Despite countries around the world investing in soft power programs that use art as a catalyst for diplomatic tools, the Trump administration has once again hit the American cultural landscape. However, this time the impact is beyond the scope of contemporary art production and trade, which has been undermined by budget cuts, and now, recently, serious tariffs – posed a significant threat to the protection and accessibility of existing cultural and artistic heritage in the United States.
Last week, several workers in the Arts and Preservation Department (GSA) were asked to take a leave of absence before notifying their offices and positions would soon be eliminated. According to the Washington Post, the action affected more than half of the department’s approximately 30 employees and caused at least five regional offices to be closed. An email signed by GSA Administrator Stephen Ehikian and sent to the recipient on March 3, the task “helps” Note that your organization department is repealing your organization department, which includes your organization department (including your organization unit). ” GSA has not responded to a request for comment.
GSA's Department of Art and Conservation oversees the conservation and preservation of more than 26,000 artworks owned by the U.S. government. The series includes paintings and sculptures by famous artists such as Mark Rothko and Louise Nevelson, which are contemporary works commissioned through GSA's architectural art program and historical works, such as the Disping-Era Works Progress Progress Administration Commissions, whose fate is now uncertain and may suffer from a lack of negligence and care.
One of the most risky works are iconic public artworks that have become an integral part of the visual identity of American cities. 1974 Red in Chicago, Alexander Calder Flamingo The tower in front of the federal building by John C. Kluczynski. Michael Lantz's 1942 in Washington, DC The person who controls trade Standing outside the Federal Trade Commission building, Ben Shahn's 1942 mural The significance of social security– A powerful new trading era work – makes interior decoration of the Social Security Administration building.
Notably, the elimination of the unit was accompanied by the GSA's announcement of plans to sell more than 400 “non-core” federal buildings (50% of its portfolio) and the termination of thousands of leases, some of which had important works of art. On March 4, the day after the termination of the email, GSA released a list of properties intended for sale, only to delete them shortly after the situation occurred. title List of non-core properties (coming soon)GSA's website now states that it is “determining buildings and facilities that are not the core of government operations or non-core features for disposal”, adding that “sales ensure that taxpayers' dollars are no longer used on vacant or insufficient federal space and enable the dominance of these assets to eliminate high maintenance and maintenance volumes to prevent us from making high efforts.
See also: Exhibition Diplomacy – Global art institutions are the norm for scrutiny
Many of the properties contained in the list have important cultural and historical weight, especially in a young country with history and heritage. These include the Robert C. Weaver Federal Building, headquartered by Marcel Breuer, the Department of Housing and Urban Development. It is one of the most prominent applications of barbarism in federal architecture, one of the most influential American naturalized architects of the last century. Although barbarism enjoys new cultural significance, thanks to the Oscar-winning film Barbarians– The GSA's decision was a decision to target the structure, with the Trump administration reinstatement of the 2020 memorandum to promote beautiful federal citizen buildings, which calls for the use of a “classical style” that “caused public admiration” while hindering the barbarism and other “modern” trends often explored by American architects.
The list also includes Paul D. Wellstone Federal Building in Minneapolis, Minnesota, a former post office-turned-federal ruins with its two-story Greek Corinthian columns surrounding the facade and custom American homes in Philadelphia, a Nouveau nouveau Landmark that incorporates classical and neoclassical influences. Carved eagle and ur are carved on its upper corner, with soaring Terra Cotta lanterns modeled with ancient lanterns from Rhece.
Worryingly, especially around the murals and commissions in these buildings, as well as collections and archives stored on site. Many artworks are now endangered as part of a new trading art program that embeds art into its strategies to promote the economy and provide opportunities. The works are designed to inspire hope and resilience, echoing Roosevelt’s belief that economic recovery requires parallel cultural revivals to shape America’s identity and enhance its foreign image.
Organizations such as artists at risk links (ARC) have promptly condemned the GSA's actions, calling for immediate measures to protect, safely and responsibly manage these cultural assets. The sudden layoffs and termination also undermined a range of planned preservation work and the Artist Council – all of which are now suspended indefinitely.
“These historical artworks are part of the American cultural heritage and heritage and must be preserved and maintained,” Julie Trébault, executive director of ARC, said in a statement. “The government’s sudden decision to terminate and suspend dozens of fine art and conservation workers is not only endangering the livelihoods of those committed to protecting these works, but also putting irreplaceable works of our national heritage at risk.”
Meanwhile, early actions by the Trump administration include deep cuts to museum programs, especially those related to the Diversity, Equity, and Inclusion (DEI) initiative. In response to the sudden exit from funds, the Smithsonian agency announced the closure of its Office of Diversity, Equity and Inclusion. The National Gallery of Arts similarly closed its offices of belonging and inclusiveness. Several exhibitions have been cancelled in museums across the country. The American State is held by the American State, and on the surface, the two upcoming shows are due to funding freezes: a focus called “Before America,” titled “Before America,” black artists across the Americas, and “Nature and the Wildness of Andil Gosine,” a curator told Hyperallergic that was actually funded by the federal government.
The loss and cancellation of artworks not only represents aesthetic or cultural wounds, but also demonstrates the isolation of American history and identity. Building a more equitable and successful future is not only more difficult, but more uncertain, without being based on the heritage or investments of various cultural productions.
