1929年是Krasner值得注意的一年。那一年标志着现代艺术博物馆的开幕，这使她接触到了现代主义风格和它所代表的巨大可能性。 1929年也标志着大萧条的开始，这给许多有抱负的艺术家带来了灾难。 Krasner加入了工程项目管理局（WPA），该部门雇用艺术家参与各种公共艺术项目，包括Krasner工作的许多壁画。正是在WPA上，她遇到了评论家哈罗德·罗森伯格，后来他将继续写一篇关于抽象表现主义者以及许多其他艺术家的开创性文章。克拉斯纳与俄罗斯裔画家伊戈尔·潘图霍夫以及国家设计学院的校友一起生活了十年的大部分关系。然而，Pantuhoff的父母对Krasner持反犹太观点，两人从未结过婚。 （Pantuhoff在离开这段关系后意识到了自己的错误，最终他去了纽约赢回Krasner。到那时，Krasner已经接手了Jackson Pollock，他以典型的好战方式，在场地内追逐Pantuhoff
加拿大西安大略大学论文代写：工程项目管理局
1929 was a noteworthy year for Krasner. That year marked the opening of the Museum of Modern Art, which exposed her to the modernist style and the enormous possibilities it represented. 1929 also marked the beginning of the Great Depression, which brought disaster to many aspiring artists. Krasner joined the Project Management Authority (WPA), which employs artists to participate in a variety of public art projects, including many murals by Krasner. It was at WPA that she met the critic Harold Rosenberg, who later continued to write a groundbreaking essay on abstract expressionists and many other artists. Krasner lived with most of the ten-year relationship with Russian-born painter Igor Pantukhov and alumni of the National School of Design. However, Pantuhoff’s parents had an anti-Semitic view of Krasner and the two had never been married. (Pantuhoff realized his mistake after leaving the relationship, and eventually he went to New York to win back to Krasner. By that time, Krasner had taken over Jackson Pollock, who chased Pantuhoff in the field in a typical militant manner.)