Archives West Finding Aid

The Elzy J. Bird papers (1931-2005) contain sketches, writings, correspondence, and Federal Art Project materials concerning this Utah artist. In January 1977, Elzy J. bird donated his scrapbook of news clippings and original sketches to the University of Utah. The scrapbook's articles have been photocopied and document his involvement with the WPA Federal Art Project from 1938 to 1942, as well as his later work with defense projects. The material tells of the Utah State Art Center, the artists who exhibited and taught there, as well as the public who enjoyed free classes on painting, sculpture, writing, and theatrical production. The latter donation to the collection contains family letters, writings by Bird, and some miscellaneous papers.

The original sketches by Elzy J. Bird were done for his family in the book The Old Farm, which tells the story of his childhood experiences. There is also a group of original black and white drawings, created by Robert M. Jones, a photographer involved with the Utah State Art Center, for the book Utah: A Guide to the State, edited by Dale Morgan. Both books are available through Special Collections Rare Books.

The PWAP (Public Works of Art Project) was developed in December 1933 as work-relief for artists, one segment of the masses of workers laid off during the Great Depression. Utah's PWAP was part of the Women's Division of the Utah Civil Works Administration, and continued until June 1934. Murals, paintings, and sculpture were assigned for decoration of public (non-federal) buildings and parks.

The FERA program (Federal Emergency Relief Administration) employed artists to finish the work that had been started under PWAP, if the artists qualified for relief. Utah's FERA program existed from April 1934 until July 1935. Utah's Public Art Project was approved in August 1934, with Judy Farnsworth Lund appointed as state art supervisor, later the title changed to state art director. Under FERA, the murals in the Utah State Capitol dome were completed. FERA was a precursor to the Federal Art Projects.

In July 1935, TRAP (Treasury Relief Art Project) received money from the WPA to provide work-relief to visual artists, to decorate federal buildings that had not yet received funds for public art. None of Utah's artists were employed by the TRAP funding. The TRAP program was limited; there was a need for a much more extensive program. One month after TRAP's beginning, the WPA Federal Art Project was organized.

The WPA (Works Progress Administration) was created in May 1935 under the direction of President Franklin D. Roosevelt to fight unemployment with work-relief jobs. In the Fall of 1935, the WPA/FAP (Federal Arts Project) was created under the direction of Holger Cahill. It was to provide employment to persons certified in the art field, who were otherwise on the relief rolls, to create "outstanding examples of contemporary American art," to teach about art, and broaden the art consciousness of the nation through projects and classes. Darrell J. Greenwell was appointed as Utah's State WPA Administrator. The Federal Art Project was sponsored by the Utah State Institute of Fine Arts, now called the Utah Arts Council, and was administered through the Women's Project.

The appointed director was originally Judy Farnsworth Lund, who had previously supervised the FERA program in Utah. Elzy J. Bird took over as director on 1 August 1937, supervising the program for over four years until January 1942 when he left to join the Armed Forces. Lynn Fausett took over as assistant state supervisor of the renamed project, known as Art Phase, War Services Project. He continued until the Federal Art Project was terminated in January 1943.

Utah's Federal Art Project had an extensive system of community art centers and traveling exhibits to help art become integrated into the life of Utah's communities. The Springville Museum of Art was created during this time, as well as the Community Art Centers in Provo, Price, and Helper. The Utah State Art Center was established in 1938 in Salt Lake City in the old Elks Club building at 59 South State Street. It was imaginatively refurbished and well-attended by the public. The Center was under the watchful eye of the Utah State Institute of Fine Arts, whose chairman was Gail Martin.