The National Endowment for the Arts may be spending some of the money it received from the Recovery and Reinvestment Act to fund nude simulated-sex dances, Saturday night "pervert" revues and the airing of pornographic horror films at art houses in San Francisco.
-- From "Stimulus Bill Funds Go to Art Houses Showing 'Pervert' Revues, Underground Pornography" by Joseph Abrams, FOXNews.com 7/30/09
The NEA was given $80 million of the government's $787 billion economic stimulus bill to spread around to needy artists nationwide, and most of the money is being spent to help preserve jobs in museums, orchestras, theaters and dance troupes that have been hit hard by the recession.
But some of the NEA's grants are spicing up more than the economy. A few of their more risque choices have some taxpayer advocates hot under the collar, including a $50,000 infusion for the Frameline film house, which recently screened Thundercrack, "the world's only underground kinky art porno horror film, complete with four men, three women and a gorilla."
Some members of Congress raised alarms as the stimulus bill was being drafted and approved, but President Obama, while admitting there were problems with the $787 billion legislation, stressed the need for immediate action to resuscitate the economy.
Similarly, the director of Frameline, the gay and lesbian film house, told FOXNews.com in an e-mail that their $50,000 grant was not to support any program in particular.
"The grant is not intended for a specific program; it's to be used for the preservation of jobs at our media arts nonprofit organization over the next year during the economic downturn," wrote K.C. Price, who listed four other NEA grants his organization has received.
One project that has received past NEA funding and stands to get an additional boost from a $25,000 stimulus grant is "The Symmetry Project," a dance piece by choreographer Jess Curtis.
The show depicts "the sharing of a central axis, [as] spine, mouth, genitals, face, and anus reveal their interconnectedness and centrality in embodied experience," according to a description offered on Curtis' Web site.
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