000

Trigg-C. M. Russell Foundation,Inc., Great Falls, Montana 5,000

The University of Utah/Utah Museum of Fine Arts,Salt Lake City 10,000

The University of Vermont/Robert Hull Fleming Museum,Burlington 5,000

Walker Art Center, Inc.,Minneapolis, Minnesota 10,000

Whitney Museum of American Art,New York, New York 10,000

Wichita State University,Kansas 5,000

Wilmington Society of Fine Arts/Delaware Art Museum 5,000

University of WisconsinFoundation/Elvehjem ArtCenter, Madison 10,000

The Worcester Art Museum,Massachusetts 10,000

The University of WyomingArt Museum, Laramie 10,000

Yale University/YaleUniversity Art Gallery,New Haven, Connecticut 10,000

Museum Training 118,745The American Museum of Natural

History, New York, New York 77,483The Board of Trustees of the

University of Illinois/KrannertArt Museum, Champaign 15,262

Smith College, Northampton,Massachusetts 6,000

The Toledo Museum of Art, Ohio 11,000The Worcester Art Museum,

Massachusetts 3,000Yale University/Yale University

Art Gallery, New Haven,Connecticut 6,000

Renovation (Climate Control,Security, Storage) 648,440

Implementation 513,922

* Treasury Fund

Trustees of Amherst College,Massachusetts 5,000

Arizona Commission on the Artsand Humanities 1,040

The Art Institute of Chicago,Illinois 112,430

The Augusta Richmond CountyMuseum, Georgia 2,062

The Cleveland Museum of Art,Ohio 8,727

M. H. de Young MemorialMuseum, San Francisco,California 30,000

Indianapolis Museum of Art,Indiana

Joslyn Liberal Arts Society/Joslyn Art Museum, Omaha,Nebraska

The Lyman Allyn Park andMuseum, Inc., New London,Connecticut

The New Jersey HistoricalSociety, Newark 8,750

The Newark Museum Association,New Jersey 5,000

Oberlin College, Ohio 8,200

The Parrish Art Museum,Southampton, New York 10,000

The Trustees of the SanFrancisco Museum of Art,California 14,851

The Society of the Four Arts,Palm Beach, Florida 3,193

ougaloo College,Mississippi 2,500

Government of the Virgin Islandsof the United States/VirginIslands Museum, St. Thomas 2,500

Yale University/Yale UniversityArt Gallery, New Haven,Connecticut 12,942

Survey 134,518The American Museum of Natural

History, New York,New York 9,000

The Baltimore Museum of Art,Maryland 11,180

The Charleston Art Galleryof Sunrise, Inc.,West Virginia 908

The University of Chicago/TheOriental Institute, Illinois 9,350

The Columbus Gallery of Fine Arts,Ohio 4,400

Founders Society Detroit Instituteof Arts, Michigan 5,000

Field Museum of Natural History,Chicago, Illinois 9,942

Hampton Institute/The CollegeMuseum, Virginia 1,375

Hudson River Museum atYonkers, New York 5,880

4,571

272,156*

10,000

t5

Merrimack Valley Textile Museum,Inc., North Andover,Massachusetts

Museum of Fine Arts, Boston,Massachusetts

Nassau County Museum, Syosset,New York

The New York Botanical Garden,Bronx, New York

Norwegian-American Museum,Decorah, Iowa

State Capitol Historical Associa-tion/State Capitol Museum,Olympia, Washington

Staten Island Institute of Artsand Sciences, New York

The Textile Museum, Inc.,Washington, D.C.

Wadsworth Atheneum,Hartford, Connecticut

Special ProjectsAlaska State Council on the ArtsAmerican Association of Museums,

Washington, D.C.The Corcoran Gallery of Art,

Washington, D.C.Harold L. Glicksman,

Washington, D.C.The New York Public Library/

Research Library of thePerforming Arts at Lincoln Center,New York

The Northeastern NevadaHistorical Society, Elko

Susan Phelps, New York,New York

Utilization of MuseumCollections

The American Museum of NaturalHistory, New York, New York

Amon Carter Museum of WesternArt, Fort Worth, Texas

Arnot Art Gallery, Elmira,New York

The Art Institute of Chicago,Illinois

Baltimore Museum of Art,Maryland

Brooklyn Institute of Arts andSciences/The Brooklyn Museum,New York

Buffalo Historical Society,New York

Carnegie Institute/CarnegieMuseum, Pittsburgh,Pennsylvania

Carnegie Institute/Museum of Art,Pittsburgh, Pennsylvania

Chicago Historical Society,Illinois

The Cleveland Museum of Art,Ohio

1,750 The Corcoran Gallery of Art,Washington, D. C.

14,510 M. H. de Young Memorial Museum,San Francisco, California

10,000 The Gershon and RebeccaFenster Gallery of Jewish Art,

29,000 Inc., Tulsa, OklahomaThe Solomon R. Guggenheim

996 Foundation, New York, New YorkPresident and Fellows of Harvard

College/Fogg Art Museum,477 Cambridge, Massachusetts 30,000

Honolulu Academy of Arts,10,000 Hawaii 10,000

Jewish Institute of Religion6,650 Trust/Museum of Hebrew Union

College, Los Angeles,4,100 California 10,000

The Museum of Modern Art,125,080 New York, New York 25,000

5,000 The Nelson Gallery Foundation/The William Rockhill Nelson

24,930 Gallery and the Mary AtkinsMuseum of Fine Arts,

48,495 Kansas City, Missouri 25,000The Newark Museum

.7,500 Association, New Jersey 8,250Old Dartmouth Historical

Society, New BedfordMassachusetts 10,000

30,000 Pasadena Art Museum, California 15,000The Rhode Island Historical

8,055 Society, ProvidenceRhode Island School of Design,

1,100* ProvidenceSanta Barbara Museum of Art,

CaliforniaSeattle Art Museum,

WashingtonShelburne Museum, Inc., Vermont

25,000 Texas Tech University, LubbockThe University of Vermont and

10,000 State Agricultural College/Robert Hull Fleming Museum,

12,300 BurlingtonTrustees of Walters Art Gallery,

8,792 Baltimore, MarylandWhitney Museum of American Art,

5,250 New York, New YorkUniversity of Wisconsin Foundation/

Elvehjem Art Center, Madison

87,112

10,000

50,000

3,500

20,000

548,061

25,000

10,000

15,308

15,000

8,000

16,0005,9458,935

6,500

21,649

20,000

5,395

Visiting Specialists Program 181,790The American Museum of Natural

History, New York, New York2,625 The Asia Society, Inc./Asia House

Gallery, New York, New York12,500 Brooklyn Institute of Arts and

Sciences/The Brooklyn Museum,10,000 New York

3,500

5,107

2,745

The Buffalo Fine Arts Academy/Albright-Knox Art Gallery,New York

Buffalo Society of Natural Sciences/Buffalo Museum of Science,New York

Captain Robert Bennet ForbesHouse, Inc./Museum of theAmerican China Trade, Milton,Massachusetts

Chicago Historical Society,Illinois

The Dayton Art Institute, OhioField Museum of Natural History,

Chicago, IllinoisField Museum of Natural History,

Chicago, IllinoisFort Worth Art Association/

,Fort Worth Art Center Museum,Texas

Founders Society Detroit Instituteof Arts, Michigan

Hampton Institute/The CollegeMuseum, Virginia

Historic Pensacola PreservationBoard of Trustees, Florida

The Board of Trustees of theUniversity of Illinois/TheKrannert Art Museum,Champaign

The Isabella Stewart GardnerMuseum, Inc., Boston,Massachusetts

The Metropolitan Museum of Art,New York, New York

The Regents of the University ofMichigan/School of Music,Ann Arbor

State of Michigan/Michigan StateMuseum, Lansing

Museum of Fine Arts, Boston,Massachusetts

Museum of New Mexico,Santa Fe

Museum of Science, Boston,Massachusetts

Old Salem, Inc., Winston-Salem,North Carolina

Rhode Island School of Design/Museum of Art, Providence

The St. Lawrence University/Griffiths Art Gallery, Canton,New York

San Diego Hall of SCience andIndustry, California

Santa Barbara Museum of Art,California

Seattle Art Museum, WashingtonSpertus College of Judaica, Chicago,

IllinoisState Capitol Historical Associa-

tion/State Capitol Museum,Olympia, Washington

* Treasury Fund

The Textile Museum, Inc.,Washington, D.C.

8,500 Vermont Historical Society,Montpelier

Wadsworth Atheneum, Hartford,3.125 Connecticut

Wilmington Society for FineArts/Delaware Art Museum

The Worcester Art Museum,4,500 Massachusetts

Wider Availability ofMuseums

Children's Museum, Boston,Massachusetts

Cultural Council Foundation/Museums Collaborative,New York, New York

Field Museum of Natural History,Chicago, Illinois

Trustees of the Fuller Memorial/Brockton Art Center,Massachusetts

Illinois Arts CouncilThe Learning Cooperative,

New York City Board ofEducation/Los Amigos del ElMuseo del Barrio,New York

8,138 The Metropolitan Museum of Art,New York, New York

The Minneapolis Society of1,630 Fine Arts/The Minneapolis

Institute of Arts, Minnesota5,000 The Minneapolis Society of

Fine Arts/The MinneapolitiInstitute of Arts,Minnesota

The Museum of Modern Art,New York, New York

The New York Foundation forthe Arts, Inc./StorefrontMuseum, Inc., Jamaica,New York

Smithsonian Institution/CooperHewitt Museum of DecorativeArts and Design New York,New York 10,000

Texas Commission on the Arts andHumanities 30,000

Music $9,745,797.361,500 Audience Development 515,118

Affiliate Artists, Inc., New York,New York

The New Pro Musica Antigua,Inc., New York

Young Audiences, Inc.,New York, New York

8,0003,500

9,495

4,878

3,000

2,000

3,000

1,820

12,500

2,000

7,000

6,000

2,210

8,000

5,000

5,058

3,000

22,825

4,600

5,775

481,391

30,000

55,855

56,533

4,41350,000

60,000

100,000

20,969

9,871

25,000

28,750

5,500

1,5007,000

3,250

240,000

25,000

250,118*

Audio-Visual Experiments 32,123.78OPERA TODAY, Inc., New York,

1,134 New York 32,123.78*

Chorai ProgramThe Bach Society of Minnesota,

MinnetonkaThe Choral Arts Society of

Washington, D.C.Classic Chorale, Inc., Denver,

ColoradoNational Choral Council, Inc.,

New York, New York,National Choral Foundation, Inc.,

Washington, D.C.Oakland Symphony Orchestra

Association/Oakland SymphonyChorus and Chamber Chorus,California

Singing City, Philadelphia,Pennsylvania

Tennessee Arts Commission

Composer AssistanceArnold Black, New York,

New YorkThe Dorian Woodwind Quintet

Foundation, Inc., New York,New York

Long Island University/StefanWolpe, Greenvale,New York

National Choral Foundation, Inc.,Washington, D.C.

The Thorne Music Fund,New York, New York

Contemporary MusicProjects

Bennington Composers' Conferenceand Chamber Music Center,Inc., Middlebury, Vermont

Bennington Composers' Conferenceand Chamber Music Center,Inc., Middlebury, Vermont

Contrasts in ContemporaryMusic, Inc./ComposersShowcase, New York,New York

Music Associates of Aspen,Inc./Aspen Music Festival,Colorado

New Dimensions in Music,Seattle, Washington

Philadelphia Composers' Forum, Inc.,Pennsylvania

The Reich Music Foundation,Inc., New York,New York

The Research Foundation of theState University of New York/Center of the Creative andPerforming Arts, Buffalo

The Theater Chamber Players,Inc., Washington, D.C.

The Theater Chamber Players,Inc., Washington, D.C.

47,700

2,500

7,500

6,500

7,500

7,500

4,700

6,5005,000

47,355

1,285

6,000

7,070

3,000

30,000

123,000

8,000

8,000

7,000

25,000

2,000

8,000

5,000

50,000*

6,000

4,000

General Programs 208,541Alaska State Council on the Arts 45,000Antioch College, Yellow

Springs, OhioMartin Berkofsky, Baltimore,

MarylandEastern Music Festival, Inc.,

Greensboro, North CarolinaKalamazoo College/The Catgut

Acoustical Society, Inc.,Michigan

Morehouse College/Festival ofBlack Music, Atlanta, Georgia

Music in the Mountains, Inc.,Burnsville, North Carolina

Music in the Mountains, Inc.,Burnsville, North Carolina

Washington Performing ArtsSociety, D.C.

Washington Performing ArtsSociety, D.C.

Wolf Trap Foundation for thePerforming Arts, Vienna,Virginia 20,000

49,000*

7,500

10,000

7,000

15,000

9,400

11,650

29,600

4,391*

Jazz Program 244,925Fellowships to American Jazz

Composers for CommissioningNew Works and Funding ofWorks in Progress 31,600

Rashied Ali, Brooklyn, New York 1,000David N. Baker, Jr.,

Bloomington, Indiana 1,000Alvin Batiste,

Baton Rouge, Louisiana 1,000Robert M. Beadell, Lincoln,

Nebraska 1,000William R. Burton, New York,

New York 1,000Ken Chaney, Chicago, Illinois 1,000Edward R. Christianson, Fargo,

North Dakota 100McKinley H. Dorham,

New York, New York 1,000Alfred Drears, New York, New York 1,000Gil Evans, New York, New York 1,500Eric Gravatt, Washington, D.C. 1,000Charles E. Haden, New York,

New York 1,000Bill Harris, Washington, D.C. 1,000Marshall Hawkins, Washington,

D.C. 1,000Robert L. Holmes, Jr.,

Nashville, Tennessee 1,000Gaston D. Holt, Nacogdoches,

Texas 1,000Charles H. Israels, New York,

New York 1,000Roger L. Jannotta, Albuquerque,

New Mexico 1,00QBertram L. Konowitz,

Purchase, New York 1,000Alan Levitt, New York, New York 750

Oliver Lake, St. Louis, MissouriAntililo J. Macero,

New York, New YorkRobert B. Morgan, Champaign,

IllinoisJoseph D. Newman, New York,

New YorkMichael A. Nock,

San Francisco,, CaliforniaWalter D. Redman, Brooklyn,

New YorkJonn A. Reilly, Jr., New York,

New YorkAdolph J. Sandole, Springfield,

PennsylvaniaJoseph C. Scianni, New York

New YorkClifford Thornton, Middletown,

ConnecticutLouie C. Ventrella, Boise, IdahoAlex Wilder, New York,

New YorkJoe L. Wilson, New York

New YorkJazz Concerts in Schools and

Other Community PlacesBethany College, West VirginiaBlack Arts Music Society,

Inc., Jackson, MississippiBlair County Civic Music

Association, Altoona,Pennsylvania .

Cadet Activities TruSt Fund/Cadet Fine Arts Forum, WestPoint, New York

Church of St. Gregory the Great,Brooklyn, New York

Clarenceville School District,Farmington, Michigan

College of Du Page, Glen Ellyn,Illinois

The Hartford Jazz Society, Inc.,Connecticut

Left Bank Jazz Society, Inc.,Baltimore, Maryland

Livingstone College, Salisbury,North Carolina

University of Missouri, Kansas CityUniversity of Missouri, ColumbiaMusic for Long Island, inc.,

North Massapequa, New YorkRutgers State University,

New Brunswick, New JerseySoul Rock From The Rock, Inc.,

New York, New YorkStudent Union Board Association,

Washington, D.C.Unlimited Jazz, Ltd., Milwaukee,

WisconsinWashington Theater Club, Inc.,

Washington, D.C.Wayne Board of Education,

Wayne, New Jersey

* Treasury Fund

500

1,000

1,000

1,000

1,000

1,000

1,000

1,000

'1,000

The Western College for Women,Oxford, Ohio

Young Audiences, Inc., New York,New York

Young Audiences of Wisconsin,Inc Rice Lake

1,260

1,000

1,000

Short-term Jazz Residencesat Colleges, Universities,Music Schools, and OtherCultural and CommunityOrganizations 83,005

Alaska Festival of Music,Anchorage 2,000

American Association of JuniorColleges, Washington, D.C. 2,250

Arizona State University,Tempe 1,500

1,000 The Regents of the University of1,000 California, Los Angeles 1,000

Associated Students of the750 University of California,

Santa Barbara 5001,000 The University of Cincinnati,

Ohio 1,00028,140 Coe College, Cedar Rapids, Iowa 385

210 University of Colorado, Boulder 700Columbia Basin College,

1,500 Pasco, Washington 2,000Community Series, inc.,

Sherman, Texas 1,2501,250 Coppin State College, Baltimore,

Maryland 2,000Drury College, Springfield,

900 Missouri 2,000East Carolina University,

2,000 Greenville, North Carolina 1,500Fort Valley State College, Georgia 485

1,000 Glassboro State College,New Jersey 1,000

1,000 Board of Control of Grand ValleyState College, Allendale,

950 Michigan 1,375Hampton Institute, Virginia 1,850

2,000 Hiram College, Ohio 2,000Hopkins Center for the Per-

1,500 forming Arts, Hanover,970 New Hampshire 1,000

2,000 International Art of Jazz, Inc.,Centereach, New York . 2,000

2,000 International Art of Jazz, Inc.,Centereach, New York 2,000

1,000 Iowa State University, Ames' 750Jackson State College of Science

2,000 and Technology,Mississippi 1,000

1,000 The Jazz Composer's OrchestraAssociation, New York,

2,000 New York 2,500Jazzmobile, Inc., New York,

600 New York 2,000Lawrence University, Appleton,

1,000 Wisconsin 2,000

119

Long Island University, Greenvale,New York

Louisburg College, NorthCarolina

Louisiana Music EducatorsAssociation, Inc. Metrairie

Loyola University, New Orleans,Louisiana

Loyola-Marymount, Los Angeles,fnc. /Marymount College,California 1,000

University of Maryland, CollegePark 1,000

Mesa Community College, Arizona 1,980The Regents of the University of

Minnesota, Duluth 1,000The Regents of the University of

Minnesota, Duluth 2,000University of Montana, Missoula 1,000Moorhead State College,

Minnesota 1,000National Music Camp,

Interlochen, MichiganNebraska Wesleyan University,

LincolnNeshaminy School District,

Langhorne, PennsylvaniaThe New England Conservatory of

Music, Boston, MassachusettsNorth Carolina State University,

RaleighUniversity of Northern Iowa,

Cedar FallsNorthern State College,

Aberdeen, South DakotaOakland University,

Rochester, MichiganPrince George's Community

College, Largo, MarylandRichmond College of the City

University of New York,Staten Island 1,000

Saint Augustine's College,Raleigh, North Carolina 1,000

Saint Peter's LutheranChurch/Jazz Interactions, Inc.,New York, New York 4,000

The State University College atPotsdam, New York

Talladega College, AlabamaTennessee Arts CommissionTurner House, Inc.,

Kansas City, KansasUniversity of Utah, Salt Lake CityWestern Illinois University,

Macomb 2,000The Wilmington Music School,

Inc., Delaware 1,380Youngstown State University,

OhioSpecial Projects in JazzAntioch College, Yellow Springs,

Ohio

600

750

2,700

1,350

2,000

1,000

1,000

3,000

1,000

1,000

950

2,000

1,000

1,000500

1,000

2,5002,00

Nathaniel P. Baggarly, Rockledge,Florida

Marion Brown, Brunswick, MaineCity of Jackson, MississippiFranklin S. Driggs,

Brooklyn, New YorkFisk University, Nashville,

Tennessee 3,500Harlem Jazz Music Center, Inc.,

New York, New York 5,000Memphis State University,

Tennessee 750Mobile Jazz Festival, Inc.,

Alabama 2,000Morehouse College, Atlanta,

Georgia 1,140New York Hot Jazz Society, Inc.,

New York 1,000University of Notre Dame/

Collegiate Jazz Festival,Indiana 1,000

Stephen A. Reid, St. Albans,1,250 New York 1,000

86,420 Saint Peter's LutheranChurch/The Art of Black

22,590 Music, New York, New York 2,000

1,000500780

600

Saint Peter's LutheranChurch/Jazz Interactions, Inc.,New York, New York

Texas Tech University,Lubbock

Villanova University/VillanovaIntercollegiate Jazz Festival,Pennsylvania

Yale University, New Haven,Connecticut

Travel-study Fellowships forMusicians and Students

Sinclair L. Acey, Boston,Massachusetts

Newman T. Baker, Salisbury,North Carolina

Mark M. Blumberg, Greenbelt,Maryland

Merrill R. Clark, Salt Lake City,Utah

Salvatore S. D'Alessandro,Middletown, Connecticut

Albert R. DeVaul, Bethany,West Virginia

Leon Dodson, Westbury,New York

Richard K. Drumm, WestSpringfield, Massachusetts

Neil K. Fahey, West Springfield,Massachusetts

Julius L. Farmer, Baton Rouge,Louisiana

Ashton V. Fletcher, Jr., Baltimore,Maryland

Dalnillo A. Florian, Staten Island,New York

Kirk A. Ford, Norco, LouisianaBruce L. Fowler, Salt Lake City,

UtahGlen R. Garrett, Salt Lake City,

UtahStuart W. Goldberg,

Salt Lake City, UtahDaoud A. Haroon, Middletown,

ConnecticutLee M. Henderson, Middletown,

ConnecticutHerman C. Jackson, Baton Rouge,

LouisianaSamuel 0. Jacobs, Middletown,

ConnecticutHarvey Kaiser, Brooklyn,

New YorkWillie Keyes, Baton Rouge,

LouisianaHan;ion D. Lane, Petersburg,

VirginiaKeith M. Lawrence, Boston,

MassachusettsVance H. Lumme, Cleveland,

OhioPau! T. Mazzacano, Lubbock,

Texas

Treasury Fund

Rene Profit McLean. New York,New York

21,300 Kathleen M. Monahan,Middletown. Connecticut

1,700 Lloyd Oby, Baton Rouge,Louisiana

John P. Pearson, Bridgeport,2,750 Connecticut

Jerry A. Ranger, Salt Lake City,17,900 Utah

Robert E. Scott, Berkeley,15,760 California

George T. Souza, Salt Lake City,500 Utah

George L. Starks, Jr., Middletown,500 Connecticut

Christine Thornton, Middletown,500 Connecticut

230

500

500

500

500

230

500

230

500

500

Opera Program 2,591,122Arizona Commission on the Arts

and Humanities/Seattle Opera500 Company and Phoenix

Symphony Association480 Baltimore Opera Company, Inc.,

Maryland500 The Center Opera Company,

Minneapolis, Minnesota500 Central City Opera House

Association, Denver, Colorado500 C'outauqua Institution/The

Chautauqua Opera Association,500 New York 21,745

CI autaqua Institution/The500 3hautauqua Opera Association,

gew York 26,560500 C icinnati Summer Opera500 Association, Inc., Ohio 20,000

Cincinnati Summer OperaAssociation, Inc., Ohio 40,000

City Center of Music andDrama, Inc., New York,New York

Dallas Civic Opera Company,Inc., Texas

Detroit Grand OperaAssociation, Inc., Michigan

Goldovsky Opera Institute, Inc.,Brookline, Massachusetts

Harford Theatre Association, Inc.,Bel Air, Maryland

The Honolulu SymphonySociety/The Hawaii OperaTheatre

Houston Grand Opera Theatre,Inc., Texas

The Juilliard School, New York,New York

Kansas City Lyric Theatre,Missouri

Kentucky Opera Association,Inc., Louisville

Lyric Opera of Chicago,Illinois

25,000

20,750

45,000*

40,000

230

230

230

500

500

500

500

500

500

500

500

400

500

200,000*

50,000

20,000

50,000

19,200

25,000

50,000

50,000*

20,000

12,100

175,000*

1 22 Manhattan School of Music,New York, New York

Metropolitan Opera Association,Inc., New York, New York

Mississippi Opera Association,Inc., Jackson

The National Opera Institute,Washington, D, C.

Oberlin College/Oberlin MusicTheater, Ohio

Oklahoma Arts and HumanitiesCouncil/Kansas City Lyric Theater

The Opera Association ofNew Mexico/Santa Fe Opera

The Opera Association ofNew Mexico/Santa Fe Opera

The Opera Association ofNew Mexico/Santa Fe Opera

The Opera Company of Boston,Inc., Massachusetts

Opera Company of the SyracuseSymphony Orchestra, Inc.,New York

Opera Festival Association, Inc.,Glens Falls, New York

Opera Festival Association, Inc.,Glens Falls, New York

Opera Guild of Greater Miami,Florida

Philadelphia Musical AcademyParaisy:var7!::

Portland Opera Association,Oregon

Saint Paul Opera Association,Minnesota

The San Diego Opera Guild,California

San Francisco OperaAssociation/Western OperaTheater, California

San Francisco OperaAssociation/Western Opera,Theater, California

San Francisco OperaAssociation, California

Seattle Opera Association, Inc.,Washington

University of SouthernCalifornia, Los Angeies

Spring Opera of San Francisco,California

The Tri-Cities Opera Workshop,Inc., Binghamton, New York

The Tri-Cities Opera Workshop,Inc., Binghamton, New York

10,000

315,000*

10,000

350,000*

10,000

17,865

1,350*

50,000*

10,400*

50,000

20,000

12,102'

50,000*

10,000

15,000

kti3OC2

50,000*

50,000

25,000*

150,000*

202,800*

150,250*

40,000*

25,000

15,000

15,000

Orchestra Program 5,307,259.80Chamber OrchestrasMusic for Long Island,

Inc./Orchestra da Camera,New York, New York

St, Paul Civic PhilharmonicSociety, Inc., Minnesota

130,200

80,200*

50,000*

Major OrchestrasAmerican Symphony Orchestra,

Inc., New York, New YorkAtlanta Arts Alliance,

Inc./Atlanta SymphonyOrchestra, Georgia

3,844,828.80

Atlanta Symphony Orchestra,Georgia

Baltimore Symphony OrchestraAssociation, Inc., Maryland

Boston Symphony Orchestra, Inc.,Massachusetts

Buffalo Philharmonic OrchestraSociety, Inc., New York

The Orchestral Association/Chicago Symphony Orchestra,Illinois

Cincinnati Symphony Orchestra,Inc., Ohio

Musical Arts Association/TheCleveland Orchestra, Ohio

Dallas Symphony Association, Inc.,Texas

Denver Symphony Association,Colorado

Detroit Symphony Orchestra, Inc.,Michigan

Houston Symphony Society,Texas

Indiana State Symphony Society,Inc./Indianapolis SymphonyOrchestra

Kansas City PhilharmonicAssociation, Missouri

Milwaukee Symphony Orchestra,Inc., Wisconsin

The Minnesota OrchestralAssociation/MinnesotaOrchestra, Minneapolis

The Minnesota OrchestralAssociation /MinnesotaOrchestra, Minneapolis

National Symphony OrchestraAssociationof Washington, D. C.

National Symphony OrchestraAssociationof Washington, D. C.

National Symphony OrchestraAssociationof Washington, D. C.

New Orleans PhilharmonicSymphony Orchestra,Louisiana

Philadelphia OrchestraAssociation, Pennsylvania

The Philharmonic SymphonySociety of New York, Inc.,New York

The Pittsburgh SymphonySociety, Pennsylvania

Rochester Civic MusicAssociation, Inc./ Rochester

50,000

181,188*

13,650

100,000

200, 000 *

73,850

10C,000

200, 000 *

200,000*

100,000

100,000

100,000

50,000

56,000

75,000

83,000

125,000*

12,000

200,000

130,000*

2,861*

201,000*

100,000

100,000

200,000*

Philharmonic Orchestra,New York

Saint Louis Symphony Society,Missouri

San Francisco SymphonyAssociation, California

Seattle Symphony Orchestra, Inc.,Washington

Southern California Symphony-Hollywood Bowl Association/Los Angeles PhilharmonicOrchestra

Symphony Society of San Antonio,Texas

Utah Symphony Society,Salt Lake City

Metropolitan OrchestrasThe Albany Symphony Orchestra,

Inc., New YorkAlbuquerque Civic Orchestra,

New MexicoBirmingham Symphony

Association, AlabamaCharlotte Symphony Orchestra

Society, Inc., North CarolinaChattanooga Symphony

Association, Inc., TennesseeColumbus Symphony Orchestra,

OhioCorpus Christi Symphony-

Society, TexasEl Paso Symphony Orchestra

Association, TexasErie Philharmonic Society,

PennsylvaniaEvansville Philharmonic

Orchestral Corporation,Indiana

Festival Casa Is, Inc./Puerto RicanSymphony Orchestra, San Juan

The Florida SymphonyOrchestra, Inc., Orlando

The Fort Wayne PhilharmonicOrchestra, Inc., Indiana

The Fresno PhilharmonicAssociation, California

Glendale Symphony OrchestraAssociation, California

Grand Rapids Symphony Society,Michigan

Symphony Society of GreaterHartford, Inc., Connecticut

Greater Miami PhilharmonicSociety, Inc., Coral Gables,Florida

Honolulu Symphony Society,Hawaii

Hudson Valley PhilharmonicSociety, Inc., Poughkeepsie,New York

Jackson Symphony OrchestraAssociation, Mississippi

" Treasury Fund

100,000

202,779.80*

200,000*

150,000*

200,000*

100,000

138,500*

956,641

10,000

20,000

17,500

20,000

10,000

14,000

6,000

10,000

15,000

10,000

25,000

20,000

15,000

24,750

30,000*

11,380

20,000

30,000*

84,000

10.000*

35,000

Jacksonville SymphonyAssociation, Florida

Kalamazoo Symphony Society,Inc., Michigan

Knoxville Symphony Society,Inc., ,Tennessee

Louisville Philharmonic Society,Kentucky

Memphis Orchestral Society, Inc.,Tennessee

Nashville Symphony Association,Tennessee

New Haven Symphony Orchestra,Inc., Connecticut

New Jersey Symphony Orchestra,Newark

Norfolk Symphony Association,Virginia

The North Carolina SymphonySociety, Inc., Chapel Hill

Oakland Symphony OrchestraAssociation, California

Oklahoma City SymphonySociety, Oklahoma

The Omaha Civic MusicAssociation, Nebraska

Oregon Symphony Society,Portland

Phoenix Symphony Association,Arizona

Portland Symphony Orchestra,Maine

Rhode Island PhilharmonicOrchestra, Providence

The Richmond Symphony, Inc.,Virginia

Sacramento SymphonyAssociation, California

Shreveport Symphony Orchestra,Louisiana

Spokane Symphony Orchestra,Washington

Spokane Symphony Orchestra,Washington

The Springfield OrchestraAssociation, Inc.,Massachusetts 15,000

Syracuse Symphony Orchestra,Inc., New York 20,000

Toledo Symphony Association,Inc., Ohio 25,000

Tucson Symphony Society,Arizona 15,000

Wichita Symphony Society,Kansas 20,000

Youngstown Symphony Society,Ohio 15,000

Special 375,590American Symphony Orchestra

League, Vienna, Virginia 75,000American Youth Performs

Foundation, Inc., New York,New York

15,000

6,450

10,900

16,016

20,000

14,530

43,100*

82,000

12,000

17,550

5,000

20,000

10,675

10,000

13,375

20,000

25,000

14,915

13,000

9,500

15,000

15,000

20, 000*

123

The Arkansas Orchestra Society,Inc., Little Rock

Colorado Philharmonic, Inc.,Evergreen

Glendale Community College/Symphony West Association/Phoenix SymphonyAssociation, Arizona

The Grand Teton Music Festival,Teton Village, Wyoming

Minnesota State Arts CouncilMinot Symphony Association, Inc.,

North DakotaMissouri State Council

on the ArtsMusic Associates of Aspen,

Inc./Aspen ChamberSymphony, Colorado

Saratoga Performing Arts Center,Inc., Saratoga Springs,New York

Southern California ChoralMusic Association, Los Angeles

Symphony of the New World,Inc., New York, New York

The Vermont SymphonyOrchestra Association, Inc.,Middlebury

Yavapai Symphony Association,Prescott, Arizona

Services to the FieldAmerican Symphony Orchestra

League, Vienna, VirginiaAmerican Symphony Orchestra

League, Vienna, VirginiaMusic Critics Association

Educational Activities, Inc.,Washington, D. C.

Music Critics AssociationEducational Activities, Inc.,Washington, D. C.

National Guild of CommunityMusic Schools, Inc.,New York, New York

Peabody Institute of the Cily ofBaltimore/Council ofIndependent ProfessionalSchools of Music, Maryland 16,500

Training 554,652.78486,852.78

Peabody Institute of the City5,000 of Baltimore, Maryland

The San Francisco Conservatory10,000* of Music, Inc., California

Kodaly ProgramMary Allmon, Chickamauga,

Georgia5,255 Virginia Lee Anderson,

Longmont, Colorado11,500 Julie Ellen Blue, St. Paul,40,000 Minnesota

Betty Jean Hil !mon, Clovis,1,500 California

University of Illinois, Urbana80,000 Patricia Ann Meyer, Cedarhurst,

New YorkAnne Lucille Patterson,

50,000 Avondale Estates, GeorgiaAlexander Ringer, Urbana,

Illinois10,000° Claire Regina Steckman,

Highland Park, New Jersey30,000* Margaret Lynn Wallace,

Mercer Island, Washington 3,60010,000 Young Artists Program 15,000

Young Concert Artists, Inc.,New York, New York 15,000

70,088.78°

70,000*67,800

3,600

3,600

3,600

3,60014,000

3,600

3,600

25,000

3,600

21,500*

5,835

59,000

5,000

10,000

9,000

1,000

17,500

Conservatory ProgramThe Cleveland Institute of Music,

OhioThe Juilliard School, New York,

New YorkManhattan School of Music,

New York, New YorkThe Mannes College of Music,

New York, New YorkThe New England Conservatory of

Music, Boston, Massachusetts 42,764*The New School of Music, Inc.,

Philadelphia, Pennsylvania 20,000

64,000*

100,000*

70, 000*

50,000*

Public Media $1,979,877Education

The American Film InstiL4i/National Association of MediaEducators, Washington, D. C.

Arthur S. Barron, New York,New York

Scott Bartlett, San Francisco,California

Trustees of Boston University,Massachusetts

The Regents of the Universityof California, Berkeley

The Regents of the Universityof California, Los Angeles

Center for Understanding Media,New York, New York

Columbia University TeachersCollege, New York, New York

Educational Film LibraryAssociation, Inc., New York,New York

University of Illinois/ScreenEducators' Society, Chicago

Kent School Corporation,Connecticut

Massachusetts Institute ofTechnology, Cambridge

The Museum of Modern Art,New York, New York

New York University, New. YorkPortland State University,

Oregon

173,775

40,000

7,000

2,900

3,000

3,000

3,000

25,000

8,000

24,270

10,000

10,000

3,200

3,0002,666

3,759

Research Foundation of theState University of New York,Buffalo

Rice University, Houston,Texas

University Film Study Center, Inc.,Cambridge, Massachusetts

Film PreservationThe American Film Institute,

Washington, D. C.The American Film Institute,

Washington, D. C.The American Film Institute/

George Eastman House, Inc.,Rochester, New York/TheMuseum of Modern Art,New York, New York/TheLibrary of Congress,Washington, D. C. 230,000

5,000

6,980

13,000

300,000

20,000

50,000

General Programs 1,124,244The American Film Institute,

Washington, D. C. 1,000,000The American Film Institute,

Washington, D. C. 37,500*Global Village Video Resource

Center, New York, New York 14,500Greeneville Arts Guild, Inc.,

Tennessee 7,244Human, Organizational, Political,

Economic Development, Inc./Black Arts Center,Houston, Texas 25,000

Minneapolis Society of FineArts/Minneapolis College ofArt and Design, Minnesota 7,000

The New Classroom,Washington, D. C. 16,000

St. Paul Council of Arts andSciences, Minnesota 11,000

Woody and Steina Vasulka,New York, New York 1,000

Gene Youngblood, Los Angeles,California 5,000

Joint National Endowmentfor the Arts/Corporation forPublic Broadcasting Program

Corporation for PublicBroadcasting, Washington, D.

Allan D. Miller, New York,New York

University of New Hampshire/NHN-TV, Durham 15,840

Programming in the Arts 183,195Les Blank, Hollywood,

California 10,000Carnegie Hall Corporation,

New York, New York . 12,500Community Television of Southern

California! KCET -TV,

52,168

C. 15,028

21,300

Treasury Fund

0 IL

Los AngelesEducational Broadcasting

Corporation/NET Division,New York, New York

Educational BroadcastingCorporation/NET Division,New York, New York

International Film Seminars, Inc.,New York, New York

Donald Lanzer, New York,New York

Metropolitan PittsburghEducational TelevisionStation/WQED-TV,Pennsylvania

Mills College, Oakland,California

National Public Radio, Inc.,Washington, D. C.

WGBH-TV EducationalFoundation, Boston,Massachusetts

Regional DevelopmentThe American Federation of Arts,

New York, New YorkThe Art Institute of Chicago,

IllinoisThe Regents of the University of

California/Pacific Film Archive,Berkeley

9,775

50,000

25,000

10,000

2,000

30,000

6,720

7,200

20,000

146,495

5,300

7,425

19,210

126 The Regents of the University ofCalifornia, Los Angeles

University of Colorado, BoulderKansas City Art Institute,

Missouri

The Museum of Modern Art,New York, New York

The Portland Art Association,Oregon

University Film Study Center,Inc., Cambridge,Massachusetts

Walker Art Center, Inc.,Minneapolis, Minnesota

Whitney Museum of AmericanArt, New York, New York

Special ProjectsCrafts Program

Maryland Arts CouncilThe New Mexico Arts

Commission

Penland School of Crafts,North Carolina

The City Art Museum ofSt. Louis, Missouri

Waterloo RecreationCommission, Iowa

General ProgramsAssociated Councils of the Arts,

New York, New YorkAssociated Councils of the

Arts/Young Friends of theArts, New York, New York

tent.

20,00015,000

11,380

8,180

15,000

15,000

20,000

10,000

$656,22848,750

3,500

4,500

8,750

2,000

30,000

237,600

50,000

4,500

Associated Councils of theArts/Opportunity Resourcesfor the Performing Arts,New York, New York 5,000

Association for the Arts of theNew Jersey State Museum,Trenton 5,000

The Corporation of Yaddo,Saratoga Springs, New York 10,000

Hospital Audiences, Inc.,New York, New York 30,000

The MacDowell Colony, Inc.,Peterborough,New Hampshire

Mimes and Masques Theatre forYouth, Inc.,Washington, D. C. 5,000

National Council of JewishWomen, Charleston,West Virginia Section,Inc./"Appalachian Corridors:Exhibition 3" 2,500

National Folk FestivalAssociation, Inc.,Washington, D. C. 25,000

National Recreation and ParkAssociation,Washington, D. C. 700

Rhode Island Arts Foundation atNewport, Inc./Newport MusicFestival 5,000

John B. Stetson University/School of Music, DeLand,Florida 10,000

The Theater at Monmouth,Maine 10,000

Virginia Commission of theArts and Humanities 9,000

Volunteer Lawyers for the Arts,New York, New York 20,000

Washington University, St. Louis,Missouri 15,900

West Virginia Opera Theatre,Inc., Charleston 5,000

Regional Development 185,000The Colorado Foundation on the

Arts and Humanities 30,000The Federation of Rocky

Mountain States, Inc., Denver,Colorado 90,000

Minnesota State Arts Council 65,000

State Arts CouncilDevelopment 184,878

Internship Program 19,950Maine State Commission on the

Arts and the Humanities 6,650Mississippi Arts Commission 6,650Oklahoma Arts and Humanities

Council 6,650Regional Meetings Program 4,600The Colorado Foundation on the

Arts and Humanities, Denver 4,600

25,000*

Special State GrantsAlabama State Council on the

Arts and HumanitiesAlabama State Council on the

Arts and HumanitiesAlaska State Council on the

ArtsArizona Commission on the

Arts and HumanitiesArizona Commission on the

Arts and HumanitiesArizona Commission on the

Arts and HumanitiesCalifornia Arts CommissionConnecticut Commission on

the ArtsHawaii State Foundation on

Culture and the Arts 10,000Indiana Arts Commission 4,859Louisiana Council for Music

and Performing Arts, Inc. 7,500Maine State Commission on

the Arts and the Humanities 950Maine State Commission on

the Arts and the Humanities 4,000Maryland Arts Council 744Michigan Council for the Arts 10,000Minnesota State Arts Council 1,250Mississippi Arts Commission 10,000Nebraska Arts Council 10,000New Hampshire Commission

on the Arts 10,000The New Mexico Arts

Commission 2,500Ohio Arts Council 1,234Oklahoma Arts and Humanities

CouncilOregon Arts CommissionOregon Arts CommissionSouth Dakota State Fine Arts

CouncilTennessee Arts CommissionUtah State Division of Fine ArtsVirginia Commission of the

Arts and Humanities 2,500Washington State Arts

Commission 10,000Washington State Arts

Commission 1,168Wyoming Council on the Arts 500

160,328 The Berkshire Theatre Festival,Inc., Stockbridge,

1,337 MassachusettsTrustees of Boston University/

2,150 Workshop for Playwrights,Massachusetts

10,000 The Changing Scene, Inc., Denver,Colorado

4,500 City Street Theatre Ensemble, Inc.,Brooklyn, New York

10,000 The Company Theatre Foundation,Los Angeles, California

10,000 Contemporary Arts Foundation/2,950 The Warehouse Theatre,

Oklahoma City, Oklahoma6,988 Firehouse Theater Company, San

Francisco, California

Free Southern Theater, NewOrleans, Louisiana

The House Monkey, Inc., NewYork, New York

Illinois Arts Council Foundation/Free Street Theatre, Chicago

Magic Theatre, Incorporated,Berkeley, California

Magic Theatre Foundation, Omaha,Nebraska

The National ShakespeareCompany, Inc./CubiculoExperimental Arts Center, NewYork, New York

The New Dramatists Committee,Inc., New York, New York

Eugene O'Neill Memorial TheatreFoundation, Inc./NationalPlaywrights Conference(Summer of 1971), Waterford,Connecticut

Eugene O'Neill Memorial TheatreFoundation Inc./NationalPlaywrights Conference(Summer of 1972), Waterford,Connecticut

The Open Theatre, Inc., New York,New York

Rabbit-Hole, Inc., New York, NewYork

The Ridiculous TheatricalCompany, Inc., New York, NewYork

The Roundabout Theatre, IncNew York, New York

South Coast Repertory, Inc., CostaMesa, California

Southeastern Academy of Theatreand Music, Inc./Academy

463,000 Theatre, Atlanta, GeorgiaStudio Watts Workshop, Los

Angeles, California25,000 The Theater for the New City

Foundation, Inc., New York,9,500 New York

1,25010,000

1,000

5,0006,8751,073

Theatre $2,696,000

Aid to Expemental Theatres,New Play Producing Groups,and Playwright DevelopmentPrograms

Americans for Indian Opportunity,Inc./American Indian TheatreEnsemble, Washington, D.C.

The Barbwire Theatre, Inc., SanFrancisco, California

* Treasury Fund

20,000*

10,000

2,500

15,000

30,000

2,500

10,000

20,000

7,500

20,000

10,000

2,500

5,000

7,500

40,000

40,000

40,000

20,000

10,000

10,000

2,500

30,000

5,000

12,000

127

Theatre For The Forgotten, Inc.,New York, New York

Theatre Genesis, Inc., New York,New York

Theatre Workshop, Boston, Inc.,Massachusetts

The Wooster Group, Inc./ThePerformance Group, New York,New York

Aid to Professional TheatreCompanies

Actors Theatre of Louisville,Jnc., Kentucky

alk

7,500

15,000

15,000

19,000

1,589,500

25,000

Alley Theater, Houston, Texas 80,000*The American Conservatory

Theatre Foundation, SanFrancisco, California 95,000

The American Place Theatre, Inc.,New York, New York 25,000

American Shakespeare FestivalTheatre and Academy ofConnecticut, Stratford 50,000

The Art Institute of Chicago/Goodman Theatre, Illinois 15,000

Asolo Theatre Festival Association,Inc., Sarasota, Florida 12,500

Atlanta Arts Alliance, Inc./AllianceTheatre Company, Georgia 10,000

Bucks County Theatre Company,New Hope, Pennsylvania 10,000

Center Stage Associates, Inc..Baltimore, Maryland 35,000

Center Theatre Group of LosAngeles, California 95,000

Chelsea Theater Center, Inc.,Brooklyn, New York 50,000

The Cleveland Play House, Ohio 12,000Connecticut Players Foundation,

Inc./Long Wharf Theatre, NewHaven 50,000

A Contemporary Theater, Inc.,Seattle, Washington 5,000

Dallas Theater Center, Texas 25,000Foundation for Repertory Theatre

of Rhode Island/Trinity SquareRepertory Company, Providence 50,000

Guthrie Theatre Foundation,Minneapolis, Minnesota 150,000*

Hartford Stage Company, Inc.,Connecticut 50,000

LaMama Experimental TheatreClub, Inc., New York, NewYork 75,000

Milwaukee Repertory Theater, Inc.,Wisconsin 25,000

The Mummers Theatre, Inc.,Oklahoma City, Oklahoma 15,000

The Negro Ensemble Company,Inc., New York, New York 75,000

New York. Shakespeare Festival,New York 125,000

Oakland University/MeadowBrook Theatre, Rochester,Michigan 10,000

Old Globe Theatre, San Diego,California 10,000

Playhouse in the Park, Cincinnati,Ohio 25,000

Repertory Theatre of LincolnCenter, Inc., New York, NewYork 25,000

Seattle Repertory Theatre,Washington 50,000

Springfield Theatre ArtsAssociation, Inc. for Stage/West, Massachusetts 17,500

Theatre Company of Boston, Inc.,Massachusetts

Theatre Incorporated/PhoenixTheatre, New York, New York

The Washington Drama Society,Inc./Arena Stage, Washington,D.C.

The Washington Drama Society,Ina/Arena Stage, Washington,D.C.

Washington Theater Club, Inc.,Washington, D.C.

Webster College /RepertoryTheatre at Loretto-Hilton Center,St. Louis, Missouri

Yale University/Yale RepertoryTheatre, New Haven,Connecticut

General ProgramsAmerican National Theatre and

Academy, New York, New YorkAmerican National Theatre and

Academy, New York, NewYork (carry-over from 1971)

American Theatre Association,Inc./University ResidentTheatre Association,Washington, D.C.

Brooklyn College of the CityUniversity of New York/Theatre Artisan TrainingProgram, New York

The Catholic University ofAmerica/Hartke Theatre,Washington, D.C.

The Foundation for the Extensionand Development of theAmerican Professional Theatre,Inc., New York, New York

International Center of TheatreCreation, Inc., New York, NewYork

International Theatre Institute ofthe United States, Inc., NewYork, New York

The Paper Bag Players, Inc., NewYork, New York

Performing Arts Repertory TheatreFoundation, Inc., New York,New York

Research Foundation of the StateUniversity of New York/National Center of theInternational Association ofTheatres for Children andYouth, Albany

Theatre Development Fund, inc.,New York, New York

Elizabeth Baker, New York, New15,000 York

Lizzie Borden, Flushing, New York50,000 Max Kozloff, New York, New York

Lucy Lippard, New York, NewYork

10,000 Joseph Mashek, New York, NewYork

Annette Michaelson, New York,117,500 New York

Kenworth Moffett, Wellesley,25,000 Massachusetts

Gregorie Muller, New York, NewYork

25,000 Carter Ratcliff, New York, NewYork

Barbara Reise, Paradise Valley,50,000 Arizona

643,500

270,000

37,500

16,000

70,000

20,000

10,000

60,000

45,000

30,000

10,000

25,000

50,000

Visual Arts $940,504.95Art Critics Fellowships 30,000

* Treasury Fund

i

, '

Artists, Critics,Photographers, andCraftsmen in ResidenceProgram

Antioch College, Columbia,Maryland

Arizona Commission on the Artsand Humanities/Arizona WesternCollege, Yuma

Arizona Commission on the Artsand Humanities/ArizonaWestern College, Yuma

3,0003,0003,000

3,000

3,000

3,000

3,000

3,000

3,000

3,000

107,850

2,500

2,000

1,500

130 Arizona Commission on the Artsand Humanities/NorthernArizona University, Flagstaff

Arkansas Art Center, Little RockArtists for Environment

Foundation, Columbia, NewJersey

Auburn University/SeminarCouncil of Montgomery, Inc.,Alabama 2,000

Birmingham Art Association, Inc.,Alabama 1,150

Brown University, Providence,Rhode Island 1,375

California Institute of Technology,Pasadena 1,500

California Palace of the Legion ofHonor/M.H. de Young MemorialMuseum, San Francisco

California State Collage,Pennsylvania

Everson Museum of Art ofSyracuse and OnondagaCounty, New York 1,500

The Gallery of Contemporary Artof Chicago, Illinois 1,500

Governors State University, ParkForest South, Illinois 1,500

The Solomon R. GuggenheimFoundation, New York, NewYork 1,500

Institute of American Indian Arts,Santa Fe, New Mexico 6,750

The Memphis Academy of Art,Tennessee 1,500

Montana State University,Bozeman 3,000

Montgomery College, Rockville,Maryland 1,500

University of Nevada, Reno 1,500New Mexico State University,

Las Cruces 1,500New York University, New York 3,500The Ohio State University

Research Foundation, Columbus 3,075Parsons School of Design, New

York, New York 1,500Sacramento State College,

California 2,500Sioux(and Council of Arts and

Sciences, Inc. Sioux City, Iowa 1,500Skowhegan School of Painting and

Sculpture, Maine 2,000University of South Carolina,

Columbia 2,000Southwest Craft Center, San

Antonio, Texas 1,500Texas Commission on the Arts

and Humanities/St. StephensSchool, Austin 1,500

Union of Independent Colleges ofArt, Inc., Kansas City,Missouri 24,000

University of Virginia,Charlottesville 1,500

1,500 Virginia Commonwealth University,4,500 Richmond 1,500

Washington University, St. Louis,Missouri 2,000

3,000 Washington University, St. Louis,Missouri 1,500

Western Washington State College,Bellingham 1,500

University of Wisconsin/Center forTwentieth Century Studies,Milwaukee 1,500

Yale University, New Haven,Connecticut 8,000

Yavapai College, Prescott, Arizona 1,500

Artists' ServicesThe American Federation of Arts,

1,500 New York, New YorkArtists Equity Fund, Inc.,

1,500 Glassboro, New JerseyBoston Public Library,

Massachusetts

tales

71,800

50,000*

2,500

10,000

V

A

Foundation for the Community ofArtists, New York, New York

The Trustees of the HemlineUniversity of Minnesota, St. Paul

Private Arts Foundation ofWashington/Conference ofWomen in the Visual Arts,Washington, D.C.

General ProgramsThe Mac Dowell Colony, Inc.,

Peterborough, New HampshireThe National Park Service

(Transfer), Washington, D.C.

Inner City Mural ProgramBoston Foundation, Inc.,

MassachusettsCity Walls, Inc., New York,

New YorkCommunity Arts Foundation,

Chicago, IllinoisCommunity Arts Foundation,

Chicago, IllinoisCultural Council Foundation/

City Arts Workshop, Inc.,New York, New York

Dayton Art Institute, OhioFort Wayne Fine Arts

Foundation, Inc., IndianaGrand Community Organization,

Chicago, IllinoisNew Jersey State Council on the

ArtsOhio Arts CouncilPhiladelphia Museum of Art,

PennsylvaniaCity of St. Louis, Missouri

Short-Term ActivitiesActs of Art, inc., New York, New

YorkDana Atchley, Portsmouth, Rhode

IslandBrooklyn Institute of Arts and

Sciences/Community Gallery,Brooklyn, New York

Harold Cohen, San Diego,California

The Floating Foundation ofPhotography, New York, NewYork

Florida State University,Computer-Assisted InstructionCenter, Tallahassee

Anthony Martin, New York, NewYork

New York Light Ensemble, Inc.,New York

Open Channel, Inc./IntermediaInstitute, New York, New York

Rutgers State University, NewBrunswick, New Jersey

Treasury Fund

West Coast-Art Center, Inc./Market4,000 Street Program, Venice,

California 5,000

Works of Art in PublicPlaces 346,900

The Ben Shahn Foundation, Inc.,New York, New York

City of Berkeley, CaliforniaCity of Fort Worth, TexasGroup for Environmental

Education, Inc./InternationalDesign Conference, Philadelphia,Pennsylvania 20,000

3,000

2,000

4,079.95

3,209*

870.95

102,700

15,000

10,000

15,000

10,000

8,0007,000

4,700

3,000

10,200*8,000

35,000

City of Inglewood, CaliforniaCity of Joplin, MissouriCity of Kirkland, WashingtonCity of Lansing, MichiganThe Municipal Art Society of New

York/Public Arts Council, NewYork

Park Forest South CulturalFoundation, Illinois

City of St. Louis, MissouriUniversity of Vermont and State

Agricultural College, Burlington

WorkshopsAkron Art Institute, OhioThe American Federation of Arts/

Fine Arts Work Center inProvincetown, Inc.,Massachusetts

10,000 Arizona Commission on the Arts10,000 and Humanities

The Common Ground of the Arts,8,000 Detroit, Michigan2,000 The Common Ground of the Arts,

Detroit, Michigan73,997 Frederick Douglass Institute of

Negro Arts and History/3,000 Workshop for Silkscreen

Printmaking, Washington, D.C.3,000 Fine Arts Work Center in

Provincetown, Inc.,Massachusetts

14,500 University of Kansas, LawrenceJeffrey N. Lew/112 Greene

3,000 Street Gallery, New York, NewYork

Market Street Program, Venice,3,000 California

Massachusetts Institute ofTechnology, Cambridge

2,497 The New York Foundation forthe Arts, Inc./Women's Interart

3,000 Center, New YorkNew York University, New York

2,000 Pacific Northwest Arts Center/Pilchuck Workshop, Hauberg

5,000 Tree Farm, WashingtonPottery Northwest, Inc., Seattle,

30,000 Washington

37,50010,0004,200

45,000

10,000

120,000*45,000

2,000

203,4782,500

15,000

1,000

5,578

10,000

8,500

6,5002,000

8,500

8,500

100,000*

1,0002,000

2,000

2,000

131

Printmaking Workshop, Inc., NewYork, New York 5,000

Roswell Museum and Art Center,New Mexico 5,000

San Francisco Art Commission,California 2,000

San Francisco Art Commission/Associated American IndianArts Workshops, California 5,000

Robert G, Stanley/SouthernGraphic. Arts Circle, Micanopy,Florida 2,400

Trails Regional Library/FourCounty Art Association,Warrensburg, Missouri 1,000

Whitney Museum of American Art,New York, New York 5,000

Zune Studios, Ltd.,Denver, Colorado 3,000

ChairmanNancy Hanks

Deputy ChairmanMichael Straight

Architecture + Environmental ArtsBill N. LacyRobert McNulty, Assistant

DanceJune Batten Arey (to December 1971)Don S. Anderson

EducationJohn Kerr

Expansion ArtsVantile Whitfield

LiteratureLeonard Randolph

MuseumsThomas LeavittJohn Spencer

MusicWalter AndersonRalph Rizzo lo, Assistant

Public MediaChloe Aaron

State and Community/Special ProjectsClark MitzeDavid Sennema, Assistant

TheatreRuth May leas

Visual ArtsBrian O'Doherty

Performing Arts and Public MediaDouglas Richards

Planning and ManagementLawrence Reger

Administrative OfficerEdward Wolfe

Budget and ResearchAna Steele

EvaluationCharles Kirk

Secretary to National Council onthe ArtsLuna Diamond

Secretary to Federal Council on theArts' and the HumanitiesLani Lattin

Grants OfficerJames Thomas

Associate General CounselsRobert Wade (Arts)Joseph R. Schurman (Humanities)

Employees who were associated withthe Arts Endowment all or part ofthe time covered by this review, andwho contributed greatly to theeffectiveness of the Endowment'swork included:William AblesBeth AlexiouBetty Jean AtkinsBetty-Jean BaileyDavid BancroftKirsten BeckJoan BoozerRonn BrackinMonica BradyJames BrookensKaren BryfogleJoan CampbellTom CastonguayAnne ClarkRenato DaneseBettiann DickermanMarion DockeryPatrick FisherCarolyn GeorgeAnn GuthrieMarjory HansonGail HarperPaul HildebrandTerri HodgensDiane Kerte lial'aul KerrLisa KruseConstance LallyDiane LansingCarolyn LeeClaire LoftusFlorence LoweKaren LukinsonDouglas MacAgyMadelyn MailmanMarjorielaine Menke

1 34 Starke MeyerJulie MooreAlece MorganLois MoriartyScotty MorrisChris MorrisonEffie MortonKatherine NoonanPamela DoongLoretta OliverJoyce PattersonPat PetrisinPatricia PicklesMarilyn PowellMary PrattGertrude J. SalehHenrietta SanfordTerita SavoyBennett SchiffAida SchoenfeldSandra SchreiberStephanie SingerJoan WalkerDottie WinstonLindy Zesch

Consultants Fiscal Year 1972Architecture + Environmental ArtsJoenathan DeanWilliam HousemanFrank S. KellyAnderson Todd

Education

Richard CummingWallace SmithDonald R. Streibig

Expansion Arts

Hedi Butler Nelson

Literature

Douglas AndersonGalen WilliamsMolly LaBerge

Museums

Renato Danese

Theatre

John HirschTheodore J. Hoffman

State and Community ProgramsSpecial Projects

Charles CountsRose Slivka

Acknowledgments

Artistic Direction and Illustrationsby Charles Schorre

Photo CreditsBowling Green State UniversityThe Courier-Journaland The Louisville TimesCharles EamesLayne of L.A.New Thing Art and Architecture CenterChuck Rogers of Black StarDick RowanWilliam L. SmithEric Sutherland, Walker Art CenterAllan B. TepperSuzanne A. ViamisGavin C. Whitsett

From the White House

Washington, D. C. 35May 16, 1972

One year ago I asked the heads of 63 Federalagencies to determine ways by which theiragencies could more vigorously assist the artsand, in turn, how the arts might be used toenhance their programs. The response to thatrequest has been gratifying, calling freshattention to the importance of the arts in thedaily operations of Government and leading tothe development of several recommendationsby the National Endowment for the Arts.

Today, based upon this first set ofrecommendations by the Endowment, I ampleased to announce that we shall move forwardon three fronts:

First, I am asking the Federal Council onthe Arts and Humanities to sponsor an annualDesign Assembly for Federal administrators andartists.

Second, I am asking the NationalEndowment for the Arts to appoint a special adhoc task force committee to review and expandthe publication, Guiding Principles for FederalArchitecture; this document was first printed in1962 and set forth broad aestheticrecommendations of considerable value. I amalso asking the National Endowment torecommend a program for including art works innew Federal buildings.

Third, I am taking a series of actions toimprove Federal graphics and publications. TheNational Endowment will now be responsible forcoordinating the efforts of the executive agenciesto upgrade their graphics. I am also requestingFederal agency heads to make a comprehensivereview of their own graphics and production,and I am asking the Civil Service Commissionto review existing procedures for employingartists, architects and designers for Federalservice. The Commission is also to evaluate theneed for expert rating panels to reviewcredentials and portfolios of applicants for suchjobs, as is done in other professional areas.

The people of this country are increasinglyconcernedand properly sowith the physicalappearance of their communities. There shouldbe no doubt that the Federal Government hasan appropriate and critical role to play inencouraging better design, and I am hopeful thatthe actions announced today will enable theGovernment to reflect new standards ofexcellence in all of its design endeavors.

Richard Nixon