In this 1995 Independent article, you can read about the former CIA officer who admitted that the Agency secretly funded and promoted Abstract Expressionism as a way for avant-garde, lefty types to reconcile their worldview with American values, rather than Soviet-style Communism. They operated in secret to avoid "the public hostility to the avant-garde," and hid their actions from conservative Congressmen who hated that long-hair junk.
The decision to include culture and art in the US Cold War arsenal was taken as soon as the CIA was founded in 1947. Dismayed at the appeal communism still had for many intellectuals and artists in the West, the new agency set up a division, the Propaganda Assets Inventory, which at its peak could influence more than 800 newspapers, magazines and public information organisations. They joked that it was like a Wurlitzer jukebox: when the CIA pushed a button it could hear whatever tune it wanted playing across the world.
The next key step came in 1950, when the International Organisations Division (IOD) was set up under Tom Braden. It was this office which subsidised the animated version of George Orwell's Animal Farm, which sponsored American jazz artists, opera recitals, the Boston Symphony Orchestra's international touring programme. Its agents were placed in the film industry, in publishing houses, even as travel writers for the celebrated Fodor guides. And, we now know, it promoted America's anarchic avant-garde movement, Abstract Expressionism...
Until now there has been no first-hand evidence to prove that this connection was made, but for the first time a former case officer, Donald Jameson, has broken the silence. Yes, he says, the agency saw Abstract Expressionism as an opportunity, and yes, it ran with it.
"Regarding Abstract Expressionism, I'd love to be able to say that the CIA invented it just to see what happens in New York and downtown SoHo tomorrow!" he joked. "But I think that what we did really was to recognise the difference. It was recognised that Abstract Expression- ism was the kind of art that made Socialist Realism look even more stylised and more rigid and confined than it was. And that relationship was exploited in some of the exhibitions.
"In a way our understanding was helped because Moscow in those days was very vicious in its denunciation of any kind of non-conformity to its own very rigid patterns. And so one could quite adequately and accurately reason that anything they criticised that much and that heavy- handedly was worth support one way or another."
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