Five Treasury Relief Art Project (TRAP) murals by Thomas Laman will return to public view after more than a decade in limbo. The murals, which depict mining, farming, railroad building, and fauna of northern California, are being restored and will head to McKinleyville, California when a new federal courthouse is completed there next year.
Laman painted the tempera murals in 1936 for the Federal Building in Eureka, California. The building, which has served as a U.S. post office and courthouse since 1911, was sold to a private company in 2002, leaving the fate of its New Deal murals up in the air.
Only a lucky accident saved the Eureka murals.
Last year, the lawyer for the building’s owner contacted the Living New Deal for a referral to an art appraiser—a first step toward selling or donating the murals. We contacted Michael Ramos, an agent in the Office of the Inspector General at the General Services Administration, which oversees federal properties. Ramos’s cases include recovering New Deal art, usually WPA easel paintings. Upon learning that the historic Eureka murals might be removed he launched an investigation.
The GSA concluded that the owner of the building did not have the right to dispose of the murals. After extensive negotiations, ownership of the murals was “conveyed back” to the GSA. In September, the agency officially reclaimed them—essentially returning the murals to public ownership.
There is no official policy about who owns the art in federal buildings, such as post offices, once they are sold. Many public artworks have been lost as a result.
The GSA considers site-specific art to be part of the structure. However, until recently it required only that the GSA be notified if artworks were to be removed once federal properties were sold. Thanks to renewed interest in New Deal artwork, the GSA now retains ownership of the art. It can choose to “loan” it to the building’s owner, but can reclaim it at any time.
Despite mounting public pressure to do so, the U.S. Postal Service, which claims control over all post office artwork, has never articulated its policy for protecting these cultural treasures.
As more federal properties are declared surplus and sold to private buyers, communities are mobilizing to keep the artworks inside—many the legacy of the New Deal—accessible to the public, which, after all, paid for them.