The Need for the NEA

Eric Swanson

An artist named Serrano created a lot of headlines in New York when he created a painting of the Virgin Mary using materials such as elephant feces.[i]  Many people, including Mayor Rudolph Giuliani, were very offended about a depiction of something so religious mocked by using such profane materials. [ii]    Another issue of contention is that it was funded by the National Endowment for the Arts (NEA). The two questions raised due to this event were: what is the standard for appropriate art within society and should the government fund such socially irritating works?  This event, though very emotional to some people, is a direct reflection of the past that influenced it.  During the fourteenth and fifteenth centuries the European states experienced a Renaissance of their culture.  This Renaissance was a defining age that helped create the art world of today.

            The Renaissance was considered, by many then and now, a rebirth of intellectual stimulation.  This rebirth of intellectual curiosity took its form in humanism.[iii]  Society during this age was still greatly religious, but an understanding in their abilities and superiority of mankind translated into all aspects of society including their art.  A Renaissance artist believed that art was the key to understanding science and mankind.  Art was not considered just a hobby or past time, but was a legitimate form of practical application to the theories of science.[iv]  Art was a tool for mankind to understand the world.  One of the great artists during this time was Leonardo da Vinci.  He urged pupils to carry around a sketch pad doodling the actions and emotions of men.[v]  Now these sketches were not be used as frivolous activities, but were to be treasured as the pupil’s “patterns and teachers”.[vi]  Out of this belief for learning from art, came the naturalistic style to their art. 

Humanism had a direct affect to the art of the Renaissance.  This belief in humankind, coupled with the need to understand and explain science, created an emphasis on the realistic detail of the human form and nature.  The detailed imitation of nature was their primary goal in art.[vii]  The Renaissance artist tried to persuade onlookers of the reality of the object or event they were creating.[viii]  This “down to earth” view of art even found its way into architecture.  Many buildings during this time were made making the space to fit more comfortably with human, instead of divine, measurements.[ix]  Humanism helped create the detail and reality that was found in art during this time period.

Today’s art has taken an evolutionary step away from Renaissance art.  The reality and detail that could be found in Renaissance is not the accepted art form of today.  Art today is more emotionally abstract.  It would not be out of the ordinary for contemporary art in which the public sees absolutely nothing, be what the artist meant.[x]  Artists today do not always try to bring meaning to the art.  During the Renaissance, art was used for teaching, however today art is created for art’s sake and not for a specific purpose to teach the audience.[xi]  The simple appreciation of style, space, form, line, and color can be enough to make an art piece great within society.

Though art does not teach its audience like the Renaissance did, many art critiques still believe that art is a “religion of the educated class”.[xii]  Much art can not truly be understood or appreciated today without an immersion or education in the different styles of art. Art may not try to specifically teach people things about science, human nature, or religion, but it can still be an accepted piece of art.

This realization of today’s art culture causes the necessity for a NEA.  NEA’s specific mission is "...to serve the public good by nurturing human creativity, supporting community spirit, and fostering appreciation for the excellence and diversity of our nation's artistic accomplishments."[xiii]  They have many strategic goals including greater access, arts preservation, community arts development, and creativity.[xiv]  All these goals are basically making sure America is educated and cultured to the ways of art past and present. 

The NEA is a government entity that funds many museums, exhibits, and artists.  However, this is needed to ensure the stability of the American artistic culture.  Art has been known to be connected to the strength of a nation.  When a nation attains a certain level of power a culture is then created.  That cultured is embodied in its art.  That art then identifies that society which helps unify and strength the morale, economy, and politics of the nation.  So, therefore, a nation that can create and appreciate art is a country with a stable economy and politics.  But the unfortunate thing, due to the capitalistic society many people might not always see the necessity of art.  “Art is where the money is”.[xv]  So, to make sure that there is art for the country, we need make sure that there is money to stimulate the artists.  This is sad.  One would like to have grand ideas of artists creating for their abiding love of the medium or the freedom of expression.  But it has been noted that art is usually only where the money is.  Of course this is not much different from the Renaissance days.  Much art was created because money was involved.  Many art pieces like the Giovanni Arnolfini and His Bride by Jan Van Eyck were commissioned by wealthy families.[xvi]  Churches also contributed its share of money for artists to do to their religious pieces.  Just like times of old, NEA contributes money to artists and museums to encourage creativity and art appreciation.

There is much concern over what exactly NEA supports.  Just like the NEA sponsored a feces made Virgin Mary art piece, the creativity of some artists is questionable.  However, the NEA has a responsibility to support even those artists on the fringes of art.  Many art critiques of today realize the reality of the subjectivity of art.[xvii]  Unlike the Renaissance times when da Vinci would instruct the exact detail of how the human form should look, critiques today have the difficult job of evaluating today’s artwork not in a general terms, but within its own certain style.[xviii]  This causes the central problem of trying to determine an artworks singular value while at the same discerning its relative value valid.[xix]  Therefore neither an absolute authority, nor anarchy is a stable position to evaluate from.[xx]  The other problem about critiquing art is that artistic values are constantly being invented, change, and rejected.[xxi]  This relativism over the quality of art forces the NEA to take a non-judgmental, laizze faire attitude toward artistic expressions.  For NEA to take a position on the art it will support and the art it will not, will undermine years of evolutionary steps of growth in the artistic world.  The safest stance for the NEA is to fund atmospheres and avenues for those that wish to appreciate art and those that create art to meet.  The NEA, and its government funded art, is essential to the growth of the artistic world and to the culture of America.

The Renaissance was influential in the artistic expression of today.  Their views on education and their confidence in the human spirit and creativity helped foster an environment for further evolution of artistic styles.  However, to continue this growth in the artistic world, organizations like the NEA need to be allowed to follow established missions and goals to allow for further growth in the American culture.

Bibliography

Birch, Leslie and Ingrid Stadler. “ Art of Art’s Sake: A Paradox.” In Contemporary Art

and its Philosophical Problems, ed. Ingrid Stadler, 41 – 59. New York:

Prometheus Books, 1987.

Da Vinci, Leonardo. “The Notebooks of a Universal Man.” In Aspects of Western

Civilization, ed. Perry Rogers, 396-399. New Jersey: Prentice Hall, 2000.

Henning, Edward B.  Fifty Years of Modern Art: 1916 – 1966. Cleveland: The Cleveland

Museum of Art, 1966.

“Learn about the NEA: NEA Strategic Plan.” [cited 19 April 2002], Available from

http://arts.endow.gov/learn/Strategic/Contents.html; INTERNET.

Montag, Alice and Ingrid Stadler. “Artworks and Pricetags. “In Contemporary Art and its

Philosophical Problems, ed. Ingrid Stadler, 21 – 40. New York: Prometheus

Books, 1987.

Quillard, Maria and Ingrid Stadler. “The Art of Judd, Morris, and Smith; Homage to

Contemporary Art in which the public sees absolutely nothing…because it was

never meant to.” In Contemporary Art and its Philosophical Problems, ed. Ingrid

Stadler, 61 – 87. New York: Prometheus Books, 1987.

Seelig, Sabrina. “Is Censoring Government-Funded Art Justified?.” [cited 19 April 2002],

Available from

http://www.sad28.k12.me.us/CRHS/336_sites/gov_funded_art_justified.htm;

INTERNET.

Spielvogel, Jackson. Western Civilization. Australia: Wadsworth Thomson Learning,

2002.

Vasari, Giorgio. “Scholarship and Art: Leon Battista Alberti.” In Aspects of Western

Civilization, ed. Perry Rogers, 393-394. New Jersey: Prentice Hall, 2000.

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Date this page was last updated: 12/06/2002