Abstract Expressionism and The Cold War
Since the mid 1970s it has been argued by revisionist historians that the style attracted the attention, in the early 1950s, of the CIA, who saw it as representative of the USA as a haven of free thought and free markets, as well as a challenge to both the socialist realist styles prevalent in communist nations and the dominance of the European art markets. The book by Frances Stonor Saunders, The Cultural Cold War—The CIA and the World of Arts and Letters, published in the UK as Who Paid the Piper?: CIA and the Cultural Cold War, details how the CIA financed and organized the promotion of American abstract expressionists as part of cultural imperialism via the Congress for Cultural Freedom from 1950 to 1967.
Against this revisionist tradition, an essay by Michael Kimmelman, chief art critic of The New York Times, called Revisiting the Revisionists: The Modern, Its Critics and the Cold War, argue that much of this information (as well as the revisionists' interpretation of it) concerning what was happening on the American art scene during the 1940s and 50s is flatly false, or at best (contrary to the revisionists' avowed historiographic principles) decontextualized. Other books on the subject include Art in the Cold War by Christine Lindey, which also describes the art of the Soviet Union at the same time; and Pollock and After edited by Francis Frascina, which reprinted the Kimmelman article.
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“A work of art is an abstract or epitome of the world. It is the result or expression of nature, in miniature. For, although the works of nature are innumerable and all different, the result or the expression of them all is similar and single.”
—Ralph Waldo Emerson (1803–1882)
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