>>12635> Partisan Review in the 50s is where Clement Greenberg and other influential AbEx critics published many of their most significant essays.Clement Greenberg is definitely someone I've been meaning to read more about. We're pushing 30 years past his death and his approach to art still retains its monolithic quality. He's always struck me as someone whose words are just taken as a given nowadays? I never actually read his essays in undergrad (or Harold Rosenberg for that matter). By all accounts he was one of the reasons why the American art market has been able to justify or 'reproduce' itself abroad for so long, though—why bourgeois notions of 'art for art's sake' overtook more marxist conceptions of 'art as a weapon' from the 1920s and 1930s. Again, keep in mind that by the 1940s and 1950s, HUAC was super convinced that modern art was still being used as a 'weapon of communism' with the 'artist as its soldier' (like it had briefly in continental Europe) and the US government obviously didn't want revolution on its shores, much less the appearance of one. So what did they do? Instead of discouraging formalist experimentation like they did with the New Deal's art programs, they pulled a 180° and tried their hand at cultivating it themselves using more covert means—all in in an effort to fight a 'Cultural Cold War' with the Soviet Union.
>Those political debates, as a chapter in history of ideas, were the area that I ended up zooming in on.They weren't just political debates, though; you already know this, but those debates revolved around how an ascendant post-war American superpower was wanting to present itself on the world stage. Have you ever read Serge Guilbaut's How New York Stole the Idea of Modern Art? It was one of the very few contemporaneous books to talk about this re:visual arts. I think there's an intellectual current running from the 'cultural democracy' of the New Deal (embodied by FDR's four freedoms) and the 'free enterprise' art that emerged in its wake. It's why I've found it funny every time I see people call artists (and the styles associated with them) like Jackson Pollock, communist. Pollock himself was incredibly influenced by his mentor, Thomas Hart Benton, who had become the most popular 'realist' painter at the time. Benton even had an infamous falling out with the New York art scene partly due to criticisms from JRC members; he had very contradictory notions of the 'social viewpoint of art' (as Meyer Schapiro might say). Was there really a difference between New Deal liberalism and Cold War liberalism? I mean, Ronnie Raygun was resuscitating FDR through Norman Rockwell illustrations back in the day.
>That's a level of intellectual broadmindedness you wouldn't see today, and part of why I find that era so fascinating. I find it equally fascinating on account of just how much of it pisses me off, lol. The more I've read about it the more I've got the feeling that real American modern art as never been tried. There was never a school like the Bauhaus or VKhUTEMAS to emerge here because it had all became controlled opposition so quickly. The legacy of the Bauhaus in particular ended with László Moholy-Nagy's aborted efforts to bring the school to Chicago, and Gyorgy Kepes later working on camouflage contracts for the US state department at MIT.
>The comprehensive secondary source on this era is Alan Wald's The New York IntellectualsThis is one of those books I've put off reading for such a long time; I really need to get around to it because I've heard a great deal about the 'trot -> neocon' pipeline over the years.
>I don't think this had been proven in the early 2000s when I was immersed in the secondary literature, but a quick check of their Wikipedia page confirms that PR did receive covert CIA funding in the 1950s.I wouldn't know! The CIA covertly waging a 'Cultural Cold War' through CCF associated journals and exhibitions was first revealed in like 1966 or '67, but its activities lasted well past after the Soviet Union collapsed. Every couple of years some columnist at a major newspaper likes to shed light on this piece of trivia, and most people tend to discover it through that one 1995 article from the The Independent. I just remembered Peace, Land and Bread have a couple threads on it too (warning: they're an explicitly Marxist-Leninist magazine):
https://twitter.com/plbmagazine/status/1416484144922628101>A day job and access to a university or high-quality public library is all you really need for a satisfying intellectual life.The nearest university library to me is a 45 minute drive away and my local public library has refused to pay the ILL fees twice already, so I can't say it's been very satisfying. I don't get NEETbux or anything so I'm pretty lumpen in reality. If I go back to school I could live my life like John Williams' Stoner.
>in terms of adult life satisfaction and relevance to contemporary political reality, it was a waste of time and money and I should have been learning to code.I feel ya. I recently met up with an engineer friend who recently got a job at a major government contractor and at some point in the conversation he had the audacity to ask me if I've ever considered learning how to code. I was just like, "come on man; you've got to be joking, of course I have!" But when you consider all the hubbub over things like a so-called 'Green New Deal' in recent years, mention of federal arts patronage has been virtually absent from the discourse. When an heiress to the Walton family fortune starts her own art museum in the middle of bumfuck nowhere Arkansas (C*yst*l Br*dg*s) and insists that what she's doing is on-par with what was done almost a century ago, I can't help but feel like there's much more relevance to this history than people realize.
>nothing will disillusion you with the Left as quickly as hanging around with careerist academic leftists willOne of my undergraduate professors was a landlord who listened to Chapo; trust me when I say I'm well past that point.