NATIONAL ENDOWMENT FOR THE ARTS
 

AND 

NATIONAL COUNCIL ON THE ARTS 

Annual Report for the Fiscal Year Ended June 30, 1967 

For sal~ by the Supeñntendent c~ Doc~ments, U.S. Govcrnment Pr~nfing O~ce Washington, D.C. 20~02 - Pñc~ 30 centa 
Letter o] Transmittal 

Washington, D.C. 

January 15, 1968 

l~I~ DEAll iVh~. P~SmE~~: 

I have ~he honor ~o submit herewith ~he ~ua] repo~ of ~he Na~iona]
 

Endowment for the A~s and the National Co~cil on the Arts for the 

fiscal year ended J~e 30, 196Z 

~spec~~ly, 

The Honorable
 

The President of the United S~afes.
 

111 
TABLE OF CONTENTS 

The Ohairman’s Statement_ 1
 

A Record of Accomplishment__ 5
 

The National Council on the Artsq 11
 

The National Endowment for the Arts__ 15
 

Authorization and Appropriations_ 16
 

The Unrestricted Gift Fund_ __ 17
 

Staff .... 18
 

National Endowment for the Arts Program Activities ........ 19
 

l~ederal-State Partnership l~rogram_ 21
 

Architecture, l~lanning and Design_ 21
 

Costume Design 26
 

Dance_ 26
 

Education___ 29
 

Folk Art .... 32
 

Literature_ _ _ 32
 

Music .............................................. 37
 

Public Media_ __ 41
 

Theatre__ 43
 

Variety of Art Forros___ 46
 

Visual Arts 48
 

Financial Report for Fiscal Year 1967_ __ 51
 

Appendix:
 

Grants and Contracts Awarded, by Art Form, in Fiscal
 

1967_ 55
 

Individual Grantees___ 59
 
THE CHAIRMAN’S STATEMENT 

F~SCAL ~R 1967 was the first full year of opera~ion by the National 

Endowment for the Arts as an agency of the Federal Government. 

As we look back, we believe it was ayear oí considerable accomplishment for the arts, a time of great hope and renewed promise, but also 

a year which further emphasized the ever expanding needs in the arts. 

As is well known from the many reports written on the subject, 

there is at the present time, in the performing arts alone, un income 

gap (the difference between expenditures and receipts) of about $20-23 

million per year. This figure will reach at least $60 million by 1975. If 

the arts are to flourish in the United States, we must develop vast new 

sources of financial assistance. With the enactment of the National 

Foundation on the Arts and the I-Iumanities Act of 1965, by which 

the National Endowment for the Arts was created, the Federal Government was, at long last, able to assume a significant role in providing 

assistance to the arts, although funds available to the Endowment were 

, extremely limited. But, as I have emphasized on many occasions, the 

// Federal Government carmot, and should not, be expected to carry the 

total burden. This must be a cooperative effort, to include private 

~ enterprise, foundations, State and municipal support, regional organizations, and individual contributions. That this is already happening is illustrated by the fact that Federal grants totaling $10.5 million 

were made by the end of fiscal year 1967; and total non-Federal will 

reach $16 million (60% greater than the fifty-fifty matclnng requirement in the Law). 

During the next few years~ we especially ~ope to stimu]at~ greatly 

increased assistance to the arts from the business community and from 

the Nation’s private foundations. 

C. Douglas Dillon, the new chairman of the Business Committee 

for the Arts, a national organization formed to encourage increased 

support for the ar~s from private industry, said recently that "the 

time has arrived for businessmen to organize an effective means of substantially increased corporate support for both the visual and performing arts . . . the ar~s, like education, are not and cannot be u 

paying proposition. They need constant help." 

One of the reasons this committee of businessmen was formed is 

that, us yet, the ar~s huye not received the broad support from the 

business commtmity that they urgently need. ~’or example, ir is esti1 
mated that this year corporations will contribute approximately $800 

million to educational, charitable, literary, or other t~x-exempt org~­

nizations. Of that sum, us íar us we can determine, less th~n $20 m[llion 

will go to the arts. 

1)rivate íoundations have a record in support of the arts that is 

equally discouraging. Out of a tot,~l of 23,000 íoundations in the United 

States, we h~ve been able to determine that only about 1,000 huye shown 

any real interest in the arts. 

Among the 300 largest foundations, only about a dozen huye made 

significant grants in support of the arts. Of approximately $1.3 bil1ion distributed annually by private foundations (whose total 

sources huye been estimated at ~~0 billion), artists and art groups 

ate receiving about $65 million, which is only 5 percent of their total 

giving.

¡r We believe that the time has come íor our society to gire not merely 

ceremonial honor to the arts, but genuine attention ~nd substantive support. Ir must encourage the quality and proíessionalism necessary to 

the arts, and make them .~ desirable us well us practicable career possibility íor our young people. We should provide equal opportunity 

for the actor us well as the physicist, íor the poet us well as the biochemist, íor the sculptor us well us the mathematician. 

We do not deny science and technolo~o~f its current position of 

tional eminence und concern. But I must emphasize that, in the n~tional 

interest, the arts and the humanities should be given equal consideration. There is abroad in our land a deep desire íor the experience of 

the arts~ íor the facilities to house the arts~ and íor increased means 

to finance the arts on every level. 

We are at a moment in American liíe when choices must be mude. 

We must now decide what kind of society we wish to pass on to our 

children. The decisions ,xe make today~ difficult us they muy be, are 

going to form the basis of the new society that is to íollow. 

What is ir we wish to pass on? Ate we again to exalt afituence us the 

sole essence of the good 1líe .~ Let us offer our young people more than 

well-in~entioned promises and vague assurances of a bctter tomorrow. 

These young men and women want to know what we are about and 

what we ate made of. Ií we íail them~ history will not be kind~ nor 

will they. 

We need to make our open spaces beautiñll again. We must create 

un environment in which our youth will be encouraged to pursue the 

discipline and craít of the arts. We must not only support our artistic 

institutions, both national and local, but we must also make the arts 

part of our daily life so that they become an essential aspect of our 

 ̄existence. 

Andre B~alraux wrote at one point in The Voices of ~qilence that 

all art "is a revolt against man’s fase." One muy wonder what he meant 

by that statement. 
Possibly he meant that the creation of ~ work of art is a revolt 

against time, that province over which none of us has dom~in. The 

artist, in the works of bis cre~tion, is one of the few among mea 

who achieves  ̄ purti.~l triumph over the limitations of time, for his 

art gives permanence to the present, and, as has beea stuted, becomes 

"the crystallization of a moment, a link between past ancl future, ~ 

bridge between individual and universal experience." 

The arts are all of these ttñngs, as well as u celebration of man’s 

being in the world anda voice of hope ulong historfs endless path, 

demanding to be he~rd. Their essence, I believe, is that any artistie 

creation is ~ gift of the artist to bis time, and to bis audience, present 

,~nd future. There is joy and sadness in this gift, and always ah aspect 

of the mys~erious. Ir we are able to perceive this element in any given 

work of art, perhaps we have achieved ,~ cert~in wisdom. ~Ve, as the 

~rtist’s li¥ing audience, are both bis witness and bis beneficiary. 

A RECORD OF ACCOMPLISHMENT
 

SIetE I~RESmEN~: ,~OII~¢SON signed the National Foundation on the 

Arts and the Humanities Ac~ into law September 29, 1965, the 

National Endowment for the Arts has created new opportunities for 

artis~s, launched innovative projects in the arts, expanded and developed audiences, and assisted existing organizations to broaden ar~s 

programs through a great variety o3 pilot projects. 

Panels o3 private-citizen experts have assisted in making recommendations and in broadening the base of partnership between the 

Government and the private community; the National Council on the 

Arts, appoin~ed by the President and composed of 26 private cifizens 

distinguished for their knowledge and experience in the arts, has 

recommended ~hat the pro~ects be carried out. 

Asa resul~ of these efforts, Arts Endowmen~ programs have: 

Provided the sfimulus for 50 States, the Distriet of Columbia, Puerto 

Rico, the Virgin Islands, and Guam to survey their cultural resourees 

and develop programs, faeilities, and services at the eommunity level. 

With Federal grants matched by State and private funds, Stat6 arts 

agencies ~n 50 States and four special ~urisdictions initiated ~95 new 

or expanded arts projects during fiscal 1967, the first year of the 

program. 

Created nexv arts organizations to mee~ existing needs for: 

--an Ameri~an 2~~eatre Laboratory for professional aetors, musicians, 

writers, and dancers under the direction of Jerome Robbins; 

--ah Associatíon o~ American Dance Companies to promote and encourage the knowledge, appreciafion, practice~ and performance of 

dance; 

--a small, flexible oper~ ensemb]e--the Western Opera Theatre-­

which performs condensed and full-Ien~h operas for schools, neighborhoods, community organizations, and labor groups in arcas where 

opera on a ]arge scale is not feasible. 
Assisted artists by enabling: 

--50 novelists~ poets~ painters~ sculptors~ and composers teaching in 

institutions of higher learning to take l-year le~ves to pursu~ 

creative work in the arts; 

--60 p~inters and sculptors to receive ,~wards in recogni~ion of past 

contributions and to encourage their future c~reers; 

 ̄ --8 choreographers to creat~ and produce important works; 

~~2 writers, including novelists and poets~ to conduct rese~rch or 

complete works in progress; 

--Playwrigh~s to secur~ public performances of high professional 

quality in resident professional and universi~y theatres; 

--Composers to receiv~ commissions for orchestral presentation of their 

work, and to defray the costs o~ copying the scores and par[s of 

this work. 

Enabled ur~s org~niz~tions to expand programs of assistance to 

individual ~rtists by providing: 

--Funds to the Radcliffe Institute for Independent ~qtudy for grants 

to women creative writersi 

--Ah expanded program of fellowships for deserving composers supported by the Thorne Musie Fund ; 

--An emergency ~und to assist creative writers through the Authors~ 

JSeague Fund ; 

--Expanded technical assistance programs for the American National 

T]~eatre and Aeademy, and the American. Sympñony Orc]~estra 

Y.eague. 

Broadened opportunities for arts students by enabling: 

--77 promising young students in the arts who ~owaduated from college 

in June 1966 to visit art centers, museums~ institution% cities, of 

areas of the United States; 

74 undergraduate students selected by schools of architecture, planning, and ]andscape architecture to travel and conduct research 

during the summer of 1967; 

--Students of architecture, planning~ or lundscape architec~ure to 

obtain practical experience through work in selected organizations 

on significant projects related to their field o~ learning throughout 

the country. 

Encouraged the expamsion and development of audiences by enubling: 

--The MartSa Grabara Dance Company to mat:e i~s first national tour 

in 15 years in the fall of 1966. Ah estimated 130~000 people in 32 

cities saw this internationally acclaimed dance organization; 

--The Ameriean Ballet Tñeatre to embark upon nationwide tours in 

the fall of 1966 and the spring of 1967. As a result, an estimaied 
167,000 people in 61 cities saw one o~ the í~ation*s best fuil-scaie 

dance companies; 

--The New York ShaTcespeare Festival to conduc~ educational progratas throughout the city; 

--Resident professional theatre companies to enhance the artistic 

quality of their productions. People in 16 cities with ~ total population of 19 million have the opportunity to attend performances 

by resident professional and repertory theatres which are íurther 

developing the quali~y of their companies in many areas of the 

country. 

Stimulated young audiences by enabling: 

~Laboratory Theatre Companies la Providence, New Orleans, and 

Los Angeles to give free performances to student audiences, play 

to the general public at reasonable prices, and develop techniques 

to improve the instruction of dramatic ]iterature in secondary 

schools. More than 77,000 children and 80~000 adults in Providence 

and New Orleans attended performances during the first year of 

this project; 35,000 Los Angeles students will raise the student total 

to 112~000 ; 

--The Academy o/ American Poets to send young poe~s into hundreds 

of New York~ Detroit, and Pittsburgh public school classrooms to 

read and discuss their own poetry and to permit high school English 

teachers to attend lectures and readings by outstanding senior poets. 

This project is currently being expanded to other parts of the 

country; 

--The Metropolitan Opera National Touring Company ~o give special 

períormances for student and labor groups during the pas~ season; 

85~700 students attended 34 performances in 16 cities; 

--The National Repertory T]~eatre to expand its audience subscriptioa program and broaden its student educational programs; 60~87~ 

students attended performances in 12 cities. 

Streng~hened arts in education programs by enabling FordSam 

University to develop a demonstratiou program using films to stimulate effective communication among secondary school children; by 

suppor~ing ~ projec~ with the Association o/Higher Education to 

improve and streng~hen arts curriculu at educatíonal institutions; 

and by enabling the American Educational Theatre Association to 

conducta survey of theatre at the secondary school level. 

Created new audiences among the disadvantaged by assis~ing Chicago’s Hull House to lavnch ah ou~door theatre and basement thea~res 

la public housing projects, and by supporting American Theatre of 

Being productions by Negro authors in schools and depressed areas of 

Los Angeles. 

7 
Initiated new programs to create an annual American Literary 

Anthology of se]ected poetry, fiction, essays, and criticism from literary magazines of limited circulation; low-rent, studio-living quarters 

for artists; and a Coordinating Councíl of Literary Magazines to 

assist individual writers and literary magazines, especially the small 

and financially hard pressed, in which many young writers have theír 

first work publishcd. 

Opened new opportunities for arts programing on educatioual television by vsing unrestricted gifts to the National Endowment for the 

Arts for projects which have promoted nationwide dissemination of 

educational programs, encouraged the development of educational 

programs on theatre, music, dance and the fine arts, and enabled local 

educational television stations to produce arts programs, utilizing the 

talents of local arts groups in many parts of the country. 

Supported the first international coníerences held in the United 

States by American P.E.N. (Poets, Playwrights, Essayists, and Novelists), the Natio~al Musie Campat Interlochen, Mich., and the Inter­

~ational Tñeatre Institute. More than 800 writers, 800 musicians, and 

125 directors, professors, playwrights, and actors írom abroad participated in these international arts events, which were hosted for the 

first time by American organizations. 

Additionally strengthened existing arts organizations by assisting: 

--The Ame~’ican Playwrights Theatre to make new plays available 

to member university~ community, and resident professional 

theatres; 

--The Metropo~itan Museum o)~ Art to produce a special exhibition
 

in historical and contemporary costume design;
 

--The Balrd Puppet Theatre to desi~o~n, build, stage and rehearse new
 

productions íor a permanent theatre;
 

--The City Center Joffrey Ballet to conductv. 6«vcek rel~earsal period
 

and to produce several new works for the 1967-68 season in the
 

Pacific lqorthwes~ andat the ~qew York City Center;
 

--Special productions by the Boston Opera Company and the Minnesota Theatre Company, and by aiding the new play pro~owams with 

university theatre groups; 

~Expanded activity at Budd Schulberg’s Writers~ WorTcshop at 

Douglass ttouse in the Watts area o~ Los Angeles. 

Provided artistic outlets £or underprivileged youth by supporting 

Dorothy Maynor’s music and training programs at the St. James Community House School of the Arts in New York City and by assisting 

programs which provide basic instruction in music, dance, and drama 

at the Elma Zewis ~qcheol of Fine Arts in Boston. 

8 
Supported new methods of expanding public exposure and receptivity to ar~s activities through pilot pro~ec~s in which: 

--The University of Wisconsin College of Agriculture’s Wisconsín 

Idea T]~eatre is developing cultural programs in five small rural 

communities--a project which is demonstrating how the ar~s can 

benefit rural communities throughout the United States; 

--Philadelphia, Grand Rapids~ and I~oustoa will enhance urbaa design by placing outstanding pieces of sculpture in specially designed 

outdoor areas; 

--2"he Detroit I~~stitute o] Arts, the Boston Institute o] Contemporary 

Art~ and the Amon Carter Museum of Western Art are making the 

íacilities and resources of their museums uvailable to wider audiences in their communities. 

Stimu]ated regional arts programs by supporting projects to enable 

the Denver Sympñony Orchestra to make plans for converting from 

a local to a regional group; and the Robert Joffrey Ballet to establish 

a summer residence and tour in the ~orthwest. 

Initiated a series of pilot projec[s in architec[ure and allied fields 

which can produce prototypes for improved highway signs and 

graphics; an American guide series on significant architecture, landscape architecture and planning; and is suppor~ing current projects 

in the field of design, including one undertaken by comanunity groups 

and professional designers to develop effec~ive techniques for preserving tIawaii’s natural beauty. 

Launched studies determining the feasibility of estab]ishing a regional opera in the Southeast and bringing the Kodaly method of 

music education to elementary and secondary schools in the Uni[ed 

States; examining ]aws applying to the arts and the legal rights of 

artists; exploring the uses of new materíals and techniques in the 

visual arts; surveying community arts resources in order to develop 

a program to meet existing needs. 

9 

THE NATIONAL COUNCIL ON THE ARTS 

Purpose and Activities 

T~~. Cov~cm is composed of the Chairmaa of the National Endowment for the Arts, who serves as Chairman of the Council, and 

26 private citizens, widely recognized for their training, experience, 

and interest in the arts, appointed by the President. The Council, 

which is required to meet at least twice ayear, met three times in 

fiscal 1967. Xts responsibilities are to: 

--adviso the chairma~ of the 57ational Endowment for the Arts on 

policies, programs, and procedures; 

--review applications for ñnancial assistance; 

--recommend ways to maintain and increase cultural resources in the 

United States; 

--proposo methods of encouraging private initiative in the ar~s; 

--advise and consult with local, State, and Federal departments and 

agencies on methods of coordinating existing resources and facilities 

and fostering artistic and cultural endeavors and the use of the 

both nationally and internationally, in the best interests of our 

country; 

--study and recommend ways to promote the arts in order to stimulato 

the l~Tation’s artistic and cultural progress. 

2S5-573--68--3 11 
Members 

With Terms Expiring in 1968 

LEONARD BERNSTEIN 

lTomposer and ~onductor 

Muslo Director, lgew York 

Philharmonto 

ANTHONY A. BLISS 

Presi~lent,
 

Mctropolitan Opera Associatio~
 

International President,
 

Amertcan Federation of Musicians
 

W~N~ ~wsoN 

Dean, Gollege of Fine Arts, 

Howard Unlversity 

WILLIA~f L. PEREI~, I~A~IA. 

William L. Pereira ~ Associates 

RICHARD RODGERS 

President ana Producing Director, 

M~ISiC Theatre of Lincoln Genter 

JoH~ STEINBECK* 

Author 

JA~ES JOHNS0.~ SWEE~EY 

Director,
 

Houston Museum o] Fine Arts
 

With Te~ Expiring ~ 1970 

~~T BUSH-BROWN 

President,
 

Rhode Islan~ Schoot o~ Desig~
 

~NE D’HA~N0~~~ 

Director, 

Museum o~ Modern Ar$ 

PA~ ENGLE 

Director, Inte~ational W~ting 

Program 

Univ~sity of Iowa 

R. PH~ HA~, Jr. 

Indust~alis$ 

OLIV~ SMITH 

Theat~cal Producer ana Designer; 

Painter 

IS~C ST~~ 

Concert Violinist 

GEORGE STE~NS, 

Motion Picture Producer, Director 

Mi~onu YA~ASAK~, FAIA 

Minor~~ Yamasaki ~ Associate8 

With Te~ Expir~g ~ 1972 

~~~ AND~SON 

Goncert Artis$ 

~CHARD C. ~~ENKORN, ~r.* 

Painter 

LAw~~~cE H~PR~~, ASLA 

Lawrence Halprin ~ Asso~ates 

H~~ ~YES 

Actress 

CHARLTON HESTON 

Actor and Producer 

President, S~een Actors ~ild 

~P~ LEE* 

Author 

JIM~U ~ASON 

Sculptor 

S~~EY POIT~ 

Actor 

DO~~D ~~EIS~A~N 

Professor in the Arts 

University of Texas 

NANCY ~HITE 

Editor-in-Ghief 

Harper’s Bazaar 

*On June 16, 1965, President Johnson appoInted Herman David Kentn to fil1 the vacancy created by the death of sculptor David Smith on ~Iay 23, 19~. On Apr. ~, 1966,

John Steinb~k was appointed to fill the vacancy created by the resf~at!on of NBC news 

commentator David Brink]ey. Richard C. Diebenkorn, Jr., and Harper Lee were appointed to

the Council on Jan. 27, 1966 to fill the two vacanctes created when the National FoundatIon

on the Ar~ and ~e Humanl~es Act of 1965 ~creased membership on the Counc~ from 24 

to 26. 

12 
 

 

Former Members 

DAVID BRINKLEY (1964--65) GREGORY PECK (1964--66) 

~B~ l~ews Commentator Motior~ Picture Actor, Producer 

AGNES DE MILLE (1964--66) ELIZABETH AS~LE~ P~PP~D (1964-66) 

~horeographer, A ulhor, Lecturer Actres8 

RAn~,rr EnnISO~r (1964-66) DAV~D S~rrrr (1964-65) 

Author, Lecturer, Teacher Sculptor 

GILBERT HARTKE, O.P. (1964-66) OTTO W~’T~AI~~ (1964--66) 

Head, Speech and Drama Department, Director,
 

Catholic University of America Toledo Museum of Art
 

ELEANOR ~.~AMBERT (1964--66) ST~~~~’~ YOUI~G (1964-66) 

Honorary Member, Author an~ Publisher 

Gouncil of Fashion Designers of 

America 

Meetings: 

8th ]VIay 12-14, 1967 ........... Tarry[own, N.Y.
 7tb__ Dee. 14-15, 1966 ........... Washington,
 6th ..... Aug. 26-27, 1966 ........... Washington, D.C.
 5th ............... ]\íay 13-15, 1966 ........... Tarrytown, N.Y.
 4th Feb. 12-13, 1966 ........... Washington, D.C.
 3d .... Nov. 12-15, 1965 Tarrytown, N.Y. 

2d June 24-27, 1965 ........... Tarrytown, 

The first meeting of the National Council on the Arts was held 

in Washington, D.C., on April 9 and 10, 1965. Ir was preceded by a 

ceremony in the Cabine~ Room of the White House on April 9~ during which the members of the Council took the oath of office. 

13 

THE NATIONAL ENDOWMENT FOR THE ARTS 

Purpose and Activities 

Tho Endowment establishes and implements ~ program of grantsin-aid to State arts agencies, nonprofit, t~x-exempt groups, and individuals to promote progress in the arts, whieh are defined to include 

instrumental and vocal music, dance, drama, folk art, creative writing, 

arzhitecture and allied fields, painting, sculpture, photography, graphic 

and craft arts, industrial design, costume and fashion design, motion 

pictures, television, radio, tape and sound recording, and the arts related to the presentation, performance, execution, and exhibition of 

such major art forms. 

Grants are made to: 

--provide or support in the United States productions which have substantial artistio and cultural significance, giving emphasis to American creativi~y and the maintenance and encouragement o~ proíessional excellence; 

---encourage produ&ions, meeting professional standards or standards 

of authenticity, irrespective of origin which are of significant merit 

which, without such assistance, would otherwise be unavailable to 

our citizens in many areas of the country; 

--aid pro~ects that will encourage and assist artists and enable them to 

achieve standards of profe~sional excellence; 

--stimulate workshops that will encourage and develop the appreciation and enjoyment of the arts by our citizens; 

---initiate surveys~ reseach~ and planning in the arts. 

15
 

THE UNRESTRICTED GIFT FUND 

The l%tional Founda~ion on ~he Arts and th6 I-Iumanities Act 

of 1965 authorized $2.25 million to match unrestricted donations to th6 

National Endowment for the Ar~s in ñscal 1966-68. For fiscal 1967~ 

Congress appropriated ah amount not to exceed $2 million, less any 

amounts appropriated in fiscal 1966 to the fund~ to be determined by 

th~ amount of unrestric~ed gifts received. Federal funds to match unrestricted gifts are maintained in a separar6 U.S. Treasury Departmen~ 

account, and are appropriated independently of other Endowmen~ 

funds. 

The matching fund provision permits the N~tional Endowment for 

th~ Arts to make four times th~ amount of ah unrestricted don~tior~ 

available to artists or arts programing. Ono dollar in an unrestricted 

gift is matched by on~ Federal dollar, and these two dollars must b~ 

matched again ir ~ grant is mad~ to ~ group. 

17
 
hrA-TIOhrAL ENDOW~IENT ~’OR THE ARTS STAFF* 

Chairman ...................................... Roger L. Stevens
 

Deputy Chairman** ..............................
 Willi�m Carmen 

Special Assistant to the Chairman ................. Frank Crowther 

Special Assistant to the Deputy Chairman ......... Leonard Randolph 

Director, Office of State and Community Operations__Ch~rles C. Mark 

Secretary to the 2qational Council on the Arts ........
Luna Diamond 

Prog~ram Director for Architecture, Planning 

and Design .................................... Paul Spreiregen 

Program Director for Literature .................... Carolyn Kizer 

Prog’ram Director for Educution and Public Media ....David Stewart 

Progr~m Director íor Music ...............................
 Vacant 

Assistant ......................................... Lucy ]3remner
 

Program Director for The~,tre .......................
 :Ruth Ma:yleas 

Program Director for Visual Arts ................ HemT GeldzaMer 

2kssistant .......................................... Starke ~[eyer
 

Associa~e Program Director for Dance and Director,
 

Office of Program :Eva|uation .........................
 June &rey 

Itead, Special Rese~rch Projec~s ........................ Ana Steele 

General Counsel, hrational Foundation on the
 

Arts and the ttumanities .................. Charles B. Ruttenberg
 

Administr,~tive Officer, National Foundation on the
 

Arts and the I-Iumanities ........................ Paul P. Berlnan
 

*As of the date of this report rather than fiscal year 1967.
 

**Mr. IAvingston L. Biddle served as Deputy (:halrman until November 1967.
 

18 
NATIONAL ENDOWMENT FOR THE ARTS
 

PROGRAM ACTIVITIES
 

285-573--68--~-4 

FEDERAL-STA_TE PARTNERSHIP PROGRA-~ 

$2,000,000 

When the Sta~6 program was announced in ~ovember 1965 to the 

Governors of all the States and special political jurisidictions, every 

Governor sentat least one representative, except Guam and American 

Samoa, to a national meeting called íor the purpose of explaining the 

program. Guam later received instruction and participated. 

During the first year of funding, States were eligible fora special 

nonmatching Federal study grant to examine the cultural needs of the 

State and establish an oficial State arts agency. For~y-one States took 

advantage of this provision. Twenty-eight of these States also applied 

for $25,000 each on a matching basis to be~n programs and projects. 

Thirteen States decided to enter programing immediate]y and applied 

for $50,000 each on a matching basis. Available appropriations were 

suficient for grants of $12,053 each, but the study grants remained at 

$25,000 and ~~11 program grants at $50,000. Despite the newness of the 

program and the limited funds available the firs~ year, ~95 pro~ects in 

all the arts and education werc included in the applications. However, 

the majority of the States spent their energies establishing administrative machinery and approaching legislatures for enabling legislation and appropriations. 

By the end of the first year (fiscal year 1967) all of the States, except 

one, had established oficial State arts agencies by legislative act and 

all but three or four were under the direction of íull-time administrators under State civil service. On the program side, the ma~ority of the 

effort went toward bringing the cultural resources within each S~te 

to arcas previous]y without such opportunities. 

In the second year, every Sta~e and jurisdiction except American 

Samo~ applied for some portion of the maximum matching ñmds of 

$50~000 each. Seven States did not apply for the full $50,000, though 

one of these later was appropriated the full anaount by its State 

]egislature. 

ARCHITECTURE, PLANNING, AND DESIGN 

The architecture program was star[ed 

taling $281~100. Some of these were individual grants, some were 

matching. The money spent was matched by approximate]y $95,100. 

The purpose and results of the grants ate as fol]ows: 
Amer~ca the Beaut~iu! Fund--Des~gn Internsh~ps ............ $30, 000 

Approximately 88 projects were financed for the summer of 1967 

to enable young professional desig~aers to work in various municipal 

offices on municipal design projects throughout the United States. The 

in!en!ion was to gire the desig’ners practica1 experience in realistic sí~­

uations as well as to gire the public agencies the opportunity to benefit from desigaa ideas. The progwam was administered by the America 

the ]3eautiful Fund of Washin~on, D.C. The projects included the 

design of a historical canal in New Jersey as a recreational walking 

!rail, the redesign of ah old town courthouse square in Texas, designing a hike and bike trail fora small town near :New York City, redesigning a blighted stretch of highway in Connecticut, and redesigning 

por~ions of a seaside town on the California coas~. This projec~ turned 

out quite well anda supplementary gran! for fiscal 1968 was planned 

to enlarge the work. 

Ronald Beckman--Highway Signs__ $I0, 000 

The problem of signs on publie roads needs li!!le explana!ion, but 

il does need considerable rethinking. The problems involve plaeement, 

appearance, responsibility, juxtaposition, manufaeture, and upkeep, 

as well as the difference between nighttime and daytime appearances. 

~Ir. Ronald Beckman heads a unique design research office in Providence, R.I, called the Research und Desigaa Institute, and is undertaking a wholly new design approach to !bese problems. Ir is too early 

to repor~ results. 

Car! Feiss--Gu~de Ser~es $25, 000 

Carl Feiss is a noted architect and planner, largely known for bis 

contributions to planning, urban design, and the preservation of historic buildings. )fr. Feiss has also been a student of guidebooks on 

design whieh serve as vital means of public information on good design. 

He is conducting a study, the purpose of which is to recommend 

methods for producing various kinds of environmental design guides~ 

books, and maps for the United States. He is concerned with guides 

on a city, State, and regional basis, the incorporation of environmental 

guide information in other kinds of guidebooks, the problem of keeping guidebooks up to date, and the possibility of private supporg and 

publication of the guide señes, l~fr. Feiss is delving into the experience 

of past guide series, both here and abroad. He points out that the lasg 

national effor~ to produce a guide to design was in the 1980’s through 

the WPA. 

Buckmirtster Fuller.--Spoleto Dome, $12, 500 

Buckmins~er Fuller’s íame and reputation are growing now at a 

considerable tate, due par~ly to the construction of Iris largesg dome 

22 
at EXPO, and to the increasing circulation of his writing. Mr. Fuller’s 

dome has come to be appreciated us lar more thart a structural novelty, 

but rather a materialization of bis philosophy and theory regarding 

the uses of technology. At the sume time his domes have considerable 

aesthetic appeal. For that reasoa the erection of a Fuller dome at 

the Spoleto Festival was felt to be highly appropriate. Tlm Spoleto 

dome will be nsed during the 1968 festival~ and when the acoustical 

proper~ies of the dome are developed~ us ~ theatre. Gian Carlo Menotti~ 

artistic director for the festival foundation~ is already plamfing a series 

of plays us well us some chamber balhts to be presented in the "Spoletosphere" during the next season. 

Hawaíi Design proiects ................ $12, 600
 

There are ~ number of places in the United States which possess 

remarkable beauty but which are threatened by the impact of increased 

tourism. The ttawaiian Islands are particu]arly prone to this problem~ 

but they are also quite sensitive to ir. ttawaii has the advantage of 

having a number of highly capable desiga professionals us well us a 

number of citizens~ groups very much concerned with the beau~y of 

the islands. A grant was given to the Oahu Development Conference~ 

one such citizens’ group~ to attempt to apply new design techniques to 

protect tIawaii~s natural assets while guiding large-scale development. 

This grant was the first of several that were given to groups on the 

ttawaiian Islands. At this writing the work is in progress and ir is 

too early to repor~ ea results. 

G. E. Kidder Smith 

Exhibition and Book on American Architecture ............... $25, 000 

G. E. Kidder Smith is one of the foremost architectural photographers and writers. He has produced very important books on the 

architecture of Italy~ Switzerland~ and Sweden, and has writter~ many 

articles on various aspects of architecture here and abroad, tIis architectural photographs are of particular value because he himself is ah 

architect and has a deep grasp of the sig~ificance of new arclfitecture. 

Mr. Kidder Smith is preparing ~ series of photographs of very recent 

American architecture which will be used us the basic material fora 

photographie exhibition us well us a book on recent American architec~ure. He points out that the existing American pho~ographic exhibitions of Americau architecture which travel overseas are rather 

out of date and do ~ very peor job of representing the country~s 

output, tIis material will be readily translatable for a ~raveling exhibition abroad~ us well as~ of course~ domestie use. 
Ralph Knowles~Des~gn ~Ianua! ........................... $25,
 

Professor Ralph Know]es, of the University of Southern California 

at Los Angeles, is a foremost researcher in arehiteeture and planning. 

His work can truly be eonsidered basic researeh whieh is vitally 

needed but too seldom undertaken. Speeifieal]y, he is eoncerned with 

the relationship of the fundamental shape of a building and the 

strength of the structural e]ements, the relationship between sun]ight 

and building form, the relationship between rainfall and building 

forro, and the re]ationship between wind and building forro. He 

operates a ]aboratory of models for testing and exp]oring these areas 

of researeh. So lar, bis work has produeed ~ number of higtfly unique 

and highly promising new building forros. Professor Know]es’ work 

promises to make a great eontribution to Ameriean architeeture by 

providing u whole new eoneeptual approaeh. 

Lal~e Mich[gan Reg~on Plann[ng Council
 

LittIe Calurnet River Basin ................................. $10, 000
 

The problems of Ameriean rivers and river basins have be~~n to be 

met with considerable attention. The problems eenter around pollution, 

recreation, water supply, and waste disposal. However, the more one 

explores the prob]em of u particular river basin the more one finds 

that the who]e spectrum of p]anning coneerns must be considered. 

Usually ir is an engineering approach that is taken. There is much 

reason to suppor~ efforts that take a design approaeh whieh still involve 

engineering work. Such an effor~ was made in 1967 for the Little 

Cahunet River Basin, south of metropolitan Chieago. This river basin 

has all of the classic problems. ~k study was done through a grant to 

the Lake Michigan Region P]a~ming Cotmcil, the same gTOUp that was 

responsible for the creation of the Indiana Dunes National Park. The 

planning council employed a small multidisciplined group of graduate 

s~udents to s~udy the river basin and produce an imaginative desig~n 

for the entire river basin. This plan, although ir is still only a concept, 

has already b%mn to influence many groups. The river basin could not 

have more problems of land use and design than ir has now. Potentially, however, there is every reason to believe that through design the 

area could be transformed into a model for the entire country. 

Nat~onal Des~gn Institute. Study ............................ $84, 000
 

L’a order to eoordinate ~he inereasing number of programs and 

aetivifies in the desig-n field, th~ Couneil inves~igated the possibili~y 

of institutionalizing its own design efforts as well as the efforts of others. Reeognizing the enormous eomplexi~y of the field of environmental designas ~ whole, and reeognizing, too, the great number of exis~ing 

programs, both governmental and private, ir was felt neeessary to do 
.I 

a careful study to avoid duplication and assure program effectiveness. 

The study was done by Rober~ 51athan Associates over the period of 

a year and involved the advice and recommendations of leading desiga 

exper~s across the country. The ~Iathan study found that a design 

institute under Federal auspices was needed~ but that ir would have to 

evolve step by step. The institnte’s aims would be to increase professional capabilities and public awareness of good environmental design. 

Its main methods would be ~ grants progwam~ suppor~ of regional 

design centers~ and operation of a center for advanced design studies. 

Tocks Island--C~t~zens’ Action Con]erence ..... $10~ 000 

The Corps of Engineers is going to build ~ dam on the Delaware 

River near the Delaware Water Gap. The dam will create a reservoir 

nearly 30 miles long and about 1/~-mile wide. Around this reservoir 

will be created a new national recreational area or park. This park has 

been described as the central park of this country since ir will help 

serve the recreational needs of the mayor portion of the population of 

the eastern seaboard. Ir has been estimated that more people will use 

this park than any other park in the United States or its territories. 

Land acquisition for the reservoir and the park has already begtm. 

Meanwhile~ rampant speculation on land in the counties surrounding 

the park has begun. In many cases~ dense summer house development 

has beg~n~ often without proper sewerage disposal systems. The plain 

fact is that the counties and towns around the national park are not 

prepared to properly guide the rapid development which has already 

begam. 

I!owever, numerous officers and citizens~ leaders recogafized tha~ 

quick action is needed and formed the Tocks Island Regional Advisory 

Council (TIRAC) as ah intergovernmental conference mechanism. 

The Endowment gran~ enabled TIRAC to hold a conference in the fall 

of 1967 whose principal speakers were leading experts in the field of 

]arge scale regional design. The purpose of this conference was to 

acquaint local citizens with various design techniques which they 

could employ in their areas. The conference itself was quite successful~ 

well attended~ and well covered in the presa Be this as ir may~ there 

is still a great deal of work to be done for this area ir it is to fully 

serve the many needs of the vacationing population that is expgcted. 

Undergraduate Student Travel $37~ 000 

The list of students to whom grants were given is included in the 

appendix. The purpose of this program was to enable 74 advanced 

undergraduate students of architecture~ landscape architecture~ and 

city planning to travel in various parts of the United States to see 

ñrst-hand outstanding examples of Americar~ environmental design. 
Too seldom do s~udents have the opportunity to see good design with 

~heir own eyes. Too frequently do students see good examp]es in magazines or books, which is quite limiting. At present, there is a small 

number of grants available to design students after they finish school. 

To enable them to travel before they complete their s~udies is extremely 

valuable, not only to individual students but to their fellow classmates. The students selected for the $500 travel gran~s were recommended by their schools. The schools in turn were selected by the 

three professional design sociefies (American Institute of Architects, 

American Institute of Planners, American Socie~y of Landscape 

Architects) in a way that insured both geographic distribution and 

proportioned representation of the professions. The students were 

required to submit written reports on their travel both to the schools 

and to the Endowment. The results have been outs~anding and the 

students seem filled with enthusiasm and gratitude for the oppor~unity 

they had. The Endowment hopes to continue the program. 

CO STUhE~~ DESIGiq 

Costume Design Program ...... $12, 500 

2~ ma~ching grant of $15,500 was ma.de to l~ational Educafional 

Television to produce two ~/~-hour educational television programs 

on American fashion des~gners. The first program, included in I~ET’s 

Creative Person series, was on Pauline Trigere, and the second, while 

encompassing the national fashion scene, focused on the work of 

l~orman Norell in l~ew York. The programs will be distributed free 

of cost to all educational television stations in the United States. 

«The Creative Person: Pauline Trigere" won u CHRIS award, 

one of the oldes~ and most presfigious film awards in this country~ 

in the graphic and cultural arts category at the Columbus, Ohio :Film 

Festival. The festival is sponsored by the :Film Council of Grea~er 

Columbus in association with the Columbus are~ Chamber of 

Commerce. 

DA~qCE 

Association o[ American Dance Companies ........ $25, 000 

The Association of American Danc~ Companies is a service organization which was established asa result of a survey made by Mr. 

Ralph Black (with a grant from the Endowment). The organization 

was formed to serve and represent the entire field of dance. Ii has ~ 

membership of over 200~ and its board includes m,n~or choreographers~ dancers, and heads of professional and regional companies. It 

~6 
provides a program of services and information wbich includes seminars, personnel services, annual conference% data exchange, and general administration consultation. The grant of $25,000 was for: (1) 

A pilot project in the training of board members, (2) management 

seminar% (3) the 1967 annual conference of the Association, and (4) 

a contract fora survey of services provided by existing arts organizations and development of a guide for improvement of rehearsal and 

performing facilities for the dance. 

This organization could help to weld the dance world into an effective organizational force for the first time. 

Ralph Blaek ........... $600 

Ralph B]ack, general manager of the National Ballet and founding 

member of the American Symphony Orchestra Leagu% received ah 

individual study grant in fiscal year 1966 to conduct a s~~rvey and to 

calla meeting of dance companies to organize a national service association for dance. The cost of the survey and conference exceeded the 

original grant of $5~000~ anda supp]ementa! grant of $600 was al)­

proved in ]967 to cover the actual costs. Asa result of this meefing 

and Mr. Black~s survey the Association of Americaa Dance Companies was formed. 

American Dance FestivaI/ConnecHcut College $15, ~00 

The Ameriean Dance Festival, sponsored by Connecticut College, 

has presented for the last 9~0 years the finest ~nodern dance companies 

in the country. Over 300 works created by 44= different choreographers 

have been performed; 95 works have had wor]d premieres and 16 of 

them have been commissioned by the col]ege. The grant for $15~000 

from the National Endowment was given to the Festival specifically 

to present new works by four outstanding ~nodern dance cboreographers--Jose Limon, Paul Taylor, Merce Cunninghanh and Ahvin 

Nikolais--each of whose works had been commissioned by the National 

Council on the Arts. 

City Center ]offrey Ballet ...... $100, 000 

A grant of $100,000 was given to the City Center Joffrey Ballet, to 

enable the company to conduct a 6-~veek creative rehearsal period in 

the ]at~ spring of 1967 and to help to produce several new works. Th~s 

grant was the fi~~st that the Endowment has given directly to the Joffrey 

Company whizh was reorganized in 1965, and in 2 years has created 1~ 

ballets by seven different choreographers in addition to reviving six 

ballets írom its previous repertory. The ballet is the permanent resident company of the New York City Center~ and the permanent summer resident company in the Pacific Northwest. 
The Joffrey Ballet has received un exceptional reception from critics 

and the public. The reviews of its recent New York season were overwhelming]y enthusiastic. Clive Barnes~ the renowned dance critic of 

the New ~Zor]¢ Times has said o~ the Joffrey Bal]et~ "There are few 

dance groups in the world capable o~ giving such unalloyed p]easure." 

Northeast Regional Choreography Workshop. $1, 725 

The manual ehoreog’raphy worksbop, íor whieh this g’rant ($1,7"95) 

provided lees for professionals and tmvel expenses for delegates ~rom 

the other íour re~onal associations, was beld in ~kug’ust, 1967. ~ks a result of this grant, the Southeast, Southwest, and Paeifie Western Festival Assoeiations h,’tve eollaborated with the Northeast to undertake to 

eoordinate ,~ íully professional workshop íor eaeh of the re~ons. 

Washington State Arts Commiss~on 

Robert ]offrey Ballet .............. $25, 000
 

~k g’rant of $9.5,000 was made to the Washington State ~krts Commission to support ~ 7-week resideney (July 9=kug. 9~6, 1967) of the 

New York City Center Joffrey Bmllet in the Paeific Xorthwest in the 

States of Washington and Idaho. In addition to the Endowment’s 

grant, a regional eampaign reeeived major eontributions írom 

PONCHO (Patrons of Northwest Cultural Organizations, Seattle), 

Washington State Arts Comln~ssion, tiro eity of Tacoma, and from 

business firms and individuals in all the Northwest eities where the 

ballet appeared. 

The eompany had three main goals to aehieve in its trip to the Northwest- ’% ereative period, a training program, anda performance 

sehedule." During the creative period at Paeifle Lutheran University 

in Taeoma, several ballets were choreographed, the ballets in the eurrent repertoire were polished, revivals added, and the publie was invi~ed to observe elasses, attend leeture-demonstrations, and diseuss 

aspeets of d,-mee. 

Coneurrently with the ereative period ,~ training period was condueted for 40 young Northwest d.~neers who had been ehosen in audition. These students were able to attend master elasses given by one of 

the finest teaehers in the United States. In this 7-week residente the 

Joffrey Ballet g.~ve 13 performances in the two States. 

Anthony Tudor .......................................... $10, 000 

Antony Tudor reeeived a 810,000 grant under a program, ehiefly implemented in fiscal 1966, of individual grants to enable ehoreograpbers 

to ereate, rehearse, and produce important works in the field of dance. 

~8 
EDUCATION
 

American Educational Theatre Association 

William Cleveland. 87, 000 

A grant of $7,000 was given to the Secondary School Theatre Conference, ~ division of the American Educational Theatre As~ciation, 

under our technical assistance program. In a proposal given by the Association, Mr. ]Villiam Clevela~nd, a nationally recog’nized figure in 

secondary school theatre, would explore the status of the the,ntre arts 

ia the secondary schools of the United Sta.tes. The grant was given for 

this purpose and the study was to be taken under the supervision of the 

American Educational Theatre Association. This organization, on its 

part, budgeted enough money to disseminate the results of the survey 

to interested individua]s and groups. 

Assoc~aHon ]of Higher Education. 833, 000 

A m,’ttehing grant of $33,000 was given to the Association for Higher
 

Education for ,~ eomprehensive study of the impaeg of eollege entranee
 

examinations and admissions requirements on school arts eurricu]a.
 

The Assoeiation for Higher Education (of the National Edueation
 

Association) appointed aspeeial high-level eommission to explore the
 

needs of the arts in edueation, to eonstruet case studies of suecessful
 

educational programs in the arts a.t all levels, and to prepare a report
 

whieh will include speeific recommendations for the guidanee of school
 

and college administrators. In addition, it. is anticipated that the study
 

will serve to a]ert the academic eommunity aaad the general public to
 

the need fora greater curricular emphasis upon the arts.
 

Fordham University Film Pro]ect ........................... $71,780 

A matehing grang of $71,780 was given to Fordham University for 

a 1-year researeh and demonstration program to develop models of 

film and television eourses to be taught in elementary and secondary 

schools. The airo is to design eurrieular programs (ineluding guidelines 

for teacher training) which will eventually become a regular parg of 

every student’s education. The edueational emphasis is upon developing lmbits of erifieal and selective film and television viewing through 

ah exposure to and analysis o~ the best within the "image media." 

Demonstration eourses include those whieh integrate fihn study with 

established eurrieul~ in literature, social studies, and tho arts. The 

puvpose of the project is to stimulate effective eommunic,~tion among 

the students, particularly those from eulturally and economieally disadvantaged baekgrounds. 

~9 
i 

Graduation Awards ........ $5, 000 

Five grants of $1,000 each were made under a program, chiefly implemented in fiscal 1966, enabling aras students who graduated from college in June 1966 to visit art centers, museums, ins~itutions, or arcas of 

the Uni~ed States whieh would enrich their cultural experience. 

Hull House .............................................. $30, 

The I-Iull I-Iouse has operated classes in ~heatre, dance, and musie 

fora number of years, and 8 years prior to 1967 had operated three 

theatres. In order to enable I-Iult House to expand it.s projects to include another theatre and a number of basement theatres in publie 

housing projects in southside Chicago~ a matctLing grant of $30,000 

was given by the Endowment. 

Teachíng Artists Program ....... $7, 500
 

One grant of $7,500 was made under a program, chiefly implemented 

in fiscal 1966, enabling artists teaching in institutions of higher education to ~ake 1-year leaves to pursue ereative work in the arts. 

Laboratory Theatre Pro]ect ............................... $681,000 

The Laboratory Theatre Project is a landmark, involving cooperation between the !~ational Endowment for the Arts, the United States 

Office of Education, and local school boards in the respective arcas 

served. 

This pl~n--~volved during the summer of 1965--envisions a laboratory theatre of the highest professionul st~ndards, established in a few 

leading American cities, which would provide secondary school students with the direct impact of living theatre~ und of the classi¢ literature which is its foundation. 

This pro~ect w~s plarmed to extend over a 3-ye~r period, with the 

hope that annuM appropriations would be renewed, contingeat on the 

effectiveness of the program und the degre~ of communi~y ~nthusiasm, 

cooperation, ~nd support. 

Although a number of cities were regarded ~s good potential sites, 

only Providence and New Orleans w6re finally able to qualify for the 

first year; Los Angeles was added in the secortd year. Factors involved 

included interest expressed by local school officia~ls, community leaders 

and school districts, and the availability of a theatre. Funds from 

the Iqational Endowment for the Arts were available promptly enough 

to enable the recruitmen~ of professional companies, and to commence 

production in time for ah October 1966 opening in l~ew Orleans. Each 

theatre presents a four-play sea.son for studen~ Attendance figures 

tell the story: Providence (seating capacity, 1,000) : approximately 

50,000 students per production. In addition~ the paying audience ra.n 

into thousands for each play. Productions were generally of high 

--- 30 
quality, well reviewed by the press and favorably received by local audiences. Cooperation betweea school authorigies and theatre professionals has been exemplary. Sgudy guides of high quality, for both 

students and teachers, were prepared jointly by the teachers and the 

theatre people. Members of the companies have par~icipated enthusiastically in supplementary projec~s: lectures, technical demons~rations, 

classroom project% and other forms of face-to-face confrontation with 

students. 

Furthermore, the pilot aspects of this program should not be overlooked~ both as regards the decentralization of professional theatre 

throughout the United States~ and the increasing use of living theatre 

asa tool in s~udent and adult education. 

Elma Lewis School of Fine Arts ............ $3, 500 

An individual grant of $3,500 was made ~o support cos~s of continuing the program of the Elma Lewis School of Fine Arts (Boston, 

Mass.) and of developmental work ~oward possible relationships wi~h 

the Boston public schools. The emergency grant provided funds during a critical period of the school’s finaneing, pernñtting this outstandíng school to continue operation until funds were forthcoming from 

other sources. 

Legal Rights of Artists .................. $25, OOO
 

Ah individual grant of $25,000 was made to Melville Nimmer, professor of law at the University of California at Los Angeles, to make a 

study of major aspects of legal rights of artists and to prepare a report 

on his findings. The study will emplmsize graphi¢ and plastic works 

of art but will also eoncern musie and literature. Professor l~hnmer 

has undertaken ah investigation of ,the relevance of certain European 

protections for artists, ttis study will inelude a legal interpretation of 

"published arts," the meaning of "writings" as applied to works of 

ar~istic eraftsmanship, and ,the copyright consequences of technological 

developments. It is anticipated that the study will serve as the foundation íor a continuing study and surveillance of artists’ legal rights. 

North Carolina School of the Arts ................. $4, 500 

A~ matching grant of $4,500 was made to the l~orth Carolina School 

of the Arts for ten seholarships for college muslo majors to attend the 

school’s 1967 summer session at the Accademia Musicale Chigiana in 

Siena~ Italy. One-hundred and seventeen students par~icipated in the 

program. Forty-one students carne from the North Carolina Sehool of 

the Arts and the remaining 76 represented 86 other ins~itutions of 

higher education ,throughout the country. 

Severa1 Italian newspapers carried excellent reviews of the program. 

It was reported that the summer session at Siena attracted capacity 

31 
crowds at three-times-a-week student concerts. The school ref~eived 

requests for taped broadcasts for Rome radio. In addition~ there were 

invitations to returr~ to Italy and France for performances next year. 

St. ]ames Community House School o~ the Arts $24, 500 

Dorothy Maynor, who has operated this Harlem school for several 

years, has concentrated the program primarily in her own field of 

music. According to testimony by music authorities, the work in 

stringed instrument instruction accomplished by her faculty is 

outstanding. 

She is now prepared to launch a program in theatre training asa 

means of enhancing the lives of teenagers growing up in the Manhattan 

area. The attempt here is not to train students for careers in the 

theatre, but rather to teach certain skills, such as effective use of the 

body and voice, increased vocabulary, and the meaning of abstract 

va]ues. 

The New York State Council on the Arts granted $15,000 to the 

school for the theatre project and $9,500 for the expansion of the 

string instructior~ program. The Endowment grant matched the New 

York Council grant. 

FOLK AI~T 

National Foll~ Festival Association ........ $39, 500
 

A matching grant of $39,500 w~s given to help the Association make 

p]ans for ah annual national folk art festival, encourage regional 

festivals, and study, collect and publish data on the origin of various 

forros of American folklore. 

LITE1RA_TUR]~ 

Academy o] American Poets__ $33, 000 

At its August meeting, the Council on the Arts recommended a 

supplemental grant of $33,000 to the Academy of American Poets, to 

extend and compléte its lqew York City pilot project of poetry in the 

high sehools. Because of the success of the pilot program (involving 

113 high schools), a two-pronged affair which involved having senior 

Ameriean poets address high school English te~chers in assembly, 

follo~ved by the appearanee of younger, but still eminent, poets in the 

high sehool class rooms, the New York City schools requested that this 

program be extended to eover ~00 additional high schools. On October 

6, 1966, the Academy asked for, and was granted ah amendmen~ to 

their grant eontra~t, releusing $5,000 to finance a poetry series in the 

xNassau County School Distriet in New York. 

32 
This h~s continued to be one of our most successful programs~ not 

only in terms of student and teacher response, but in the enthusiasm 

of the participating poets--and as a source of income fora number of 

impoverished poets. Also, the coverage and response in the press have 

been outstandingly favorable. 

American Literary Anthology. $54, 010 

The first volume of the literary anthology will be published in March 

1968, by lq’arrar, Straus & Giroux, Inc. ; $44,500 has been spent in 

awards to the winning authors included in the first volume. All 

winning prose selections received arr award of $1,000; all poems chosea 

for inclusion received $500. In addition~ the literary magazines making 

the selections initi~lly, received awa-rds, most of these being small 

magazines of limited circulation. The mag~.zines selecting the winning 

prose entries received $500; $250 ws.s given to each magazine which 

selected a prize-winning poeta. ($500 was the largest possible amount 

e~ch magazine could receive.) These ~wards to magazines were intended not only to encour~ge the good taste and enterprise of the 

respective editors, but to serve asa forro of indirect subsidy to small, 

h~rd-pressed magazines. 

The amount of $9,510 of the grant was paid to George Plimpton, 

administrator of the project, which was paid out in administrative 

expenses, including mailings to magazines announcing the program, 

lees to jurors (in four categories : fiction, poetry, criticism, and essay), 

costs of xeroxing literary works selected by preliminary readers for 

submission to the juries, etc. 

American Playwrights Theatre ............ $30, 000
 

The American Playwrights Theatre, which is sponsored by AbaTA, 

AETA, and Ohio State University, makes new plays by established 

playwrights ~v~ilable for production in educational, community, ~nd 

regional professional theatre--offering the playwright arr alternative 

l ~~ Broadway, freedom from commercial restrictions, and a direet line 

to a national audience. Through this progr~m any college, university, 

community, or resident nonprofit theatre m~y become eligible to produce p]ays offered in the APT program. In 1966 there were 150 subscribing theatres with ~0 States represented. A grant of $30,000 was 

made to support the production of two p]ays. 

Authors’ League Fund. $30, 000 

This matching grant to the Authors’ League Emergency Fund becarne operative on January 1, 1967. To date, the Fund has made ussistance grants to 18 authors. Most of these grants covered medical emergencies~ although in a few cases, grants were made to tide a writer over 

33 
a period of extreme financial hardship. In all cases, the Board was concerned not only with the need of the recipient but with the quMity of 

ñis past literary work, und the help that the assis~nce grant would 

tender in enabling hito to further or to resume bis literary activity. 

Individual Grants to 22 Creative Writers $205, 000 

The lis~ of writers to whom grants were given is included in the 

appendíx. Although several books have already been completed under 

this program (Faubion Bowers’ biography of Seriabine; Allan 

Séager’s authorized biography of Theodore Roethke; Maxine Kumin’s 

novel; Robert Peterson’s new book of poems; I. L. Salomon’s volume 

of translations of the Italian poet, Dino Gampana; Isaae Singer’s 

novel, The Manor---the latter having been widely reviewed and given 

the highest praise), ir is roe early for a complete report on these first 

series of individual grants. 

Of the poets given grants under this program, al1 but one (Hayden 

Carruth, for reasons of health) were presented in a joint reading at the 

Library of Congress, and introduced by the Librarian, Dr. L. Quincy 

Mumford. 

Note that three of the grants (those in biography and/or criticism) 

were made jointly with the Iqational Endowment for the Humanities. 

Inter-American Foundation for the Arts 

Center for Inter-American Relations__ $150, 000 

A matching grant was made to stimulate Inter-American artistic 

activities in the United States and to assist American artists to translate and adapt important Latin-American writings. The program was 

launched by the Inter-American Foundation for the Arts which was 

absorbed by the Center íor Inter-American Relations. 

National Institute of Public Al~airs 

Coordinating Council oi Literary Magazines__ $50, 000 

The initial grant for this project was made to the I~ational Institute 

of Public Affairs, administering this project for the newly established 

Coordinating Council of Literary Magazines until such time as they 

should receive their noriprofit, tax-exempt status. (Iqow granted.) 

The basic purpose in establishing CCLM was to support the activities of the principal literary magazines of the United States; and to 

extend support to small, struggling magazines through the medium 

of advice, awards, and scholarships; to conduct experiments in direct 

subsidization as well as bestowing funds for special projects and 

special issues of these magazines. Matehing funds were raised from the 

following foundations: The Old Dominion Foundation, $25,000; the 

Babcock Foundation, $5,000; and United States Steel, $5,000. The 
 

balance was matched in money and services from the Institute of Public Affairs; in addition, donors who h~d previously given money directly to m~gazines were persuuded to make donations directly to 

CCLM, in order to double the amount which ah individual m~gazine 

might receive. 

The first group of ~w~rds by the grantee to magazines was mude in 

June 1967 (the del~y being due to slowness in receiving matching 

funds). To date matching gr~nts of $3,000 h~ve been mude to Poetry 

Magazine, The ttudson Re~iew, The Kenyon Re~iew, Tri-Quarterly, 

and The Southern Review. Thre~ mutching grants, in the amount of 

$2,000, $1,500, ~nd $1~500, were made to the magazines Choiee, Coyote, 

and Burning Decir, with the proviso that ir these m~gazines were unable to raise m~tching funds, the grants from CCLiVi would be con- | 

verted to direct grants. In response to specific requests, direc~ gr~nts 

for special issues went to The Chelsea Review ($1,500) and December 

.!$1,500). Requests for general support (with specific pro~ects in mind) 

were granted to The Virginia (2uarterly ($1,000), The Outsider 

($1,000), Audit ($1,500), and The Worm/wood Re~iew ($415). 

Award ta Kenneth Patchen ................................ $10, 000
 

Mr. Patchen--whos6 career is outlined in deta]l in all the standard 

works of literary reference: Who’s Who, T~entieth Century Authors, 

~nd Contemporary Authors--is ~ brilliant, intuitive, l~rgely self-educated artist and poet, who has managed to publish better tha~ one 

book  ̄ year, despite agonizing il]nesses and ñna~cial reverses. Complic~tions from ah early spinal in~ury have kept lñm ~ semi-invalid. 

Despite bis wide ]iterury reputation, bis most recent award was the 

Shelly Memorial Award in 1954. I-Ie is completil~g bis work on the 

manuscript of bis Collected Poetas. The award is making ir possible 

for Mr. Patchen to r6move from bis present home (in l~lorthern California) to ~ c]imate which bis doctors consider more suitable for hito, 

and which they hope will somewhat ameliorat6 bis continuous p~in. 

This award was based on a striking number of recommendations 

from the field, from poets, novelists, editors, and publishers. Letters 

pleading for he]p for Mr. Patchen were received from the two major 

poetry organizations of the country, The Academy of American Poets 

and The Poetry Center of the YM-YWI-IA, and from the head of the 

Poetry Center of San Francisco State Co]lege, as we]l as from the 

previous head. The editor of Poetry Magazine (Chicago), our bestknown poetry publication, was active in urging support for Mr. 

Patchen. The award received a good deal of favorable publicity, 

particularly in news articles and from newspaper colmnnists in 

California. 

35 
Playwrights Experimental Theatre__. $125, (DO 

The Playwrights Experimental Theatre program was conceived 

to assist in the production of new plays of merit by both known and 

unknown playwrights which cannot be produced under the economic 

conditions facing the commercial theatre today. In order to help 

the playwright secure ~ public performance of high professional 

quality, up to $25,000 per play had been allocated for the production 

of new plays in resident professional, university, and off-Broadway 

theatres. In each cas% the grant was made to the producing organization with ~. certain specified anaount to the playwright as royalty 

and for his expenses dvring the production period. The funds were 

used to increase the effectiveness of the production by allowing for 

added rehearsal time and to meet special casting and directorial 

needs. 

A special advisory panel anda jury, both composed of distinguished 

the~tre profession~ls, were set up to assist the Endowment in determining the method of selecting scripts and the operating procedures 

íor thé program, and to read and recommend the plays to be presente& 

Five groups each received a $’25,000 grant. The groups selected and 

the plays produced are: 

Yale University ............. "Prometheus Bound" by Robert Lo~vell.
 Arena Stage. "The Great White tlope" by Ho~vard Sackler.
 Barrer Theatre .... "Five in the Afternoon" by Elizabeth Blake.
 

Brandeis University ........ "Does a Tiger Wear a Necktie ?" by Don Peterson.
 

University of Michigan ...... "Amazing Grace" by Studs íPerkel.
 

Radcliffe Institute ]or Independent Study $25, 000 

The number of applications which the Radcliffe Institute had received from ab]e, qu~.lified, and needy women writers, for fellowships 

to enuble them to continue their writing careers w~s such that R,~dc]iffe 

had been forced to cut its stipends to as little as $2,000, in order to be 

ab]e to accommodate more women writers in the program. The program~designed to assist women with domestic and f~mili~l responsibilities, giving them the benefit of time, research f~cilities, ]ibr~ry resources, ~nd studio space, in addition to he]ping them with their family 

problems---w~s ~ble, through the gr~nt from the Endowment~ to increase the stipends (to eíght women writers) to amounts more realistically geared to contemporary costs of living. 

Partly as ~ result of this ~ssist~nce to the R~dcliffe Institute--according to Dr. Mary Bunting, president of Radcliffe--from the 

tional Endowment, private grants from other sources were forthcoming, to support other aspects of the program (for women’s work in 

visual ~rts, science, music, historical research, etc.). Furthermore, the 

Merrill Trust of Ithaca, N.Y., in May, 1967, made ~ grant of $300,000 

36 
 

to the Radcliffe Institute, thus making ir possible for the Arts Endowment to discontinue its support of this program. This stimulation of
 

support from private foundations in the area of the arts is an important function of the Arts Endowment.
 

Westminster Neighborhood Association, lnc ......... $25, 000
 

This grant, to support Budd Sehulberg’s Watts Writers’ Workshop,
 

established in the wake of the Watts riots of 1965, was matched from
 

private sources, mostly from what Mr. Schulberg has ealled "a writersto-writers program." The grant enabled Mr. Schulberg and bis associates in Watts to set up Douglass I-Iouse in Watts, supervised by a col­

]ege trained housemaster, and supplied with a library, typewriters,
 

writing supplies, and--most important of all~lasses in writing and
 

writing advice provided by writers and teachers in the Los Angeles
 

atea. Douglass ttouse has also served asa home for a number of young
 

men--among them some of the mos~ talented of the writers to be encouraged ,by Mr. Schulberg--who literally had no place to call their
 

own until that time.
 

In August, 1966, NBC-TV presented a dramatie documentarv hour
 

called, "The An~oTy Voices of Watts," during which several m~mbers
 

of the Writers’ Workshop read from their works, anda story by I-Iarry
 

Dolan was dramatized, with the author narrating and acting. This pro-


gram--according to NBC---received more mail and press attention
 

than any other program since the last national election. 0ne of the
 

results of the program was that a contract was signed with the New
 

American Library to publish a volume of work from the Writers’
 

Workshop ent~tled, From the Ashes--Voíces of Watts. Many members
 

of the workshop aro actively working in the eommunity undertaking
 

various tasks of reconstruetion and creative activity in the Watts area.
 

Six poets have received a measure of national recognition and tire or
 

six other writers are completing novels.
 

MUSIC .._ 

Metropolitan Opera National Company .................... $150, 000 

A broad theme running through many of the music programs of the 

National Council on the Arts is audience development. This is particularly true in the field of opera. For the 1966-67 season a matching 

grant was made to the Me~ropolitan Opera hIational Company fora 

program of audience deve!opment which enabled the company to 

gire additional performances for labor groups and students in many 

States throughout the country. Through such a~ grant, thes6 groups 

had the opportunity to enjoy opera of the highest caliber~ often for 

the first time. 

37 
San Francisco Opera ..................................... $115, 000 

Another program in opera., also concerned with audience development~ but within a specific region, involved a grant to the San Francisco Opera Company for the formation of a small, flexible opera 

ensemble. The Western Opera The~tre, as the ensemble is called, has 

performed condensed and full-length versions of operas for schools and 

neighborhood and community organizations. In the spring of 1967, the 

company performed in the Watts area of Los Angeles. The company 

included southern Oregon, Nevada~ and Arizon~ in addition to California in its highly successful 1967 season. 

Metropolitan Opera National Company ..................... $63, 000
 

/In exploration of the possibility of developing a regional opera company in the southeas~ern par~ of the United States, with an eye to eventual formation of regional opera companies throughout the country, 

a second grant was made to the Metropolitan Opera National Company, to increase its number of performances in the Southeast, and 

thus develop an audience for opera on a local scale. 

Douglas Beaton .......................................... $35,
 

Ir~ addition, the Endowment commissioned Mr. Douglas Be~ton to 

make a study of existing opera facilities in the Southe~rst. His very 

compreheaasive repor~ w~s to be completed in September of 1967 and 

submitted to the Council for evuluation and recommendations. 

Denver Symphony ......................................... $2, 500
 

In anoth~r area of regional audience development, the Council recommended a matching grant of $2,500 to the Denver Symphony Orchestra, fora study of the possibility of converting their organization 

from a local to a regional (Rocky Mountuin-High Plains areu) per­

~orming group. 

The e~couragement of new and creative produ~tions has bee~~ another of the Council’s airas in establishing music programs. Two programs which reflect this in particular are:
 

Boston Symphony Orchestra ................................ $7, 500
 

A matching grant to the Bos~on Symphony Orchestra, to enable
 

them to record the Elliott Carter Piano Concerto~ which will be distributed ~o musie schools in the United States and abroad, as well
 

as to USIA and USIS centers; and :
 

Boston Opera Company ................................... $50, 000
 

~[n fiscal year 1966, ata critical time in the ~rtistie li~e of the Boston Opera Company, under the direction of Sarah Caldwell, the Council 

38 
recommended an emergency matching grant to assist the company in 

producing the difficult~ but ar~istically ex~remely impor~ant work, 

«Meses a,nd Aaron," by Arnold Schoenberg. This grant was made in 

fiscal 1966~ as noted, but not reflected in the Endowmenffs previous 

annual repor~. 

Com[~oser Assistance Program 

Continued from Fiscal Year 1966 ...... $18, 458 

Essential to the encour~gement of new productions is assistance to 

composers. In fiscal year 1967 the Council recommended grants totaling 

$18,458 under the Composer Assistance l~rogram. This program administered by the American Symphony Orchestra League and the 

American Music Center, was established in 1966 in recognition of the 

fact tha,t America,n composers ha.ve had a, pa,rticularly diiticult time 

in getting hea,rings for their work, and involves the commissioning of 

composers whose work has been a,ccepted for performance by 

orehestra,. This project is extended in its usefulness to the composer 

by a, provision for copying gra,nts. When the c~mposer ha,s a, bonafide 

orchestral performance guaranteed for ~ work a,lready completed, he 

may apply for such copying aid, which can be a very substa,ntial personal financial assistance, as extraction and copying of par~s is a 

costly operation. Ir is estimated that by the time the program is completed, up to 100 composers and orches~ras will ha,ve benefited from 

the program, which in turn~ will ave opened new listening oppor~unity to perhaps hall a million audience members. 

Thorne Mude Fund ...................................... $50, 000
 

A second program involves assistance of a more general nature to 

composers, through the Thorne Music Fund. The Fund, which has 

a, very distinguished advisory council, received a, matching grant for 

the expansion of its progra,m of fellowships íor deserving composers 

in any arca of muslo. 

Bennington (Vermont) Composers’ Con]erence ................ $13, 000
 

Ah impor~a,nt factor in ~ eomposer’s development is the opportunity 

to hear bis works performed. The Benning~on Composer2 Conference and Chamber Musie Center is ah organization which annually 

holds a national 2-week summer conference for young composers, to 

enable them to hear their own works~ and to have them heard by people 

influential in the music world. The Council recommended a matching 

grant to the organization, to assist with the expansion of the Conference’s scholarship program, especially to include young composers 

from distant parts of the United States. 
Carnegie Hall-]eunesses Muücales, lnc._ $31, 500 

In reeognition of the great need for training for young coneeI~ artists 

(those who have completed their formal training, yet laek experience 

on the eoneert stage), the Couneil recommended a grant for the development of a program in this atea. Under sueh a program, gifted young 

soloists would be reeommended by a panel of musieians to have the 

oppol~unity to tour the United States, appearing both es soloists and 

wifl~ orehes~ras or other musical asso¢iations. Assistance to 

young artists can be of critieal impor~ance in developing their careers. 

A grant was made to Carnegie Hall-Jeunesses Musicales~ for the purpose of making a feasibility study for such a program. 

New York City Opera ..................................... $40, 000
 

Another program designed specifically to assist young artists involves a m.atching gr~nt to the l~ew York City Opera, under the direction of Julius Rudel, for the purpose of expanding their program for 

training and on-the-~ob experience for young singers and aspiring 

conductors. 

Alexander L. Rínger ...................................... $12, 150 

In the aren of music educ~tion, perhaps one of the most important 

in the musie field, the Council has recommended programs of assistarce on many levels. One of its programs deals with musie education 

in elementary and secondnry schools. In en effort to improve musie 

educ~tion in our country~ a study grant has been awarded to Alexander 

Ringer, professor of musicology at the 17niversity of Illinois~ to explore the possible development of  ̄ program of music education in the 

United States which would prove es successful es the Kodaly system 

has been in Hungary. 

Alexander Schneider ...................................... $32, 400 

Last year, the Council, in recognition of the need for outstanding 

instrumentalists~ announced the formation of ~ master chamber orchestra, under the direction of Alexander Schneider. Ir was hoped that 

this program would offer instrumentalists the opportunity of expanded study of music es it is rehearsed and performed. Unfortunately, 

ir was learned that the program, es ir was set up, did not provide the 

most effective method of dealing with the problem. A different and 

more successful solution is presently being sought. 

Nat~onal Music Camp.--Interlochen, Mich. $25, 000 

In another area of music education, a matching grant was awarded 

to the National Muslo Camp in Interlochen~ Mich., to enable it to host 

a conference of the International Society for Music Educatíon. Ir 

40 
was the first meeting of the Society to be held in the Western Hemisphere. It was felt in making this grant that encouragement of this 

kLad of international communication in the arts was particularly 

appropriate to the purposes of the Arts Endowment. 

American Choral Foundation .... $50, 000 

In recognition of the fact that to date there has never been a professional workshop in which ehoral conductors could gala practical 

experienco by working with ehoruses and orchestras together, the 

Council recommended a matching grant to the American Choral 

Foundation, to enable it to hold ah 8-week Institute for Choral Conductors in the summer of 1968. 

The workshop, planned by the American Choral Founda~ion, would 

stress study and performance practice in particular historie periods 

of muslo literature. Emphasis will also be p]aced on the total musical 

approach to choral orchestra works, which is often lacking in choral 

conductors’ education. Miss Margaret Hillis~ a professionally employed 

choral director with a major symphony orchestra (Chicago) who 

ranks among the top chor.al conduetors of the Nation, will direct the 

workshop. She plans to organize the course into four 2-week periods: 

Renaissance, Baroque, Classical-Romanti% and Contemporary. Conductors may attend any or all of the 2-week sessions during the summer. 

Hoistra University. $4, 850 

In recognition of the extreme shortage of craftsmen trained in the 

careful and expert maintenance of strLaged instruments, particularly 

at the school levels, the Council recommended a matchLag gran~ to 

assist Hofstra University in sponsoring a workshop on the repair of 

~trLaged Lastruments during the summer of 1967. Instructors for the 

workshop, attended by 52 men and women, were luthiers Simone Fernando Sacconi, Erwin Her~el, and Dario D~Attili. 

Mellon lnstitute_ $3, 500 

In the same general area, a matching grant was made to the Mellon 

Institute, for assistance with a projee~ to complete experimental analysis of violLa varnish, be]ieved to have enrieh~d violLa quality and resonanco more than 400 years ago. The project could have considerable 

applioation to the improvement of violins in our own century. 

PUBLIC MEDIA 

Educational Broadcast~ng Corporation ..................... $625, 000 

A matching grant of $6~5,000 from the Endowment’s unrestricted 

[] giít íamd was made to the Educational BroadeastLag Corp. (WNDT, 

o 
hYew York) for the production o~ 19 programs in the "Sunday Showcase" series and the national distribution of these programs, free of 

cost, to all educational television stations. 

l~inety-four ETV stations have scheduled the series, the majority 

playing each program twice. On the whole, press reaction was favorabl% ir not dramatically enthusiastic. The series received five nominations for Emmy Awards arad won three in l~ovember 1967. 

Educational Television Stations 

Indiana University Foundation $68, 300 

A matehing grant of $68,300 ($34,300 from the Endowment’s unrestricted gift ftmd and $34,000 from general program money) was 

made to Educational Television Stations Program Service, a division 

of the National Association of Educational Broadcasters, for the initial 

phase of an arts program incentive project. All educational television 

stations were ~nvited to submit proposals for incentive grants to produce arts programs locally for national distribution, providing the oppor~unity for local ETV stations to use local cultural resources. The 

major emphasis in the final choice of programs for production was 

upon innovation in television production as ah art. Announcement of 

this project stimulated a spirited response and approximately 60 proposals were submi~ted by ETV stations across the Nation. The 

F~ndowment granted additional funds for fiscal year 1968 to enable 

ETS to complete the project. 

National Educational Television $75, 000 

A ma~ehing grant of $75,000 from the Endowment~s unrestrieted gift 

fund was made to l~ational Educational Television for partial suppor~ 

of two major dramatic productions in NET Playhouse: "An Enemy of 

the People" by Ibsen, adapted by Ar~hur Miller, and "Misalliance" by 

Shaw, both to be distributed nationally, free of cost, to all educational 

television stations throughout the country. 

WTTW--Chícago Educational Television Association ........ $20, 000
 

A matehing grant of $20,000 was made to WTTW, Chieago’s educational television station, to permit the distribution, free of cost, of 

20 programs of WTTW’s "Chicago Festival" arts series to all noncommercial educational television stations in the country by Educational Television Stations Program Service, a division of the l~ational 

Association of Educational Broadcasters. The series featured the 

pa~icipation of local artists and cultural institutions. 
THEATRE 

American Puppets Arts Council--Baird Puppet Theatre ........ $20, 000
 

Bil and Cora Baird are the outstanding Ameriean exponents of 

the a~ of puppetry, ah art which has been negleeted in the Uni~ed 

States. Their project involved the expansion and development of a 

group which has been in operation for more than 25 years, and whieh 

was iinally to have iás own performing center. The matching grant 

of $20,000 was given specifically for the production of new works. 

o:. Since that time the Baird Puppet Theatre has received enthusiastic 

critical approval both for its children’s and adult presentations. In a 

C~e magazine review of its production, «People Is the Thing That 

the World Is Fullest Of," the theatre was ealled, " an unusual~ 

hnag~ative theatre that provides . . . the best show in town." 

American Theatre of Being $24, 000 

In 196~ the American Theatre of Being was founded in Los Ange’les 

with a primary ’aim of he’lping to "... fill ~he void in Ameriean 

Theatre caused by the prominent absence of th6 Negro asa full and 

equal participant." An additional airo was to develop "... the Negro 

asa potential suppor~er of live dramas." 

_A_ $9,000 grant was given to the theatre by the School Board of Los 

Angeles to tour "For My People Now" to the less privileged high 

schools in the area. That grant was matched by the Endowment and 

an additional $15,000 was given to the theatre for general support for 

new produetions and the remounting of artistically successful older 

productions. 

American Nat~onal Theatre and Academy 

International Theatre Institute, U.S. Centre~Conference ...... $35, 000 

One hundred and sixty delegates from 44 countries ineluding Eastern Europe and the U.S.S.R. and several hundred Americans participared in the l~th Congress of the International Theatre Institute, an 

international theatre organization fourrded and sponsored by UNES­

_: CO and eurrently approaehing its 20th birthday. The biermi.al Congress was held in the United States for the first time and hosted by 

~TFs U.S. Centre, the American National Theatre and Academy. 

This international meeting affords the opportunity for theatre 

]eaders from ,all over the world ~o exchange ideas and to diseuss 

mutual problems and solutions. In demonstrating the American theatre 

in action to theatre people from abroad~ it also gave to the American 

theatre itself a sense of its own international value~ impor~ance~ and 

responsibility. All facets of the United States theatre participated both 

43 
 

in the planning and the realization of the Congress. A_ grant of 

$35~000 was awarded by the Endowment for this conference. 

American National Theatre and Academy .................... $30, 000
 

The National Endowment for the Ar~s madea matching grant 

of $30000 to A_NTA to augment its program of speeial services for new 

and established nonprofit theatres throughout the United States. The 

grant enabled ANT/~ to open regional offices at the University of 

Arizona in Tucson andat Florida Atlantie University in Boca Raton 

these offices will offer information~ employmen~ services and the advice 

of staff speeialis~s to theatre groups in the western and southern 

regions of the country. 

Minnesota Theatre Company (Tyrone Guthrie Theatre) ....... $45, 

The Minnesota Theatre Co. received a matching grant of $45,000 

toward its new production of the "Oresteia," (retitled "The ttouse of 

Atreus") to be directed by Tyrone Guthrie, in a new adaption by 

playwright-in-residence Jolm Lewin. Special funds were needed for 

this production because of its physical complexity and because its 

mands on the actors make ir impossible to perform more than biweekly. 

Ir opened to a brilliant press and public reception in July~ 1967. Dan 

Sullivan wrote in the New York Y’imes~ "The ensemble style so long 

sought by the Guthrie Theatre is becoming ah actuality, and this 

massive ’I-Iouse of Atreus’ is one of its finest accomplishments.» 

This production has added to the prestige of the Guthrie Theatre 

and ir confirms the already widely held opinion that the Guthrie is 

one of the outstanding theatre companies in the country. 

National Repertory Theatre ............................... $105, 000
 

The National Repertory Theatre is a professional company which
 

tours throughout the United States performing in large cities and
 

on university campuses. Its repertoire is comprised of the central
 

plays of the world’s dramatie literature.
 

The company has ah extensive educational program which offers
 

half-price tickets for any public performance to students and teachers
 

in groups of 10 of more; written material is provided for the teacher-


student groups~ and seminars ate held after performances to discuss
 

the plays. 

New York Shakespeare Festival ............................ $100, 000
 

The New York Shakespeare Festival, which provides free Shakespearean and other classical productions in Central Park and in mobile 

tours of the city, reaehing hundreds of thousands of residents and 

tourists, was given a grant of $100,000 for the continuation of its proli I[ II :l  ̄ 
gram. In a eity ñlled with all types of theatre, the festival offers outstanding professional theatre to all for no admission lee. 

In September 1967 the festíval expanded into a year-round operation in the newly restored Astor Library (a l~ew York landmark) 

where ir will produce new and experimental plays as well as classics. 

Resident Pro]essíonal Theatre Program___ $383, 500 

Grants were given to assist in the growth of the resident professional theatre in the United States~ enabling the theatres to develop 

artistically through the engaging of better and larger acting companies and guest directors to direct one or more productions during the 

course of a season. The funds were used both to increase salaries of 

certain actors the company could not otherwise keep and to attract 

additional actors. In each case the grant provided by the Endowment 

was a supplemental sum~ enabling the theatre to pay the difference 

between what it normally pays the actor and what it must pay to get 

and to keep a higher caliber of actor. In the case of the guest director~ 

the grant covered the full salary. The first two larger grants listed 

were for general artistic support as well as the specific purposes outlined above. Those theatres receiving gran~s were: 

Theatre of the Living Arts (Philadelphia). $100, 000 

Long Wharf Theatre (New Haven) 50, 000 

Pittsburgh Playhouse. 25, 00O 

Hartford Stage Co. 22, 500 

Center Stage (Baltimore) 22, 500 

Charles Playhouse (Boston) 22, 500 

Theatre Co. of Boston 22, 500 

(;leveland Play House__ 22, 500 

Front Street Theatre (Memphis) 22, 500 

Seattle Repertory Theatre_ 22, 500 

Olney Theatre (Olney, Mal.) .......... 22,500 

Actors Theatre of Louisville 11, 200 

Arizona Repertory Theatre .......... 11, 250 

Dallas Theatre Center ............ 6, 000 

Survey of Residua! Professional Theatres 

Sandra Schmidt $15, 000 

An individual grant of $15,000 was made to enable Sandra Schmidt 

to visit all of the resident professional theatres in the United States. 

The purpose of the grant was to make a careful evaluation of each 

theatre in terms of its artistic quality and organizational stability-­

as well as ah evaluation of each theatre’s potential for development 

and for receíving local financial support. A report on all of the resident professional theatres in the United States will be available for 

consultation by Council members and the Endowment staff when futute plans ate being developed. 

45 
Theatre Inc.~Association o] Producing Artists .............. $250, 

The Association of Produeing Ar~ists (&P&-Phoenix) was given 

a matching gran~ of $250,000 (from unrestñcted funds) in general 

support of its 1967-68 season. APA_. is one of the two or three leading 

theatre companies in the United States, with a reper~ory of major 

elassics and modern works. Besides having a 6-month season in l~ew 

York at the Lyceum Theatre, APA each year performs outside New 

York for approximately 23 weeks with a summer season in Los 

Angeles, a 10-week fall season at the University of Michigan, and 

appearances in Canada. 

In fiscal 1966 APA_ received .a matehing grant of $125,000 from 

the Endowment for development of its company; this grant was no~ 

reflected in the Endowment’s previous annual report. 

VARIETY OF ART FORMS 

Alaska Centennial Pro~essional Theatre ....................... $5~ 000
 

~ special one-time grant was given to the Alaska Centennial Commission to assist in increasing the quality of productions planned for 

the celebration. Ah additional $130~000 was available for the 10-week 

theatre projec~, but upon study~ the l~ational Council felt ah additional 

$5,000 woul4 favora,bly affeet the caliber of talent and technicians 

involved. Since this theatre project was ,the first professional season 

ever attempted in .the Sta~e, the l~ational Council wishecl to see ir 

launched with the highest possible quality assured. 

Ameri~an Theatre Laboratory ............................. $300~ 000
 In a project that one Council member described as the most iraaginatire, exciting, and innovative passed since formation of the Arts Endowment, a grant of $300,000 was made to Jerome Robbins for ah 

experimental pilot prograní to develop the l~a.tion’s ñrst theatre laboratory enabling artists from a variety of disciplines .to collaborate in 

the creation and production of new and original works encompassing 

several art forms. 

"The ul.timate airo of the workshop," said Mr. Robbins, ’qs to provide 

a place for performing and creative ar~ists ’to jo~n together, work on
 

ideas~ create new works, extend and develop the musical theatre into
 

an art capable of poetically expressing the events~ deep hopes, and
 

needs of our lives." Mr. Robbins has freed himself of all outside commi.tments, and is de~oting 2 years to this experimental project. 

A_l~er a full season’s work, Mr. Robbins reported to the Council that
 

he was excited and hopeful ~hat bis company’s work would con~ribute to the crea~ion of a new forro of lyric theatre in America. He said
 

in part:
 

46 
"We worked with the eompany 51~ days eaeh week, from ten to six. 

Eaeh day began with dance training, followed by a class of speech, diction~ or singing. The dance .training was taught by Anna Sokolow, and 

augmented by classes with Noboku Uenishi, James Mitchell, James 

Moore, and myself. The speech and diction were tanght by Marian 

Rich, augmented by Juli~ Migenes ~nd Joseph Raposo. The rest of the 

morning sessioa (until 2 p.m.) w~s used for experiments and exercises 

essentially involving moveznent. The afternoons (3 to 6 p.m.) were 

devoted to pursuing .the specific ideas and problems along lines of 

endeavor es outlíned in my original statement for the gran.t to the 

National Found~tion on the Ar~s. 

"During the season, through our work, we spaded up over 15 projects. The work also included studies and experiments on the Greek
 

dramatists~ Shakespeare, Noh Theatre~ Synge~ Brech~t~ and contemporary writers, always searching for the lyric, ritual, and poetie aspects
 

of theatre.We explored aeting techniques and did very ext6nsive and
 

intensive exp.erimen~s with voice~ masks, movement, props, music,
 

lights, and even s~ages. Three ideas on contemporary subjects sparked
 

plays that are in writlng progress;
 

ballet was composed on the entire company~ etc.
 

"But above all~ the group, staff and myself embarked upon and 

were exposed ~o an approach in theatre that differed radically with 

our contemporary theatrical scene. A true and thrilling company 

engagement was made in the purs~it and re-examination of our 

theatre, ourselves as performers and the duties and relationships of 

our audiences, material and art. Arder completing the first season 

(and I’ve never experienced a more demanding~ exhausting and exciting time) we found that our work had produced such concref~ 

results to provide enough material to continue for a number of years. 

Indeed ir was so fruitful that ir is my wish to devore another season 

to the American Theatre Laboratory .... 

Study 0~ Private Foundation Glving to The Arts 

]. Richard Taft .......................................... $13, 300 

The study involved the development of detailed data concerning the 

gran~s made by private foundations for arts activities. Twenty-three 

thousand foundations were examined in order to determine that 1,028 

foundations granted $500 of more to cultural projects. The Endowment 

will have information on each of these foundations~ the amounts of 

gifts, and the art forro which was supported. 

The second phase of the study involves ah exploration of means to 

increase communication between private foundations and the Federal 

Government, and recommendations for beginning programs of 

cooperation. 

47 
Rurat and ~qmall Community Arts Program ...................
 

$58, 000 In fiscal 1966, the Council recommended favorably on a proposal of 

the University of Wisconsin’s Wisconsin Idea Theatre for ah experimental project in tire communities with populations ranging from 

1,500 to 10,000 persons. This pilot project is exploring methods of 

increasing public receptivity to cultural programs and offering new 

opportunities to these isolated and negiected communities. Case studies 

and detailed evaluations will be written on the various developments. 

This grant was made in fiscal 1966, as noted; the project was detailed, 

but the fiuancing not reflected in the Endowment’s previous annual 

report. 

VISUAL ARTS 

Archie Bray Foundation .................................... $5, 000
 A matching grant of $5,000 was made to the Archie Bray Foundation in Helena, Mont., one of the leading professional ceramic centers

in the United States, for support of a summer program for creative 

development in the field of ceramics. 

Artists’ Technícal Research Institute ........................ A matching grant of $15,000 was made to the Artists’ Technical $15, 000


Research Institu~e, a nonprofit organization located in New York City, 

for scientific laboratory research in the materials and methods of 

creative painfing and sculpture, in order to supply the practicing artist 

with a rational and scientifically reliable knowledge of the materials 

which he uses and their proper methods of use. The findings and evaluations of the Institute’s study will be published and disseminated to 

artists, schools and museums. 

Artists Awards .......................................... A program of assistance to individual visual artists has been initi­ $300, 000


ated by the National Council. $300,000 was allocated for awards of
 

$5,000 each to be given to 60 painters and sculptors throughout the
 

country to be reconamended by panels of experts set up on a regional
 

basis. The lis~ of artists to whom awards were made is included in the
 

appendix.
 

Tatyana Grosman, Universal Limited Art Ed~tions ............
 

A grant of $15,000 was awarded Mrs. Tatyana Grosman, director of $15, 000

Universal Limited Art Edi~ions, ah internationally known graphie
 

workshop at West Islip, Long Island, N.y. This grant enabled Mrs.
 

Grosman to continue the experimental work being done at the workshop in the field of etching in conjunction with recognized American
 

artists.
 

48 
The ]. M. Kaplan Fund, Inc.--Artists’ Housing ............... $100, 000 

The l~a~ional Council on the Arts initiated a prog~am to provide 

.studio-living quarters at reasonable rates for artists. A $100,000 matchmg grant was approved to The J. M. Kaplan Fund, Inc., New York 

City, to develop the program, designed to provide artisás with quarters 

having adequate lighting, acoustics and space, and long-term leases 

which are frequently dflñcult to secure, enabling them to work and 

live in both practical and comfortable surroundings. The Kaplan Fund 

was chosen because of its pioneer work in this field. The Council 

believes that adequate and reasonably priced studio-living quarters are 

among the most urgent needs for artists, especially in the fields of 

painting and sculpture. 

Philadelphia City Planning Commission ..................... $30, 000
 _A_ matching grant of $30,000 was made to the Philadelphia City 

Planning Commission for the purpose of acquiring up to three pieces 

of sculpture to be chosen by a panel mutuálly acceptable to the Commission and the National Council for the central Philadelphia arca 

~o enhance urban design. 

Sculpture Pro]ect ......................
 ................... $90, 000
 In order to honor achievements in the visual arts and in line with 

the President’s announced program of beautification of the United 

States~ the l~ational Council appro~red a program of acquisition of 

contemporary American sculpture for placement in public arcas in 

cities throughout the country at its May 1966 meeting. Matching 

grants of $45,000 each have been approved for Grand Rapids, Mich., 

and I-Iouston, Tex. The artists to be commissioned for these works
 

are recommended by panels of experts mutually agreeable to the participating cities and the l~ational Council.
 

Study on Circulating Visual Arts to Broader Audiences
 

MacFadyen and Knowles .................................. $30, 995
 

A maximum of $30,995 has been designated to MaeFadyen and 

Knowles, architects, in New York City to conducta Study on Circulating Visual Arts to Broader Audiences. The basic question involved 

is how to bring museum resources to larger audiences. The main objectire of the study is to help develop ah integrated program, with the 

assistance of parallel studies and sur~reys being conducted by varíous 

Federal agencies and other institutions, to make more effective use of 

the Nation’s museum resources. 

Museum Program 

The Museum Program for fiscal 1967 concentrated on three projects which invol~ed a widening audience approach to museum problems. 

49 
This approach appeared to be the best first s~ep in de~ling with the 

multiple and comp]ex difficulties ~acing the majority of American 

art museums. By trying to attract a wider audience~ the museum 

incre~ses and initiates various services for the benefit o~ the community while making the communi~y more aw~re of the materials~ ~~cflities and services available through the museum. 

Ir was decided that as pilot pro~ects~ three museums in widely separated geographic loc~tions should be considered. Also some consideration should be given to the size of the museums. From the various 

applican~s~ three museums were selected: The De~roit Institu~e of 

Arts, the Amon Carter Museum of Western A_rt (For~ Worth, Tex.), 

and the Institute of Contemporary Art (Boston, Mass.). 

The Detroit Ins$itute o? Arts. $90, 000

The Detroit Institute of Arts received a grant fora cooperative program involving community leaders and officers of 

various business, philanthropic, religious, educational and 

social organizations. These leaders were offered seminars involving education in aesthetics as well as exposure to the 

facilities of the Institute, and, in turn, became the liaison 

agents between the organizations they represent and the museum, thus creating a wider interest and a broadened audience for the museum and its services. 

A~non Carter Museum of WesSer~ Art_ $30, 00(} 

The Amon Carter Niuseum received a grant for the establishment of the North Texas Museum Resources Council, to 

work primarily with elementary and secondary school teachers in 10 counties of northern Texas, exposing teachers to 

the facilities of the 14 museum-type institutions in the stated 

area and indicating how to incorporate these resources in 

their daily teaching curricula. The overall purpose of the 

program was to stimulate student interest in and exposure 

to the arts, and to teach the students how best to use the 

museums and their facilities for maximum benefits. 

Institute o~ Contemporary Art. $30, 000 

The Institute of Contemporary Art received a grant for a 

program to educate and involve the .public in the art of today. The program included special exhibitions both in and 

out of the museum, lectures, films, and slides on the background of contemporary art, and the creation of special information materials concerning artists, collections, and collectors in the Greater Boston area. 

~0
 
FINANCIAL REPORT FOR FISCAL YEAR ~967
 

Appropriated (5c) 

Appropriated (Sh) ................................... 

Appropriated (10a2) 

Unrestrieted gií~s ......... 

$4, 000, 000 

2, 000, 000 

1~ 965, 692 

1, 983, 075 

[

~ 

9, 948, 767 

[ 

Funds Obligated 

In architecture ....................................... 

In costume design 

In dance ............................................ 

In education ......................................... 

In ~olk art .......................................... 

~n literature ......................................... 

 ̄ u music ............................................ 

In publio media .............. 

In theatre ........................................... 

In a variety of art forros .............................. 

In visual arts ........................................ 

To the State program ......... 

$ 281, 100 

12, 500 

177, 325 

892, 780 

39~ 500 

737, 010 

653, 858 

788, 300 

1~ 007~ 500 

318, 300 

735, 995 

1~ 987~ 853 

7, 632, 021 

| 

i 

APPENDIX
 

GRANTS AI~D CONTRACTS AWARDED, B¥ ART FORM,
 

IN FISCAL YEAR 1967
 

Architecture $281, 100 

America the Beautiful Fund--Design Internships .... 

Ronald Beckman--Highway Signs and Graphies ..... 

Carl Feiss--American Guide Series ................. 

Festival Foundation, Inc.--Buckminster Fuller, Fesrival of Two Worlds in Spoleto, Italy ............. 

Hawaii State Foundation on Culture and the Ar~ 

Oahu Development Conference ................... 

G. E. Kidder Smith--Exhibition and Book on American Architecture .............................. 

Ralph Knowles--Desiga Manual ...................
 

Lake Michigan Region Planning Council ............
 

Robert R. l~athan Associates, Inc.--National Design
 

Institute Study .................................
 

Tocks Island Regional Advisory Council ............
 

Undergraduate Student Travel (74 st $500 each*) ....
 

Costume Desígn 

National Educational Television--Design Films .... 

Dance 

Association of American Dance Companies ........... 

Ralph Black--Supplemental to Complete Dance 

Survey 

Connecticut College--American Dance Festival ...... 

Foundation for Americ~.n Dance--City Center Joffrey 

Ballet ........................................
 l~ortheast Regional Ballet Festival Association ...... 

Antony Tudor--Choreogmpher Gmnt .............. 

Washington State Arts Commission--Summer Residency for Joffrey Ballet in Pacifie Iqorthwes~ ...... 

*See lists of tndlvi~~ual grantees on following pages. 

30, 000 

10, 000 

25, 000 

12, 500 

12, 600 

25, 000 

25, 000 

10, 000 

84, 000 

10, 000 

37, 000 

$12, 500 

12, 500 

$177, 325 

25,000 

600 

15, 000 

I00, 000 

1,725 

10, 000 

25,000 

65 
Education $892, 780 

American Educational Theatre Association--William 

II. Cleveland Survey of Theatre in Seconda.ry 

Educa~ion ..................................... 7, 000
 Association for IIigher Education--Program to 

Strengthen Arts Curricula ....................... 33, 000 Fordham Uni~rersity Film Project ..................
 71,780 Graduation Awards (5 at $1,000 each) ..............
 5, 000 IIull IIouse Association--Theatre Pro~ects ..........
 30, 000 Laboratory Theatre Project for Education ..........
 681, 000 

*Repertory Theatre, New Orleans .............
 - 251, 000 *Repertory íPheatre, Rhode Island ...............
 265, 000 Inner City Cultural Center (Los Angeles) ........
 165, 000 (*Two-Year Program) 

E]ma Lewis--School of Fine Ar~s .................. 

Melville M. Nimmer--Study of Legal Rights of 3, 500

Artists 

~5, 000 hYorth Carolina School of the Arts--Scholarships .... 4, 500 St. James Community IIouse School of the Arts ...... 24, 500 Teaehing Artists--one grant .......................
 7, 500 

Folk Art 

$39, 500 

National Folk Festival AssocJation ................. 39, 500 

Literature $737, OlO 

Academy of American Poets ....................... 

American Literary Anthology ..................... 

Americ~n Playwrights Theatre .................... 

Authors’ League Fund ............................. 

Individual Grants to Creative Writers (22) * 

:[nter-American Foundation for the Arts/Center 

33, 000 

5¢, 010 

30, 000 

30, 000 

205, 000 

Inter-American Relations ........................ 

National Institute of Public Affairs--Coordinating 150, 000 

Council of Literary Magazines ................... 

Kenneth Patchen Award .......................... 

Playwrights Experimental Theutre ................. 

Radcliffe Institute for Independent Study ........... 

Westminster Neighborhood Associatio% Iac.~Watts 

50, 000 

10, 000 

125, 000 

25, 000 

_ Writers~ Workshop, Douglass House .............. 25, 000 

*See lists of individual grantees ou following pages. 

~6 
 

Musiv 

American Choral Foundation--Workshop, 

Bennington Composers Conference ................. 

Boston Symphony--Elliott Carter Concerto ......... 

Carnegie Hall--Jeunesses Musicales ................
 

Composer Assistance Program .....................
 

])enver Symphony ...............................
 

I-lofstra University--Workshop ...................
 

MeIlon Institute--Violin Varnish ..................
 

Metropolitan Opera National Company Tour ........ 

!~ational Muslo Camp, Interlochen--International 

Conference 

~ew York City Opera ............................. 

Regional Opera I)rogram ......................... 

]:)ouglas ]~eaton Study ............................
 

$653, 858 

50, 000
 

13, 000
 

7, 500
 

31, 500
 

18,458
 

2, 500
 

4, 850
 

3, 500
 

150, 000 

25, 000 

40, 000 [ 

98,000 

35, 000
 Metropolitan Opera .............................. 63, 000
 

A]exander Ringer--Music Education Project-- Kodaly 12, 150 San Francisco Operu--Western Opera Theatre .......
 115, 000 Alexander Schneider--Feasibility Study, hYational 

Chamber Music Institute ........................ 32, 400 Thorne Music F~md ..............................
 50, 000 

Public Media $788, 300 

Edueational Broadeasting Corporation (írom unrestricted gift fund) .............................
 625, 000
 Edueational Television Stations/Indiana University
 

($34,300 from unrestricted gift fund, $34,000 from
 

program money) ............................... 68, 300
 

National Educational Television (from unrestricted i 

~ gift fund) ........
 75,000 WTTW/Chicago Educational Television Association_ 20, 000 ~ 

Theatre $1, 007, 500 

American Puppet Arts Council--Baird Puppet 

Theatre ........................................ 20, 000 American Theatre of Befilg ........................
 24, 000 
58 

Ameriean National Theatre and Aeademy--Interna_ 

tional The~tre Institute Congress ................. 

American Nation~l The~tre and Academy Regional 35, 000 

Offices_, 

Minnesota 30, 000 Theatre Company--Tyrone Guthrie Theatre. 

National Reper~ory Theatre .......................
 45, 000

New York Shakespeare Festival._ .................. 105, 000 

Resident Professional Theatre Program (14 grants) __ 100, 000 

Sandr~ Schmidt--Survey of Resident Professionul 383, 500 

Theatres 

Theatre, Inc.--Associ~tion of Producing Artists-- 15,000 

APA-Phoenix (from unrestricted gift flmd) ...... 

250, 000 

Variety of Art Forros 

$318, 300 

Alaska Centenni.al Commission ....................
 

Jerome Robbins--Ameñcan Theatre Laboratory .... 5, 000
 

J. Richard Taft--Study of Private Foundation Sup- 300, 000 

porO, for the Arás ................................ 13, 300
 

Visual Arts 

$735, 995 

Arehie Bray Foundation--Summer Workshop for 

Ceramicists ..................................... 

Artists’ Technical Research Institute ................ 5, 000 

Awards to Artists 60 at 5.000 each * 15,000 ( $ ’ Tatyana Grosman--Univers~.l Limited Art Editions__ ) ..............
 ~00, 000 

The J. M. Kaplan Fund, Inc.~Artists’ Housing 15, 000 

Program .......................................

~~~~~%o~ ~~~ ~o~~o~-s~~~o~ o~ ~o~~~~~~ ~oo, ooo r~ ~6sources .................................
 

Museums Project ....... 30, 995
 

Boston Institute of Contemporary Art .............
 

Amon Carter Museum of Western Art ..............
 30, 000 150, 000 

Detroit Institute of Arts .......................... 30, 060

90, 000 

Philadelphi~ City Planning Commission~Sculpture__ 

Sculpture Project ................................. 30,000 

90, 000 Orand Rapids ...................................
 - 45, 000 

........................................ 45, 000 

Houston 

 ̄ $ee lists of individual grantees on followIng pages. 
INDIVIDUAL GRANTEES
 

INDMDUAL GEANTEES
 

Awards to Painters and Sculptors: Sixty awards of $5,000 each to 

painters and sculptors in recogni~ion of outstanding work and to 

encourage continued efforts in the field of visual arts ($300,000). 

Lennart Anderson 

Brooklyn, N.Y. 

Robert Beauchamp 

Provincetown, Mass. 

Billy Al Bengston 

Yenice, Calif. 

George Cohen 

Evans~on, I1L
 

Rollin Crampton
 

Woodstock, N.Y.
 

Gene Davis, 

Washington, D.C. 

William Geis 

Stinson Beach, Calif. 

Sam Gilliam 

Washíngton, D.C. 

Robert Goodnough
 

New York, N.Y.
 

Stephen Greene
 

Yalley Cottage, N.Y.
 

Julins Hatofski
 

San Francisco, Calif.
 

Robert Huot
 

New York, N.Y.
 

Will Insley
 

Oberlin, Ohio
 

Bill Ivey
 

Seattle, Wash.
 

A1 Leslie
 

New York, N.Y.
 

Agnes Martín
 

New York, N.Y.
 

John McLaughlin
 

Los Angeles, Calif.
 

IN PAINTING
 

George McNeil 

Brooklyn, N.Y.
 

Neil Meitzler 

Seattle, Wasla 

Clark Murray
 

Los Angeles, Calif.
 

Ray Parker
 

New York,
 

Charles Pollock
 

East Lansing, Mich.
 

Richard Pousette-Dart
 

Suffern,
 

Ralph Rosenborg
 

New York,
 

Edward J. Ruscha 

Los Angeles, Calif. 

Ludwig Sander 

New York, N.Y. 

Leon Polk Smith 

New York, N.Y.
 

Theodoros Stamos
 

New York, N.Y.
 

Myron Stout 

Provincetown, Mass.
 

Tony Vevers
 

Lafayette, Ind.
 

Bruce West
 

Mount Angel, Oreg.
 

Phil Wilbern 

Detroit, Mích. 

Neil Williams 

New York, N.Y. 

Jack Youngerman
 

New York, N.Y.
 

61 
 

0harles Biederman 

Redwing, Minn. 

Jean Follett
 

St. Paul, Minn.
 

Wallace Berman 

Topanga, Calif. 

David Black 

Columbus, L Oki0
 

Ronald Bladen
 

New York, N.Y.
 

Nassos Daphnis
 

New York, N.Y.
 

Mark Di Suvero
 

New York, N.Y.
 

Dale Eldred
 

Kansas City, Mo.
 

Dan Flavin
 

Cold Spr£ug, N.Y.
 

Joe Goto
 

Providence, R.I.
 

Donald Judd
 

New York, N.Y.
 

Gary Kuehn
 

Somerville, N.J.
 

Alvin Light
 

IN PA_INTING A_NI) SCULPTURE
 

Robert Mangold 

New York, N.Y. 

Richard Randell 

Sacramento, Calif. 

IN SCULPTURE 

Edwin Mieczkowski 

Cleveland, 0hio 

Gary Monitor 

San Francisco, Calif. 

Robert Morris 

New York, N.Y. 

Manuel Neñ 

Benicia, Calif. 

Kenneth Price 

Los Angeles, Calif. 

Tony Smith 

South Orange, N.J. 

Richard Stankiewicz 

Hunting~on, Mass. 

George Sugarman 

New York, N.Y. 

Steven Urry 

Chicago, Ill. 

David Weinrib 

New York, 

H.C. Westermann 

San Francisco, Calif. Brookíield Center, Conn. 

Individual Grants to Writers: Grants-in-aid of up to $10,000 each 

to 22 biographers, journalis~s, novelists, and poets to complete 

works in progress or conduct research ~ssen~ial ~o ,their continuing 

work ($205,000). 

JOINT GRANTS TO BIOGRAPHERS 

(~itk Nationa~ Endowment ~or th~ Humanities) 

Faubio~ Bowers ............. To complete a biography of Scriabine.
 $5,000
 

Sister M. Bernetta Quinn___ To complete Symbo~iz Langseape in Mo~lern
 

$5,000 Poetry (Pound, Yeats, Stevens, Williams, and
 

Roethke).
 Alla~ ~eager ................ To complete the authorized biography of Theo­

$5,000 dore Roethke.
 

62 
TRAVEL GRANTS 

Jeremy I~arner ..............
 

$10,000 (novelist) 

Harr~l H. Pearson, Jr ........
 

$10,000 (journalis~) 

Mona Van Du~Jn ..............
 

$10,000 (poet) 

To travel to the west coast, and do research on a 

projected novel about life in Hollywood. 

To travel the Buffalo River in Arkansas, to write 

about the river, and the Ozark hill people. 

To travel in the South and the Southwest, particularly New Orleans and New Mexico. 

WORK-IN-PROGRESS (POETRY) 

Hayge~ ~arruth .............
 

$1o,ooo 

Robert Dunean ...............
 

$10,000 

Maxine Kumin ..............
 

$10,000 

l~obert Peterson .............
 

$10,0O0 

L 75. Salomon .......
 

$10,0O0 

To complete a long poeta. 

To complete a new book of poetry. 

To complete a new book of poetry anda novel. 

To complete a new book of poems anda sonnet 

sequence. 

To complete the translations from the Italian of 

the works of Dino Campana, Cardarelli, and 

others. 

WORK-IN-PROGRE~SS (THE NOVEL) 

Wi~liam ¿~addis ...............
 

$10,0O0 

I~)an Gong .........
 

$10,000 

Caroline ¿~ordon ..............
 

$10,0O0 

Wa~lace Markfield. 

$10,0O0. 

T~llie I~. O~sen ...... 

$10,000 G~race Pale~ 

$10,000 

May Sarton ..................
 

$10,0O0 

Miehae~ Seide ................
 

$10,0O0 

Isaao Singer. 

$10,000 

Richard Yates ..... 

$10,0O0 

Isabel Bolton__ 

$10,000 

To complete a novel. 

To complete ah autobiographical novel. 

To complete A ~arrow Heart, ah autobiographical novel. 

To complete a picaresque novel about contemporary American life and culture. 

To complete a novel, as yet untitled. 

To complete a novel. 

To complete a series of linked novels which 

will examine the ethos of a New England 

village. 

To complete a 1,000-page novel called, The 

mo~ Wil~erness. 

To complete a novel, entitled, The Manor. 

To complete a novel about World War II, as yet 

untitled. 

To complete a novel entitled, A Procession 

~hosts. 

63 
Undergraduate Student Travel: Seventy-four grgn~s-in-aid of $500 

eaeh for undergraduate students recommended by schools of ~rehitecture~ planning und landscape arehitecture~ for researeh and travel 

during the summer of 1967, before their final ye~r of study ($37~000). 

Harold B. Anderson
 

Tucson, Ariz.
 

Katherine Asbury
 

l~Iorgantown, Ind.
 

Alan T. Baldwin
 

Blacksburg, Va.
 

ffames Barnes
 

Old Saybrook, Conn.
 

Richard $ames Barrette
 

Gainesville, Fla.
 

Philip D. Belanger
 

Wood River, Ill.
 

Mitchell A. Brown
 

Lawrence, Kans.
 

Theodore Wayne Brown
 

Longmont, Colo.
 

ffoshua A. Burns
 

St. Louis, Mo.
 

Ronald R. Copeland
 

College Station, Tex.
 

James A. Di Lnigi
 

Washington, D.C.
 

Michael Dolinski
 

San Gabriel, Calif.
 

William Duke Faught
 

Searcy, Ark.
 

Eugene H. Fisher, Jr.
 

New Orieans, La.
 

Richard ti. Fitshugh
 

Yonkers, N.Y.
 

Jimmy E. Furr
 

Baton Rouge, La.
 

Frank Genzer, Jr.
 

South Houston, Tex.
 

Joseph Kenneth Greenberg
 

South Orange, N.J.
 

Carl J. Greene, Jr.
 

Houston, Tex.
 

IN ARCHITECTURE 

University of Arizona 

Tucson, Ariz. 

University of Kentucky 

Lexington, Ky. 

Virginia Polytechnic Institute 

Blacksburg, Va. 

Rhode Island School of Design 

Providence, R.I. 

University of Florida 

Gainesville, Fla. 

Dice University 

IIouston, Tex. 

University of Kansas 

Lawrence, Kans. 

University of Colorado 

Boulder, Colo. 

Washington University 

St. Louis, Mo. 

Texas A&M University 

College Station, Tex. 

Catholic University of America 

Washington, 

Cooper Union 

New York, N.Y. 

University of Arkansas 

Fayetteville, Ark. 

Tulane University 

New Orleans, La. 

Howard University 

Washington, D.C. 

Louisiana State University 

Baton Rouge, I~a. 

University of Texas 

Austin, Tex. 

Columbia University 

New York, N.Y. 

University of Hous~on 

Iiouston, Tex. 
Frederick Jules 

Provincetown, Mass. 

Kenneth S. Karpel 

Bronx, N.Y. 

Thomas k. Kirk 

Memphis, Tenn. 

Dennis Korchak 

Hammond, Ind. 

James P. Leese 

Tempe, Ariz. 

Philip G. Lehn 

Seattle, Wash. 

Arthur J. Lidsky 

Flushing, N.Y. 

Daniel MacGilvray 

Urbana, Ill. 

Michael A. Marshburn 

Ox.ford, Ohio 

Wendy McGarry 

Manti, Utah 

Lloyd A. Meyer 

York, Nebr. 

Robert Dean ~fyrick 

Butte, ~Iont. 

Jon R. Oace 

North St~ Paul, Minn. 

Peter C. Papademetriou
 

New Yernon, N.J.
 

Edward Popko
 

Cambridge, Mass.
 

James H. Praprotnik
 

St. Louis, Mo.
 

Howard E. Rivers, Jr.
 

Monroe, La.
 

Gary Rogowski
 

North Hollywood, Calif.
 

Glen Alan Schultz
 

Kent, Ohio
 

Larry D. Self
 

Lubbock, Tex.
 

Ralph L. Steinhauser
 

Louisville, Ky.
 

James E. Swan
 

New York, N.Y.
 

Paul Angelo Vogt
 

Columbus, Ga.
 

Cal~aegie Institute of Technology 

Pittsburgh, Pa. 

Rensselaer Polytechnic Institute 

Troy, N.Y. 

Georgia Institute of Technology 

Atlanta, Ga. 

Illinois Institute of Technology 

Chicago, Ill. 

Arizona State University 

Tempe, Ariz. 

University of Washington 

Seattle, Wash. 

Clemson University 

Clemson, S.C. 

University of Illinois 

Urbana, Ill. 

Miami University 

Oxford, 0hio 

University of Utah 

Salt Lake City, Utah 

University of Nebraska 

Lincoln, Nebr. 

Montana State University 

Bozeman, Mont. 

University of Minnesota 

Minneapolis, Minn. 

Yale University 

New Haven, Conn. 

University of Detroit 

Detroit, Mich. 

0klahoma State University 

0klahoma City, Okla. 

University of 0 -klahoma 

Norman, 0kla. 

California State Polytechnic Colleg~, 

San Luis Obispo, Calif. 

Kent State University 

Kent, Ohio 

írexas Technological College 

Lubbock, Tex. 

University of Notre Dame 

Notre Dame, Ind. 

Princeton University 

Princeton, 

Auburn University 

Auburn, Ala. 

65 
IN LANDSCAPE ARCHITECTURE 

Ronnie E. Benoit 

Easton, Pa.
 

Gregory A. Boyer
 

Farmington, Mich.
 

Everett D. Chistu 

Athens, Ga.
 

Donald Lynn Collins
 

Raleigh, N.C.
 

Terrence J. DeWan
 

Westfield, N.J.
 

Mare O. Frazer
 

Aurora, Ilh
 

Geoffrey T. Freeman
 

Dover, Mass.
 

Robert S. Nettleskip, Jr. 

Columbus, 0hio 

Allen Pudil
 

Swisher, Iowa
 

William F. Rock, Jr. 

Philadelphia, Pa.
 

Walter E. Rogers
 

Amherst, ~Iass.
 

Nancy Eades Stutsman 

St. Louis, Mo.
 

Lawrence Wright
 

Edmonds, Wash.
 

David E. Bess
 

Berk~ley, Oalif.
 

Raymond J. Burby 

Carrboro, N.0.
 

Gaylerd I. Burke
 

Ludlow, Mass.
 

John J. Donohue, Jr.
 

Jersey City, N.J.
 

William R. Futhey
 

Wheeling, W. Va.
 

Willard R. Grace, III
 

Great River, N.Y.
 

James Thomas Haddox 

Kngxville, Tenn. 

Pennsylvania State University 

University Park, Pa. 

Michigan State University 

East Lansing, !VIich. 

University of Georgia 

Athens, Ga. 

North Carolina Store University 

at Raleigh 

Raleigh, N.C. 

State Uníversity of New York 

College of Forestry at Syracuse 

University 

Syracuse, N.Y. 

University of Illinois 

Urbana, Ill. 

Harvard University 

Cambridge, Mass. 

Ohio State University 

Columbus, 0hio 

Iowa State Univers~ty 

Ames, Iowa 

University of Pennsylvania 

Philadelphia, Pa. 

University of Massachusetts 

Amherst, Mass. 

University of Miclñgan 

Ann Arbor, Mich. 

University of Oregon 

Eugene, Ore. 

IN PLANNING 

University of California 

Berkeley, Calif. 

Universi~ty of North Carolina 

Chapel Hill, N.C. 

University of Rhode Island 

Kingeton, R.I. 

Syracuse University 

Syracuse, N.Y. 

University of Pittsburgh 

Pittsburgh, Pa. 

University of ¥irginia 

Charlottesville, Va. 

Universi~y of Tennessee 

Knoxville, Tenn. 

66 
S. Kenneth Johnson, III 

Y~os Angeles, Calif. 

Hope Marindin 

Washington, D.C. 

Janet O’Hare 

Long Island City, N.Y. 

Roger Pool 

Cambridge, ~iass. 

Charles Reiss 

Brooklyn, N.Y. 

Lowell Dean Richards 

De Smet, S. Dak. 

Michael R. O. Rosen 

l~Iadison, Wis. 

Louis F. Schneider 

Tallahassee, Fla. 

James G. Stockard, Jr. 

Cambridge, Mass. 

Douglas E. Warns 

Cíncinnati, Ohio 

Constance Werner 

Annapolis, iKd. 

Ronald G. Wortman 

Detroit, ~Iich. 

Universi~y of Southern California 

~

Los Angeles, Calif.
 

George Washington University
 

Washington, D.C.
 

Pratt Institute
 

Brooklyn, N.Y.
 

Massachusetts Institute of Technology
 

Cambridge, Mass.
 

New York University
 

New York, N.Y.
 

Kansas State University
 

Manhattan, Kans.
 

University of Wisconsin
 

~Iadison, Wis.
 

Florida State University
 

Tallahassee, Fla.
 

Harvard University
 

Cambridge, Mass.
 

University of Cincinnati
 

Cincinnati, Ohio
 

Cornell University
 

Ithaca, N.Y.
 

Wayne State University
 

Detroit, l~Iich.