http://www.familysecuritymatters.org/publications/detail/the-cia-funder-of-trash-and-terrorists?f=puball
Imagine my surprise when a British friend sent me the link to a 1995 Independent newspaper article about the Central Intelligence Agency’s involvement in fostering bad “art” (to loosely employ the term art) as a means of proving to the Soviets and to the world that the America wasn’t a cultural Death Valley. While I had always suspected that the CIA was involved in many questionable and highly dubious covert activities, ostensively in defense of national interests (e.g., President John F. Kennedy sanctioning the CIA’s wiretapping of the Washington press corps), this news helped to fit two or three handfuls of jigsaw puzzle pieces into a much broader picture.
Francis Stonor Saunders, writing for the Independent, and who later wrote a book about the CIA’s role in promoting not just abstract art, but “anti-communist” writers and journalists, opened with:
For decades in art circles it was either a rumor or a joke, but now it is confirmed as a fact. The Central Intelligence Agency used American modern art – including the works of such artists as Jackson Pollock, Robert Motherwell, Willem de Kooning and Mark Rothko – as a weapon in the Cold War. In the manner of a Renaissance prince – except that it acted secretly – the CIA fostered and promoted American Abstract Expressionist painting around the world for more than 20 years….
Why did the CIA support them? Because in the propaganda war with the Soviet Union, this new artistic movement could be held up as proof of the creativity, the intellectual freedom, and the cultural power of the US. Russian art, strapped into the communist ideological straitjacket, could not compete.
What startled me even more was the date of the article, October 22nd, 1995. Why hadn’t I heard of this scoop before? How did it slip under my radar? The news ought to have rocked the foundations of modern art, and sent the practitioners, purveyors and rich connoisseurs of “Abstract Expressionism” screaming “We’ve been had! We’ve been tools of the capitalist lackeys! Duped by imperialist warmongers!” as they cascaded in lemming droves over the railings of the Brooklyn Bridge. It ought to have knocked the bottom out of the demand for the drips, drops and splashes that have passed for “high art” for so many decades and dropped the appraised worth of private and institutional collections by about 99.9%.
But, nothing like that happened. The practitioners, purveyors and connoisseurs are still with us, and foisting on the country “art” that is even worse than Abstract Expressionism,” “art” that can’t even be defined as “abstract.” Or psychotic. Or disturbed. Or “art.”