The Works Progress Administration Federal Art Project (WPA/FAP), which operated from 1935 to 1943, was a program created by Franklin D. Roosevelt (1882–1945), WPA director Harry Hopkins (1890–1946), and FAP director Holger Cahill (1887–1960) to employ American artists throughout the Great Depression. This article reexamines the FAP by looking more closely at Cahill and defining his populist approach to American art, which made the FAP not only a massive work-relief program for artists but also a major public education initiative. Cahill’s democratizing ideas on art were sparked by his experiences as an Icelandic immigrant and hobo in the Midwest and informed by the theories of Progressive era philosophers including John Dewey and John Cotton Dana. The FAP, in addition to employing prominent artists such as Stuart Davis, Arshile Gorky, Lee Krasner, Jackson Pollock, and Mark Rothko, sponsored local and national exhibitions and established thousands of local art centers, including the renowned Harlem Community Art Center. These accomplishments laid the groundwork for the emergence of Abstract Expressionism and success of the post-war American art market.

中文翻译：

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重新考虑工程进度管理联邦艺术项目

工程进度管理联邦艺术项目 (WPA/FAP) 于 1935 年至 1943 年期间运作，是由富兰克林·D·罗斯福 (1882-1945)、WPA 主任哈里·霍普金斯 (1890-1946) 和 FAP 主任霍尔格·卡希尔创建的项目(1887-1960) 在整个大萧条期间雇用美国艺术家。本文通过更仔细地审视卡希尔并定义他对美国艺术的民粹主义方法来重新审视 FAP，这使得 FAP 不仅是一个针对艺术家的大规模工作救济计划，而且还是一项重大的公共教育计划。卡希尔关于艺术的民主化思想是由他作为冰岛移民和中西部流浪者的经历激发的，并受到包括约翰杜威和约翰科顿达纳在内的进步时代哲学家的理论的启发。FAP 除了聘请著名艺术家，如斯图尔特·戴维斯、阿希尔·高尔基、李·克拉斯纳、Jackson Pollock 和 Mark Rothko 赞助了当地和全国性展览，并建立了数千个当地艺术中心，包括著名的哈莱姆社区艺术中心。这些成就为抽象表现主义的出现和战后美国艺术市场的成功奠定了基础。