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Washington Project for the Arts, founded in 1975, is a non-profit organization dedicated to the support and aid of artists in the Washington, D.C. area. ==History== Alice Denney, a contemporary art collector active on the Washington scene, founded the Washington Project for the Arts (WPA) in 1975 as a "service center" for area artists and performers. The WPA's mission was not simply to provide a place for artists to show their work or perform, but also to make available advice in arts management, grantsmanship, career development, and legal rights. Denney launched the WPA with a grant from the Eugene and Agnes E. Meyer Foundation, a tiny staff, a three-story building, and a lot of goodwill. The WPA officially opened in April 1975 with a multidisciplinary program that included a broad survey of Washington area visual art. Denney stepped down as director in early 1979. Al Nodal, hired by Denney, succeeded her as Director in April 1979. Nodal continued to emphasize the work of area artists, but he added more shows featuring out-of-towners. Nodal started the WPA bookstore, which featured an unusual selection of artists' books and launched a new program to encourage the production or artists books. To support his programs, Nodal landed major grants from the National Endowment for the Arts and the District of Columbia's Commission on the Arts and Humanities. In 1980, WPA held its first auction fundraiser. Nodal ended his directorship in 1983, after WPA's move out of its original 1227 G Street location. The board hired Jock Reynolds in the summer of 1983 to replace Al Nodal as Director. The programming under Reynolds received regular coverage in the national art press, shifting WPA from primarily serving local artists to serving a national audience. This shift for the WPA was met with mixed feelings, some welcoming the national prestige, and others accustomed to WPA's mission to focus on local Washington, DC artists. Through his leadership, Reynolds launched an aggressive capital campaign in the spring of 1988 where he brought in generous support from the federal and local government, art foundations, individual donors, and more than eighty corporations or corporate foundations. This raised the bar for WPA, and to maintain its level of activity in the future, it would need to raise close to $1 million each year. In December 1989, Reynolds took a sabbatical and decided not to return to Washington. John L. Moore III, who was already at the WPA, filled in as acting director, from August 1989 until the board hired Marilyn Zeitlin, a contemporary art curator, as executive director in May 1990. The budget for the fiscal year 1991 was set at around a million dollars, but Zeitlin was only able to raise a fraction of that amount. The WPA continued to mount an impressive array of programs, but financial problems overwhelmed the organization. When Zeitlin left in May 1992, Don Russell, who had been on the WPA staff in the 1980s, was hired back. At that time, one of WPA's mainstays for financial support, the National Endowment for the Arts, was beginning to eliminate funding for artists spaces. In April 1995, Russell resigned and by December of the same year, WPA was bankrupt. It defaulted on its rent, lost its loan, and closed its doors.〔A Brief History of WPA & WPA\C by Laura Coyle〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Washington Project for the Arts」の詳細全文を読む スポンサード リンク
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