Between the years 1945 to 1990, a state of political hostility, known as the Cold War, existed between communist Soviet countries and US-led Western powers. This political hostility was emphasized and characterized by threats, propaganda, and other proxy wars between the two power groups. The political conflict over ideological differences, mistrust, and rivalry shifted tensions outside of political affairs and moved towards cultural aspects, specifically influencing abstract and modern art. The Cold War differed from most wars in that it was fought on both political and cultural fronts. Cultural battles between the Soviet Union and the United States had as much of an impact on the everyday lives of civilians as any other aspect of the war. As culture became a defining line between the two powers, the CIA and forms of government recognized abstract art as a mechanism against the USSR. The secret funding of the CIA heightened a cultural difference between the USSR and the USA, resulting in opposing claims of the definition of freedom. While the CIA and other forms of government tried to express and support the Abstract and Modern Expressionist movement, they were truly critical of it as they were fans of contemporary pre-war art. Although critical, the influence and funding of modern art within America not only was used as a weapon in the Cold War, but it also ultimately opened up the artworld and refined the conception of freedom within America.
Although the popularity amongst modern and Abstract Expression grew, there was much disapproval throughout the nation, especially within the government and among political figures. In the late 1940s to early 1950s, there was great criticism of Abstract Expressionism. During the age of McCarthyism, a period in the 1950s that campaigned against alleged communists in the US government and other institutions, abstract art was tackling more social and political issues than met the eye. It displayed an artistic independence from visual references in the world. It “emerged in a climate of Cold War politics and social and cultural conservatism.” In contrast to modern art, contemporary art was favored throughout the nation at the time. It often depicted qualities such as personal and cultural identity, family, community, and nationality. Abstract and modern artists, some in relation to ex-communists, were barely accepted in the American McCarthy era and did not receive approval or admiration from members of the US government. The new art form was thought to discredit the idea of America being a sophisticated, culturally rich democracy.
During the rise of the 1950s and 1960s, the great majority of Americans disliked or even despised modern art. President Truman influenced the popular view when he said in 1947, “If that’s art, then I’m a Hottentot”. The objects of his displeasure were a group of abstract, modern, and artistically creative paintings which were a great contrast to the favored traditional, conservative paintings at the time.
Modern art was popularly seen by many as a vehicle for anti-American values. Harold Harby, Los Angeles councilman, declared: “Modern art is actually a means of espionage. If you know how to read them, modern paintings will disclose weak spots in U.S. fortifications, and such crucial constructions as the Boulder Dam.” George Dondero, a Republican from Missouri, made a proclamation on the floor of Congress stating “all modern art is Communistic.” The paranoia of modern art expressing communistic ideas rapidly spread throughout the nation. It soon became policy in 1947 when the State Department withdrew a touring exhibition of modern art that it had sponsored, titled “Advancing American Art.” The State Department issued a directive stating that it would no longer financially sponsor any art produced by those with leftist connections, even of the second degree. Many well known avant-garde artists at the time had some relations with the left, Jackson Pollock being one. Jackson Pollock worked in the workshop of Mexican Communist muralist David Alfaro Siqueiros. Pollock’s time spent at the workshop influenced his artwork as it displayed communism ideology through his abstract art. Although many McCarthyites saw the visions of communism expressed in abstract artwork, the Central Intelligence Agency (CIA) saw something very different. They saw art that exhibited the core value of the nation: freedom. The decision to include culture and art as a part of the US Cold War arsenal was implemented as soon as the CIA was founded in 1947 after the State Department issued its directive. The CIA wanted to promote American individual freedom, shown in the abstract art of Pollock, as a shield against Communism in the Cold War.
Perhaps Pollock’s most famous work, Convergence, is a collage of colors splattered on a canvas, creating an intriguing image that evokes emotions and conceptions. Painted in 1952, Pollock uses colors, lines, textures, lights, and shapes to successfully create a rendering and ideal face for the abstract art movement. Jackson Pollock’s painting style, exemplified by Convergence, played an influential role in the development of the art world. With the United States in fear of the rapid spread of Communism during the Cold War, Convergence and other abstract works of art embodied freedom of speech and expression. Pollock’s artwork rebelled against the constraints of society’s oppressions and conservative views. It represented all of what America truly stood for through whimsical strokes of different colors, mixtures, textures, and artistic freedom. Pollock’s work represented the harsh imperfections, similar to the realities of America. In contrast to Pollock’s art, Russia held a strict dominance over cultural expression and art. Russia only truly accepted Socialist Realism. This defining contrast highlighted abstract and modern art, especially since it was solely American. Unlike popular artists of the era, Pollock states that “the modern artist is working with space and time, and expressing his feelings rather than illustrating.” The CIA found an appreciation for Pollock’s because it steered clear of Social Realism and overt political gestures. It was open to interpretation and opened the art world. Although hard to decipher, Pollock’s rebellious nature and expressed freedom became evident through his artwork, as did for many modern and abstract artists.
In contrast to the liberation and artistic freedoms of Pollock’s revolutionary art, the American government preferred conservative work of artists like Norman Rockwell. Norman Rockwell’s paintings embodied a traditional, contemporary style. One of Rockwell’s most renowned pieces of work is the Freedom From Want, representing the traditional, ideal American lifestyle. Norman Rockwell once said, “I’ll paint life as I would like it to be.” Painted in 1943, Rockwell depicts an ideal white American family celebrating Thanksgiving dinner. As an artist, Rockwell specialized in displaying American values and ideals. Through identifiable shapes and brushstrokes, Rockwell creates a scene with a clear message, unlike Pollock. It stands as a symbol of what the ideal, nuclear American family looks like. Due to his benign subject matter that primarily focused on white American families, many assumed Rockwell was politically conservative although he had fairly liberal views. Freedom From Want was inspired by President Franklin Roosevelt’s address to Congress in 1941 in which he listed four basic human rights — freedom of speech, freedom of worship, freedom from fear, and freedom from want. Rockwell was able to depict a clear scene that represent the ideal values expressed in Roosevelt’s address, capturing the expected American tradition. Rockwell’s work differed from that of Pollock’s due to its precise, illustrative, and clear meanings that symbolized the facade of freedom in America. It emphasized the ideals of American culture, whereas Pollock displayed the harsh realities of truth of America through his rebellious artform.
Even though American politicians would have liked to seen more work like Rockwell’s, they came to understand that Pollock’s work was a greater mechanism in their fight against communism. Similar to the way in which the Soviet Union standardizes language and education, it similarly standardized art forms and culture. Under Stalin’s directive, Socialist Realism was the only aesthetic and style of painting that was acceptable. Social Realism was a style used to depict home life and the landscape through a “politically-tinted” point of view. It was defined as proletarian, art that was relevant and relatable to workers; typical, scenes of everyday life; realistic in a representational sense; and partisan, supporting the aims of the State and the communist party. As the Soviet Union restricted its art and cultural limitations, the CIA noticed a crucial fact about the polarizing Abstract Expressionism movement: it was the polar opposite of Socialist Realism. Abstract Expressionism was also fundamentally American. Donald Jameson, former CIA agent, said:
We recognized that this was the kind of art that did not have anything to do with socialist realism… Moscow in those days was very vicious in its denunciation of any kind of nonconformity… So one could quite adequately and accurately reason that anything they criticized that much and that heavy-handedly was worth support in one way or another.
Viewing this as an advantage against the Soviet Union and Cold War, the CIA decided to support the abstract and modern art movement covertly. Due to the State Department’s directive that disabled any form of sponsorship with modern artists, the CIA had to privately search for a way to fund the modern art initiative. Soon, the CIA found an ideal conduit to find modern art and expression, the Museum of Modern Art in New York City.
Realizing the benefits of Abstract Expressionism in the Cold War, the United States began to intentionally promote the abstract and modern art movement through the Propaganda Assets Inventory. The Propaganda Assets Inventory had the ability to influence more than 800 newspapers, magazines, and public information organizations. With a large target audience, America was able to distribute the idea of free, abstract art throughout the world.
Nelson Rockefeller, president of the MoMA, had various agency and government connections that enabled the funding modern art to be successful. He was a trustee of the Rockefeller Brothers Fund, a New York operation subcontracted by the government to study foreign affairs in which much of the CIA’s financial support of the new art was being laundered. Rockefeller went on to be appointed Eisenhower’s special advisor on Cold War strategy, chair a committee overseeing CIA covert operations, and eventually becoming the 49th Governor of New York and 41st Vice President of United States. Him along with many others, such as William Burden and Rene D'Harnoncourt, was associated with the involvement of the MoMA and had government connections. In 1952, at the peak of abstract art criticism, the CIA, throughout the Rockefeller Brothers Fund, successfully provided MoMA a five year grant to fund the “International Program.” By 1956, 33 international exhibitions had been fully organized for Abstract Expressionism, making a remarkable and undeniable feat.
Recognized as a polarizing difference, Abstract Expressionism was an art form that made Socialist Realism appear more stylized and confined. The Soviet Union, particularly Moscow, at the time was confining and vicious in its denunciation of any form of non-conformity against their standards. The United States saw the Soviet Union’s lack of artistic freedom as a way to gain power within the long 45 year war. It acted as an important division between the United States and the USSR in the Cold War. The primary source in the CIA campaign became the Congress for Cultural Freedom; a vast group of intellectuals, writers, histories, artists, and more. It was set up by the CIA’s fund in 1950. This technique—called "long leash" operations—kept the CIA in the shadows as it sponsored massive organizations like the Congress for Cultural Freedom. The Congress for Cultural Freedom had offices in 35 countries and organized historic exhibitions of Abstract Expressionist art in cities across Europe. The Congress for Cultural Freedom gave the CIA the ideal front to promote its covert interest in Abstract Expressionism. It would be the official sponsor of touring exhibitions; its magazines provided useful platforms for critics favorable to the new American painting style. The promotion of the new found American art form ultimately lead the artworld to open up and display freedom in a new light than ever before.
The CIA used American modern art, including the famous artist Jackson Pollock along with many others, as a weapon against communist Russia in the Cold War. Revolutionizing art, the CIA covertly fostered and promoted American Abstract Expressionist paintings around the world for more than 20 years. The funding of abstract art emphasized its abilities and framework, creating a contrast between the admired contemporary work of the United States, as well as polarized the confined Socialist Realism of Russia. Alongside many other strong leaders, tactics, and endeavors, the secret funding of modern art worked closely with the other initiatives of the United States to ultimately win the long 45 year Cold War. The funding ultimately opened up the art world, expression, and definition of freedom in America. With the CIA’s covert motive, not only did it aid to winning the war, yet it lead to an expansion of expression and the art world. If it weren't for the funding, modern and abstract artist and art forms would not be as successful and influential as they are today.