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dailyrothko · 3 months ago

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No, the Popularity of Abstract Art is Not the Result of a CIA PsyOp

If you are unlucky enough to move around the internet these days and talk about art, you’ll find that many “First commenters” will hit you with what they see as some hard truth about your taste in art. Comments usually start with how modern art is “money laundering” always comically misunderstanding what that means. What they are saying is that, of course, rich people use investments as tax shelters and things like expensive antiques and art appraised at high prices to increase their net worth. Oh my god, I’ve been red-pilled. The rich getting richer? I have never heard of such a thing.

What is conveniently left out of this type of comment is that the same valuation and financial shenanigans occur with baseball cards, wine, vacation homes, guitars, and dozens of other things. It does indeed happen with art, but even the kind that the most conservative internet curator can appreciate. After all, Rembrandts are worth money too, you just don’t see many because he’s not making any more of them. The only appropriate response to these people who are, almost inevitably themselves, the worst artists you have ever seen, is silence. It would cruel to ask about their own art because there’s a danger they might actually enjoy such a truly novel experience.

When you are done shaking your head that you just subjected yourself to an argument about the venality of poor artists plotting to make their work valuable after they died, you can certainly then enjoy the accompanying felicity of the revelation they have saved to knock you off your feet: “Abstract art is a CIA PsyOp”

Here one must get ready either to type a lot or to simply say “Except factually” and go along your merry, abstract-art-loving way. But what are the facts? Unsurprisingly with things involving US government covert operations, the facts are not so clear.

Like everything on the internet, you are unlikely to find factual roots to the arguments about government conspiracies and modern art. The mere idea of it is enough to bring blossom for the “I’m not a sheep” crowd, some of whom believe that a gold toilet owning former president is a morally good, honest hard-working man of the people.

The roots of this contention come from a 1973 article in Artforum magazine, where art critic Max Kozloff wrote about post-war American painting in the context of the Cold War, centering around Irving Sandler’s book, The Triumph of American Painting (1970). Kozloff takes on more than just abstract expressionism in his article but condemns the “Self-congratulatory mood”of Sandler’s book and goes on to suggest the rise of abstract expressionism was a “Benevolent form of propaganda”. Kozoloff treads a difficult line here, asserting that abstraction was genuinely important to American art but that its luminaries, “have acquired their present blue-chip status partly through elements in their work that affirm our most recognizable norms and mores.”

While there were rumblings of agreements around Kozloff’s article of broad concerns, it did not give birth to an actual conspiracy theory at the time. The real public apprehension of this idea seems to mostly come from articles written by historian Frances Stonor Saunders in support of her book, “The Cultural Cold War: The CIA and the World of Arts and Letters” (New York, New Press, 2000). (I have not read this 525 page book, only excerpts).

The gist of Ms. Saunders argument is a tantalizing, but mostly unsupported, labyrinthine maze of back door funding and novelistic cloak and dagger deals. According to Saunders, the Congress for Cultural Freedom (CCF), an anti-communist cultural organization founded in 1950, was behind the promotion of Abstract art as part of their effort to be opinion makers in the war against communism. In 1966 it was revealed that the CCF was funded by the CIA. Saunders says that the CCF financed a litany of art exhibitions including “The New American Painting” which toured Europe in the late 1950s. Some of this is true, but it’s difficult, if not impossible, to know the specifics.

Noted expert in abstract-expressionism, David Anfam said CIA presence was real. It was “a well-documented fact” that the CIA co-opted Abstract Expressionism in their propaganda war against Russia. “Even The New American Painting [exhibition] had some CIA funding behind it,” he says. But the reasons for this are not quite what the abstract art detractors might be looking for. After all, the CCF also funded the travel expenses for the Boston Symphony Orchestra and promoted Fodor’s travel guides. More than trying to pull the wool over anyone’s eyes, it was meant to showcase the freedom artists in the US. enjoyed. Or as Anfam goes on to say, “It’s a very shrewd and cynical strategy, because it showed that you could do whatever you liked in America.”

For what it’s worth, Saunders’s book was eviscerated in the Summer 2000 issue of Art Forum at the time of its publication. Robert Simon wrote:

“Saunders draws extensively on primary and secondary sources, focusing on the convoluted money trail as it twists through dummy corporations, front men, anonymous donors, and phony fund-raising events aimed at filling the CCF’s coffers. She makes lengthy forays into such topics as McCarthyism, the formation and operation of the CIA, the propaganda work of the Hollywood film industry, and New York cultural politics—from Partisan Review to MoMA to Abstract Expressionism. Yet what seems strangely absent from Saunders’s panoramic history, as if it were a minor detail or something too obvious to require discussion, is the cultural object itself: The complex specifics of the texts, exhibitions, intellectual gatherings, paintings, and performances of the culture war are largely left out of the story.”

Another problem with the book seems to be that Saunders is an historian but not an art historian. For me, I sensed an overtone of superiority in the tale she’s spinning and most assuredly from those that repeat its conclusion. The thinly veiled message of some is that if it were “Real art” it would not have had be part of this government subterfuge. The reality is very different. For one thing, most of us know it is simply not true that you can make people devoted to a type of art for 100 years that they would sensibly hate otherwise. Another issue is that it’s quite obvious none of the artists actually knew about any government interference if there was any. Pollock, Rothko, Gottlieb and Newmann were all either communists or anarchists. Hardly the group one would recruit the help the US government free the world of communism. Additionally, this narrow cold war timeline ignores a huge amount of abstract art that Jackson Pollock haters also revile and consider part of the same hijacking of high (Frankly, Greek, Roman, or Renaissance) culture. If you look at the highly abstract signature work of Piet Mondrian and observe the dates they were painted, you’ll see 1908, 1914, 1916. This is some of the art denigrated as a CIA PsyOP, 35 years before the CIA even thought about it. Modern art didn’t come from nowhere as many would have you believe to discredit its rise. There was Surrealism, Dada, Bauhaus, Russian futurism and a host of other movements that fueled it.

Generally, people like to argue. On the internet, “I don’t like this” is a weak statement that always must be replaced by “This is garbage” or my favorite, “This is fake.”

It’s hardly surprising that the more conservative factions of our society look for any government involvement in our lives to explain why things are not exactly as they wish them to be, given the (highly ironic) conservative government-blaming that blew up after Reagan. In addition, modern fascists have always had a love affair with the classical fantasy of Greece and Rome. Both Mussolini and Hitler used Greece and Rome as “Distant models” to address their uncertain national identity. The Nazis confiscated more than 5,000 works in German museums, presenting 650 of them in the Entartete Kunst (Degenerate Art, 1937) show to demonstrate the perverted nature of modern art. It featured artists including Marc Chagall, Max Ernst, Wassily Kandinsky, and Paul Klee, among others. The fear of art was real. It was the fear of ideas.

To a lot of people on the internet just the mentioning a “CIA program” is enough to get the cogs turning, but as with many things, the reality of CIA programs and government plots is often less than evidence of well planned coup.

The CIA reportedly spent 20 millions dollars on Operation Acoustic Kitty which intended to use cats to spy on the Kremlin and Soviet embassies. Microphones were planted on cats and plans were set in motion to get the cats to surreptitiously record important conversations. However, the CIA soon discovered that they were cats and not agreeable to any kind of regulation of their behavior.

As part of Operation Mongoose the CIA planned to undermine Castro's public image by putting thallium salts in his shoes, which would cause his beard to fall out, while he was on a trip outside Cuba. He was expected to leave his shoes outside his hotel room to be polished, at which point the salts would be administered. The plan was abandoned because Castro canceled the trip.

Regardless of your feelings on this subject or how much you believe abstract art benefited from government dollars, Saunders herself quotes in her book a CIA officer apparently involved in these “Long leash” influence operations. He says, “We wanted to unite all the people who were writers, who were musicians, who were artists, to demonstrate that the West and the United States was devoted to freedom of expression and to intellectual achievement, without any rigid barriers as to what you must write, and what you must say, and what you must do.” Hardly the Illuminati plot we were promised.

In 2016, Irving Sandler, author of the book that started Kozloff tirading in 1973, told Alastair Sooke of The Daily Telegraph, “There was absolutely no involvement of any government agency. I haven’t seen a single fact that indicates there was this kind of collusion. Surely, by now, something – anything – would have emerged. And isn’t it interesting that the federal government at the time considered Abstract Expressionism a Communist plot to undermine American society?”

This blog post contains information and quotes sourced from The Piper Played to Us All: Orchestrating the Cultural Cold War in the USA, Europe, and Latin America, Russell H. Bartley International Journal of Politics, Culture, and Society, Vol. 14, No. 3 (Spring, 2001), pp. 571-619 (49 pages) https://www.bbc.com/culture/article/20161004-was-modern-art-a-weapon-of-the-cia https://brill.com/view/journals/fasc/8/2/article-p127_127.xml?language=en https://www.guggenheim-bilbao.eus/en/learn/schools/teachers-guides/the-dark-side-of-classicism https://www.artforum.com/features/american-painting-during-the-cold-war-212902/ https://www.independent.co.uk/news/world/modern-art-was-cia-weapon-1578808.html https://www.artforum.com/columns/frances-stonor-saunders-162391/ https://www.artforum.com/features/abstract-expressionism-weapon-of-the-cold-war-214234/ Mark Rothko and the Development of American Modernism 1938-1948 Jonathan Harris, Oxford Art Journal, Vol. 11, No. 1 (1988), pp. 40-50 (11 pages)

#mark rothko #markrothko #rothko #daily rothko #dailyrothko #abstract expressionism #modern art #abstraction #colorfield #ab ex #colorfield painting #mid century #CIA #pysop

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doyoulikethissong-poll · 4 months ago

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The Platters - Only You (And You Alone) 1955

"Only You (And You Alone)" is a pop song composed by Buck Ram. It was originally recorded by The Platters with lead vocals by Tony Williams in 1955. The Platters first recorded the song for Federal Records on May 20, 1954, but the recording was not released. In 1955, after moving to Mercury Records, the band re-recorded the song on April 26 and it scored a major hit when it was released in May. In November that year, Federal Records released the original recording as a single which sold poorly.

The song held strong in the number 1 position on the US R&B charts for seven weeks, and hit number five on the Billboard Top 100 chart. It remained on the charts for 30 weeks, beating out a rival cover version by The Hilltoppers. When the Platters track, "The Great Pretender" (which eventually surpassed the success of "Only You"), was released in the UK as Europe's first introduction to The Platters, "Only You" was included on the flipside. In the 1956 film Rock Around the Clock, The Platters participated with both songs, "Only You" and "The Great Pretender". The Platters re-recorded a slightly longer version of the song for Musicor Records in 1966, which features on the album I Love You 1,000 Times. In 1999, the 1955 recording of "Only You (And You Alone)" by The Platters was inducted into the Grammy Hall of Fame.

The song is featured in the 2018 video game Far Cry 5, where it is used as a form of classical conditioning on the main character, and can also be heard on one of the in-game radio stations and quietly echoing through the woods in some locations. It also appears in the seventh episode of the 2024 tv series Fallout. The 1966 re-recorded version of the song is featured in the 2024 film Deadpool & Wolverine.

"Only You (And You Alone)" received a total of 78,8% yes votes!

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#finished #high yes #low reblog #50s #the platters #english #o1 #o1 sweep

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fawnvelveteen · 2 months ago

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Short skirts hit London, 1966

Carlo Bavagnoli/Life Picture Collection/Shutterstock

#london #mirror #reflection #1960s fashion #1966 #life magazine #Carlo Bavagnoli

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1shirt2shirtredshirtdeadshirt · 2 years ago

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Today on popping the corn and feeding the children, what do you folks think of this discussion? :)

I'm always curious to hear what other Trek fans, especially queer Trek fans, think about our place in Trek history and how we fare as the queer participants within our fandom. What have your experiences been like?

Overwhelmingly I've found a great reception and a welcoming attitude, but I admit that has increased considerably since the 90s. However, there are still some Trek fans who seem to be vehemently in denial about queer history in Star Trek, or the fact that anyone who has worked on Trek has pro-LGBT attitudes. This always surprises me considering some of the blatant queer content we have already seen in Star Trek such as the Jadzia Dax and Lenara Kahn kiss.

Anyway, I enjoyed the discussion that followed and seeing the overwhelming outpouring of support coming from Star Trek fans in response to this thread.

Here was my two cents contribution:

"No, what they said was factual.

Have you forgotten Nichelle Nichols was indeed an African American woman in the core seven bridge crew back in 1966?

Or the fact that Gene Roddenberry went out of his way to write The Motion Picture Novel, creating the term "T'hy'la: friend, brother, lover" so that fans could choose which interpretations of Kirk and Spock they saw fit? He also embraced K/S fans and hired a number of them to write the earliest Star Trek novels, including the very first official one (The New Voyages Vol. 1 & 2) which included slash fiction as well as Gene's approval/forward in the books.

In case anyone has forgotten, here's a little bit of background on Gene Roddenberry and his perspectives on queerness in Star Trek.

He admitted that in his early life he was very affected by how society and culture treated the LGBT community, and that he too found himself subjugating and judging others for that lifestyle because it was what people did at that time. As he got older and had more life experience, he began working with a number of queer artists in Hollywood -- and through TOS, a number of queer individuals began asking questions about Kirk and Spock.

Instead of vehemently shutting down this perspective, Roddenberry was intrigued, and saw potential to tap into a large audience (LGBT) that most others didn't want to go near or acknowledge publicity-wise. He saw it as an opportunity to expand the fanbase while also pushing yet another envelope.

But with the heat already on the show for what they'd already pushed, he found he was often stuck between what he'd like to do and what production would let him get away with. There are a number of Kirk and Spock scenes in scripts that got cut out for leaning a little too obviously romantic. Tiny trickles of that content still made it in were infamous moments like the backrub scene in Shore Leave. Even the 2009 movie had a K/S moment while Spock Prime and Kelvin Spock talked that was written and filmed that was cut out of the final product.

Queer subtext and coding has always been relentlessly weeded away at with an excuse ready to go for why they always try to cut us out, but we all know it's because they are scared of the homophobic backlash and ratings hits. Look how violently homophobes went after the gay romance episode of The Last of Us **just this year**. This has always been our reality, so for someone like Roddenberry to make efforts in the 70s? That was massive.

But Gene as well as the queer/slash Trek community managed to accomplish some things in the 70s which I'm surprised more folks don't talk about or give much credit.

In the same TMP novel which features "T'hy'la" and the famous footnote, Gene cleverly wrote Kirk with a bisexual/pansexual lens: Kirk describes himself as *preferring* women but being open to "physical love in **any** of its many Earthly, alien, and mixed forms." (Direct quote from Genes book). Basically, Captain Kirk was DTF with whoever if there was a connection, which was a very progressive take for a character in a novel written in 1979, but made sense for the future which would have a lot less hang ups about sex and love compared to our current rather puritan/conservative society.

I also prefer women, but I married a man. Shout out to Gene Roddenberry for giving us a seat at the table back in the 70's when folks *still* try to insist there is no place for K/S or queer concepts in Trek, because he made efforts -- however small -- to employ queer people and show queer perspectives. According to David Gerrold, LGBT+ representation was a big thing that Gene personally pushed for in TNG and wanted various depictions of love/couples in the Risa scenes, to name one example.

In the 70s, fanzines led to meetings and swapped fanmade magazines, which got so big that they needed hotel centers, then convention centers, then one day the TOS cast came to one and what we know as modern fan conventions were born -- inspiring even George Lucas who attended Trek conventions in the 70s and saw how popular Trek was in syndication; it was a great climate to launch his Space Opera. Star Wars then became so huge that we got TMP.

But none of that would have happened without the level of organization, passion, and creativity that those fans poured into Star Trek and their characters after it got cancelled and went into syndication.

Without queer folks we wouldn't have George Takei, Theodore Sturgeon who gave us Tribbles, Bill Theiss and his amazing TOS costumes, Mike Minor's art direction, Merritt Butrick, David Gerrold (writer for TOS, TAS, TNG) to name a few of many queer contributors to Trek that Roddenberry respected and tried to go to bat for wherever he could in a climate that was absolutely impossible to gain an inch in.

At a time during the 70s and 80s when so many people resented and feared the queer community and wanted us to disappear, especially in the 80s during the AIDS epidemic which many homophobes claimed was "God's punishment to the gay community" or "Gods's answer" to our "hedonism", thinking we'd gotten our just desserts and should just disappear . . .

During that time, Gene Roddenberry gave us queer folks a place to say: "You know what? Sure. Write your stories. TV says you guys shouldn't exist, they pull books with queer people off the shelves and burn them. Laws exist specifically to forbid you guys from loving each other, and call you mentally ill. You can't even hold hands in public. But I'm going to validate you guys and invite you to write novels or work for me, try to see what we can get by production, and allow you to see yourselves in my characters if you want to. There's a place for you in our fandom."

He gave us bi/pan Kirk, he gave us K/S is open to interpretation. In Phase 2 Kirk's surviving nephew Peter, son of his brother Sam from Operation: Annihilate!, was going to be written as gay and living on the Enterprise with his partner -- that also got chopped and reworked into a script that wouldn't get used until decades later. That was huge at a time that being queer was officially listed as a mental illness, and villainized due to the AIDS crisis.

So before you try to dismiss or tell K/S + queer Trek fans whether or not they deserve a seat at the table, remember that Gene Roddenberry was among the **first** to pull that seat out for us in a climate that was ruthlessly against LGBT+ folks." -- 1Shirt2ShirtRedShirtDeadShirt

P.S: Have some cute bisexual/pansexual K/S pride gifs. :) Pride month is a hop, skip and a jump away.

LLAP!🖖💚

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steddielations · 1 year ago

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Flight of Icarus lore dump part 2:

Part 1 | Character List

- Wayne has a green thumb. He reads Gardener’s Weekly magazine. It doesn’t say what he grows, but it says he buys vegetables from the store so I’m going to say that gruff old man Wayne has the prettiest petunias in the whole trailer park.

- Eddie sneaks into the Hawk with his best friend Ronnie to watch action movies and thinks Snake Plissken, Han Solo and Conan the Barbarian are cool.

- Eddie talks for hours about the intricacies of Elven politics in Tolkien.

- Eddie read comics as a kid and hid them all over the house "like a little squirrel" under the bed, behind the nightstand, under the rug. Wayne found his Uncanny X-Men in the freezer between stacks of tv dinners. Also, "Hellfire Club" comes from these X-Men comics.

- Floor time! There's a part where Eddie is literally just lying on his back on his bedroom floor counting down from a million. When Wayne comes home, Eddie army crawls on his belly to the doorway to see him.

- Eddie reads Gormenghast paperbacks, gothic fantasy novels. It mentions that Wayne saved them from the house fire along with Eddie’s guitar. It never says how/when Eddie originally got his guitar.

- Eddie says lots of cc’s original songs have D&D references. It's implied that he writes them. One is called “Fire Shroud” after a spell

- Eddie is called Freak King at school and Munson Junior or just Junior around town and he hates all of it

- Eddie talks about having anxiety a lot and it's implied he has had panic attacks in the past

- Eddie is the lead singer and guitarist of cc. He started the band with Ronnie specifically because it was required to participate in the school talent show.

- Neither Wayne or Al graduated high school. When Eddie (temporarily) drops out, Al celebrates.

- Eddie doesn't cook. He doesn't even own a spatula. The smell of cooking in their house actually shocks him and gives him a deep longing for family meals, which Al uses to manipulate him

- Eddie jokes about being into Saturday Night Fever and strikes the pose a couple times.

- Eddie knows how to hotwire and how to pick locks. Al taught him this at the age of ten. Eddie is "disgusted" with himself any time he does either of those things.

- Eddie "drives like a monster" when he's upset about something.

- Eddie smokes cigarettes occasionally. Weed is mentioned a lot in the book but it never says anything about Eddie smoking it or doing any drugs. He either doesn't smoke much or he hasn't tried anything yet in the book. Also, he’s just now meeting Rick. But It’s pretty clear after everything he went through why he would start

- There's lots of mentions of PBR and Bud Light. Though Eddie says he doesn't like to drink after his shifts at the Hideout (where he's a barback). He mostly drinks off-brand Big Buy soda in the book (he calls it "pop")

- Eddie's parents were married on March 12th, 1966. The date is inscribed on the bottle of their wedding wine. Eddie asks what kind it is and Al says they only had 'red or white' kind of money

- Al breaks out the wedding wine (to manipulate Eddie, you guessed it) it's red wine and Eddie really, really likes it

- Eddie went to War Zone with his dad for supplies for the truck heist (spike strips, coveralls, etc)

- Eddie's band played Exciter by Judas Priest at the talent show. The song was only approved because they emphasized the "priest"

- There was another (?) talent show in Winter of 1981 where Eddie's band played "Prowler" and they were kicked off stage halfway through because the song was considered Satanic, and the PTA visited all their parents for trying to convert everyone to Satanism.

- Eddie imagines hitting his dad twice. Once with a glass bottle and once with a metal wrench. (He should've- oops who said that)

- The only hug Eddie gets in the book is when his dad first comes back, Eddie knows it's the first step in his cycle of showing up, using Eddie and leaving, but Eddie still accepts the hug and feels guilty for enjoying it.

- It's implied Eddie gets close to tears a couple times in the book, but the only time they actually spring up is when his mom's favorite song (from Muddy Waters) comes on in the truck radio while Eddie is doing the heist with his dad and feeling awful about it. Eddie has several flashbacks of dancing with her to this song, it seems like his happiest memory that he always returns to.

- Whenever Eddie is doing what his dad wants (hotwiring, charming a person into their plans) he puts on what he calls his "best Al Munson smile" and he's terrified that it will eventually take over his whole face. There's a part at the end where Eddie is sitting in a jail cell and says "All I want to do is tear my face off. If a new one grows in it's place, maybe it'll make me a different person. Someone who isn't such a complete fuckup."

#eddie munson the nerd that you are #steddie writers eddie recites tolkien purposely to be annoying so write that down #these always get progressively sadder oh boy #eddie munson #flight of icarus #wayne munson #al munson #ronnie ecker #stranger things #i'm gonna do one more of all the places name dropped and then a deep dive into eddie's d word issues #mp

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