In the articles by Kieffer, Nelson and Moore all discuss the impact of the New Deal on different types of programs and inspiration to todays society. Kieffer takes a complete different approach then both Nelson and Moore focusing on the art history of the New Deal. Nelson and Moore discuss both the NYA and the CCC. The articles have a complete different spectrum to the New Deal, allowing for all three articles for an interesting read and different perspectives. In Connie Kieffer, “New Deal Murals,” her thesis deals with how the New Deal art effects todays pubic art and education systems. Through out the article, there isn’t any primary sources to really connect her research in the article. Kieffer shows visual aids through out her article, showing the artist style during the Great Depression. “New Deal art project were away to make art more American, more accessible to the public and more democratic.” Kieffer states in her article, that art is a urban very modern way, they capture the sprit, the hope, the …show more content…
The article really touches base with not only comparing New Deal with todays art but with todays education system. Since this was an art journal, primary sources were lacked and not properly cited. The images connected very well with the writing, allowing a visual of what New Deal art consist of. Overall, the article brings a different perspective allows for a different view of what the New Deal helped with the artist that suffered through the Great Depression. Not only did it helped artists but those with no artist ability at all but finically supported. In the article, “Camp Roosevelt” by Dave Nelson covers both the National Youth Administration for a relief for girls and a little bit of Civilian Conservation Corps dealing with men eighteen to
Biles, Roger. A. "A New Deal for the American People" Taking Sides Clashing Views on Controversial Issues in American History. eds. -. Larry Madaras et al.
During the Great depression, Franklin D. Roosevelt started a program for artists called the Public Works of Art Project, where artists were given $24.86 to do...
The American Experience: The Civilian Conservation Corps (CCC) tells a story from the 1930’s about Clifford Hammond, who joined the CCC in 1934, Harley Jolley, who joined in 1937, Vincente Ximenes who joined in 1938, Houston Pritchett who joined in 1939, and the writer Jonathan Alter. These five men from different cultures and backgrounds describe what they experienced during the CCC. The CCC was one of the bravest and most popular New Deal experimentations, employing one of the New Deal programs. The CCC is a fundamental moment in the development of modern environmentalism and federal unemployment relief. This program put three million young men to work in camps across America during the Great Depression.
These photographers were intended to help a struggling people by documenting their plight and introducing it to the public. Their work and the photographs they produced romanticized the Great Depression and the Dust Bowl and garnered public support for New Deal programs. Like my photograph of my family, the FSA photographs may not depict to exactness the events of the period, but they helped to form the mood of a nation.
In his book, A New Deal for the American People, Roger Biles analyzes the programs of the New Deal in regards to their impact on the American society as a whole. He discusses the successes and failures of the New Deal policy, and highlights the role it played in the forming of American history. He claims that the New Deal reform preserved the foundation of American federalism and represented the second American Revolution. Biles argues that despite its little reforms and un-revolutionary programs, the New Deal formed a very limited system with the creation of four stabilizers that helped to prevent another depression and balance the economy.
When the war was over, the survivors went home and the world tried to return to normalcy. Unfortunately, settling down in peacetime proved more difficult than expected. During the war, the boys had fought against both the enemy and death in far away lands; the girls had bought into the patriotic fervor and aggressively entered the workforce. During the war, both the boys and the girls of this generation had broken out of society's structure; they found it very difficult to return.
The New Deal was a set of acts that effectively gave Americans a new sense of hope after the Great Depression. The New Deal advocated for women’s rights, worked towards ending discrimination in the workplace, offered various jobs to African Americans, and employed millions through new relief programs. Franklin Delano Roosevelt (FDR), made it his duty to ensure that something was being done. This helped restore the public's confidence and showed that relief was possible. The New Deal helped serve American’s interest, specifically helping women, african american, and the unemployed and proved to them that something was being done to help them.
The Civilian Conservation Corps, which was established in 1933 to conserve the wilderness and give young able men jobs. This program was one of Roosevelt’s New Deal programs that were to bring the country out of the depression. The Civilian Conservation Corps took in unmarried men from ages eighteen to twenty-five and moved them to the wilderness to work. They planted trees, built parks, fought soil erosion, and preformed timber culturing (Davidson 718).
The "New Deal" The Roosevelt Institute. The Roosevelt Institute. Web. The Web. The Web.
Democratic Art: The New Deal’s Influence on American Culture by Sharon Ann Musher explains the roles of government funding for the arts, particularly visual artists. The book outlines how the New Deal succeeded in it’s task and failed, as well as how it has impacted the current relationship between the art world and the government. Musher’s thesis sheds light on the duality between the types of art inspired by patriotism (Federal One Art), the relationship between artists and audiences, and the opposition many artists faced due to harsh criticism of the New Deal.
In a time of dire need there is always at least a sliver of hope that remains, a light that never goes out despite the darkness around. If this is the case, for a time such as the Great Depression than what was that “sliver of hope” or that “light in the darkness”, so to speak? Although President Franklin Delano Roosevelt’s other efforts are much appreciated, the “light” of the Great Depression is, hands down, the Works Progress Administration. Why? The Great Depression was a time of despair and unfortunate events for all citizens of the United States; left and right, the homeless and the jobless were seen forlornly sauntering the streets seeking jobs that could and would not be found. It is in this instance that the Works Progress Administration takes the stage, created by President Franklin Roosevelt, the WPA’s sole reason of existence was to employ the jobless by funding public works projects. With these projects the unemployed were given jobs and projects were carried out such as the photography projects of the Farm Security Administration. Among the most famous photographers of these projects are Dorothea Lange, Walker Evans, and Russell Lee.
Brinkley writing has a way of capturing the reader’s attention and taking the reader inside the New Deal and how it was brought up and put into use throughout FDR’s term. With the New Deal frequently being showed as a plan that FDR had for getting the United States out of the Great Depression; The End of Reform, is an honest correction to this that brings a fresh look to the FDR’s
The New Deal did not notably benefit the majority of people. Walter Procter, in a letter to FDR, wrote, “The American worker – manual or brain – is not a dumb brutalized self. He is a man…why should ‘opportunity’ mean only opportunity for ...
The New Deal period has generally - but not unanimously - been seen as a turning point in American politics, with the states relinquishing much of their autonomy, the President acquiring new authority and importance, and the role of government in citizens' lives increasing. The extent to which this was planned by the architect of the New Deal, Franklin D. Roosevelt, has been greatly contested, however. Yet, while it is instructive to note the limitations of Roosevelt's leadership, there is not much sense in the claims that the New Deal was haphazard, a jumble of expedient and populist schemes, or as W. Williams has put it, "undirected". FDR had a clear overarching vision of what he wanted to do to America, and was prepared to drive through the structural changes required to achieve this vision.
In Chapter 3 of her book Langa looks at 1930s prints of labor-related images as part of her larger project of offering a more nuanced reading of 1930s prints as active social documents on which the multiple and contradictory forces shaping America at the time found a visual outlet. She thus places these images within a larger socio-historical context to expand our understanding of what she prefers to call “social viewpoint, ” as opposed to “social realist,” prints by looking at them as multidimensional cultural artifacts. Her analysis is, therefore, informed by extensive research into the lives and/or politics of the artists who created the images included in the chapter, the social, political, and art historical milieu in which they were producing their works, and, ultimately, the reception(s) or potential reception(s) of the works by the different social groups and ideologies shaping the nation during the Depression years. After all, Langa argues, it was the particularity of this moment in American history that brought a working-class consciousness to many of the artists and, therefore, an interest in leftist politics and in labor-related themes previously ignored in mainstream American art.