WPA (Works Progress Administration)

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The JSMA is the steward of over 300 WPA-era works created between 1933 and 1941 as part of the Federal Art Project. This work-relief initiative that employed thousands of artists across 48 states was the most extensive and the most widely known program under the United States’ government’s Works Program Administration. Paintings, prints, sculpture, and photographs by over 170 U.S.-based artists, including Berenice Abbott, Fay Chong, Grace Rivet Clements, Gordon Gilkey, Violet Nakashima, C.S. Price, Clara Skinner, Rufino Tamayo, and Minor White, are on long-term loan to the museum from the federal government to be presented for exhibition and study.

Selected Artworks

A black-and-white lithograph depicting a flock of sheep moving along a dirt path, framed by tall, windswept trees. The sheep in the foreground appear detailed and voluminous, while those in the background fade into a hazy, light-filled scene. A shepherd, dressed in a hat and long coat, stands in the distance, guiding the herd. The artwork uses expressive shading and gestural lines, giving the composition a sense of motion and atmosphere.
Violet Nakashima
Sheep, ca. 1935
Lithograph, 9-1/4 x 13-1/2 inches
Allocated by the U.S. Government Commissioned through the New Deal art projects; WPA56:1.146
A watercolor painting depicting two women in long, flowing dresses standing near the entrance of a building with textured, earth-toned walls. One woman faces the viewer with an expressionless face and dark, straight hair, while the other has her back turned. The background consists of a muted red and beige wall with a deep blue upper section, creating a contrast with the earthy tones. The brushstrokes and color blending give the painting a dreamlike, atmospheric quality.
Rufino Tamayo
Conversation, 1936
Watercolor on paper, 10 15/16 x 8 7/16 inches
Allocated by the U.S. Government Commissioned through the New Deal art projects; WPA56:1.202
A black and white woodcut print depicting a crowded theater scene with an audience watching a ballet performance. The foreground shows elegantly dressed spectators, some engaged in conversation, while others intently observe the dancers. A man in the lower right reads a program. The ballet dancers, arranged in a semi-circle, wear tutus and feathered headpieces. The background is densely packed with additional audience members leaning over the balcony railing. The intricate cross-hatching and exaggerated features give the composition a surreal and expressive quality.
Clara Skinner
Theatre No. 1, ca. 1935
Woodcut, sheet: 10 x 14 inches; image: 10-1/16 x 14-1/16 inches
Courtesy of the Fine Arts Program, Public Buildings Service, U.S. General Services Administration Commissioned through the New Deal art projects; WPA56:1.249
A black and white photograph featuring a worn work glove with holes in the fingertips resting on a piece of industrial equipment. The equipment has a circular metal casing embossed with the words "14-IN. BUFFALO 200 SILENT." The setting is a wooden work surface with visible cracks and stains. To the left, a metal cart filled with debris and a stack of papers or rags is partially visible. The composition highlights the textures of the glove, metal, and wood, evoking themes of labor and industrial history.
Minor White
“Hand Forge” Sand and Gravel Company East Side of Morrison Bridge #560, June 11, 1940
Gelatin silver print mounted on illustration board, 25 x 20 inches
Allocated by the U.S. Government Commissioned through the New Deal art projects; WPA2012:1.10