Sovrisk - alternative secondariness

[Art-ort]

Good to see the sincere reflections on art, and I would even say "much suffering." But somehow I got the impression that the author is slightly "shuttered" to contemporary art and not his vidit.Imenno from the fact that he perceives it as a kind of chaos and bustle of mediocre, but I'm quite sure I can say that in Russia now, there are certain stylistic features of art (even in easel painting) all of the originality of which will be visible and appreciated only in retrospect vremeni.Vozmozhno my confidence is due to the fact that I live "inside" of art, while the author was watching him "outside".

[artcol]

Сообщение от Art-ort

Precisely because of what he perceives it as a kind of chaos and bustle of mediocre, but I'm quite sure I can say that in Russia now, there are certain stylistic features of art (even in easel painting) originality is all that will be visible and appreciated only in retrospect.

Example?

Сообщение от Art-ort

Perhaps my confidence comes from the fact that I live "inside" of art, while the author was watching him "outside".

The author is also an artist, in principle.

Added after 6 minutes

Сообщение от Cyril Syzran, 1250671

artcol, besides this, there is another hypothesis of "modern art"-an alien.
Aliens irradiated earthlings from their UFO and all of this contemporary art emerged.
The West had long been written and said.
But how can I do?
 There is still only one proven tool-foil hats.

What are UFOs? There is no mystery - just business.
Councils have invested in the money and had a department of corre-rd in the CPSU Central Committee, and the U.S. have invested well, who's been doing this I do not know.

[Art-ort]

"The author is also an artist, in principle."

[Posav]

Yeah, perhaps, leave, COP, a cap of foil itself, and we will explore the machinations of the CIA.


http://win.ru/win/2204.phtml
Taming the "Left" artists

Carefully designed principles doctrine of "cultural war" against the USSR, and after weighing all the pros and cons of the conspirators have decided to act but to act in secret. Of course, external cause of secrecy may be called, for example, the opposition of some influential members of Congress. Frances Sanders writes: "All this would be minimized, if it were put to a democratic vote. In order to maintain transparency, we had to keep it secret. " This again was the same great paradox of American strategy: "to encourage the art created in a democracy (and lifted her expression), itself a democratic process had to be set aside.

So the CIA to go into battle, having the ranks is not some kind of disciplined, or loyal fighters. Intelligence skillfully used initially Leftist, anarchist-minded, seemed to be quite awkward to manipulate Bohemians.

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Patronage against the leftist artists from the "capitalist elite" before, as a rule, ended in failure. Everyone remembers the words were Abby Aldrich Rockefeller, when she was asked to support the Mexican revolutionary, Diego Riviera (who even sang the "Death gringo!" At the door of the American Embassy). In response to this request, the wife of John D. Rockefeller, Jr.. said that the Reds no longer be red, "if we gave them artistic recognition." Many then condemned the statement. And so, after some time, at Rockefeller MoMA (Museum of Modern Art, the Museum of Modern Art) was held solo exhibition Riviera, the second solo exhibition in the history of MoMA. In 1933, Rockefeller made Riviera a special order: to paint murals just built Rockefeller Center. Every day, checking the work of the Riviera, Nelson drew attention to one of the figures clearly resembled Vladimir Ilyich Lenin. He politely asked her to remove the Riviera. Riviera politely declined. By order of Nelson fresco surrounded by guards, and the Riviera was given a check for his entire fee (21,000 dollars) and gave up his future services. In February 1934 nearly finished mural destroyed jackhammers.

Although this particular example of philanthropy toward the left and was unsuccessful, the idea is not buried. Prominent figures from the establishment continued to believe that the Left should support the artists and hoped that the political buzz around the artist can suppress jingle coins sponsor. In a famous article entitled "Avant-Garde and Kitsch," Clement Greenberg (art critic, who made the most of all for the glorification of abstract expressionism) clearly outlined the ideological reasons for deciding to accept sponsorship from an enlightened patron. Published in «Partisan Review», in 1934, this article still remains a symbol of faith for supporters of the elitist and anti-Marxist perception of modernism. Avant-garde, wrote Greenberg, abandoned "those to whom it actually belongs - our ruling class." In Europe it has been traditionally provided support for "the elite of the ruling classes ... from which he cut himself, but which remains forever tied the umbilical cord of gold". In the United States, Greenberg argued, should dominate the same mechanism.


Shot one, a lot of goals

Here you can find a really deep connection between abstract expressionism and the cultural cold war. According to this principle, the CIA and has to work together with private entrepreneurs. "When it comes to Abstract Expressionism, I am tempted to say that he was ever invented by the CIA just to see what happens in New York and London's Soho in the next day - joking CIA officer Donald Jameson before proceeding to serious explanation of the involvement of the CIA. - We realized that this kind of art has nothing in common with socialist realism, Socialist realism can make look even more stylized, rigid and limited than it actually is. And it was used in several exhibitions. Moscow then very sharply condemned all forms that deviate from its own hard samples. Thus, it can be done quite adequate and accurate conclusion, that everything they criticize so much and arbitrarily, in any case it is necessary to support. Of course, this kind of support can be made only through the organization or operation of the CIA with the help of two or three intermediaries, so that later there was no need to launder the reputation of Jackson Pollock, say, or do anything to bring these people to cooperate with the CIA. They were supposed to be at the very end of the chain. I do not think had any serious relations between us and Robert Mozeruellom, for example. These relationships could not and should not have been closer, because many of the artists have no respect for the government and no one - to the CIA. If you want to use people who somehow feel closer to Moscow than to Washington, it is better to act in this way. "

So, proceeding from the very style of action, dispassionate, and professional calibrated, but nonetheless quite exciting, it can be assumed that "the Council on psychological strategies" (see about him below) has developed a well thought-out combination to the last detail. Functionary Sami felt her obvious military advantage. Glad that strange joy that is unique to the military (who have achieved, for example, income for a brand-new weapons warheads), the CIA began to move on art market its destructive product.

Perhaps, for the enthusiasm were quite objective reasons. After all, except that curb tsereushniki own "Left" artists (disloyal, most) are actually corrupt, most of them through the mediation of art magnates U.S., they managed to create a new world of "artistic mainstream" and send it to activity in the right direction. They also found a "common language" with the European bourgeois elite who, through yesterday's "degenerate art", and today through the "Contemporary Art", sought more disown defeated Hitler and the likes of Stalin (who had sympathized with figurative style). In general, anti-Soviet "conspiracy" in modern art with the direct intervention of the Central Intelligence Agency of the United States successfully implemented.


Plans manipulation contemporary art

It is interesting to see to it, as lining up the sequence scheme, by which the CIA was involved in the art process. MoMA (Museum of Modern Art) was at a certain distance from the Intelligence and therefore fit as a plausible cover. Meanwhile, the study commissions and boards of MoMA reveals an enormous number of links with the intelligence.

The most serious was personally Nelson Rockefeller, who headed the government in wartime intelligence agency for Latin America. It was called the Coordinator of Internal Affairs of the U.S. (CIAA). This office, among other things funded visiting the exhibition "Contemporary American Art". Nineteen of these exhibitions held MoMA.

As a board member of the Rockefeller Brothers Fund, an expert organization dedicated, according to a government contract, foreign affairs, Rockefeller led the most influential minds of the period when evolved direction of U.S. policy abroad. In the early fifties he had received information about secret operations of Allen Dulles and Tom Braden, who later wrote: "I knew that Nelson is the best aware of what we do." A reasonable proposition, given that Nelson was in the Eisenhower in 1954 the post of special adviser on strategy for the Cold War (replacing S. D. Jackson), and was chairman of the Planning Coordination, keeps track of all the Council's decisions on national security, including secret CIA operation .

A close friend of Rockefeller, John Hay Whitney named Jock, had been a long time member of the Board of MoMA, as well as its president and chairman of the board. Educated at Groton, Yale and Oxford, Jock turned his considerable inheritance in a lot of money subsidizing young companies, Broadway plays and Hollywood movies. As director of cinema at Rockefeller CIAA in 1942, Jock oversaw production of such films as Disney «Saludas Amigos», just a crowded American goodwill. In 1943, he worked in the Office of Strategic Services (OSS). And in 1944, Jock was captured in southern France by German soldiers and loaded on a train heading west, but he managed to make a bold escape. After the war he founded the firm of J. H. Whitney & Co. as the company established to distribute free enterprise system by providing financial support to the new, undeveloped and risky business, for which would be difficult to attract investment capital to the more conservative channels. His high-profile partner was William H. Jackson, a friend of Jock Polo, who together served as Deputy Director of the CIA. Jock had influence in the Council on psychological strategies and found "a lot of opportunities to be useful for the CIA."

Another link in the chain was William Barden, who had all started to work in the museum in the position of chairman of the Advisory Council in 1940. Originating from the Commodore Vanderbilt, Barden was like a model of the entire ruling class during the Cold War. Occupying a wartime post of Minister of Aviation, he was still working at Rockefeller CIAA. Also very rich and deserved reputation as a "capitalist of the first rank in the venture business. As the leader of many organs and even quasi tseerushnogo Fund Farfilda (he was its president), Barden looked like a man who likes to be on the first film. In 1947 he was appointed Chairman of the Collector's Committee of the museum, and in 1956 he became president of MoMA.

During the presidency of the affairs of the museum Barden worked Rene d'Arnonkurt. Functions of the Braden consisted mainly of "proshtampovke ready documents. This gave d'Arnonkurtu space to exercise their considerable talents gray eminence among those grouped around the museum. Six feet five inches tall, 230 pounds, was born in Vienna, a descendant of the direct and indirect through a whole heap of Central European nobles, succeeded in the role of the chamberlains and officers of a whole heap of Dukes Lauren, graphs and Luxembourg Habsburg emperors - d'Arnonkurt was an extraordinary figure. In 1932 he emigrated to the United States and throughout the war he worked in the department of arts in the CIAA. Then Nelson invited him to work in his museum, and in 1949 made a director.

D'Arnonkurt believed that "modern art in its infinite variety and the continuous search of" a "main character" of democracy, and the 50-ies openly lobbied Congress for funding the cultural campaign against communism. Although Braden and asserted that "the guys from the MoMA chose to resolve their cases on the spot, but D'Arnonkurt, in his opinion, likely was an agent of the CIA in the museum. Definitely d'Arnonkurt consulted in the Coordinating Council Operations National Security Council (which replaced the Board of psychological strategies). He also made regular reports to the State Department. D'Arnonkurt, like his ancestors, "showed the ability to become indispensable for the following one after another, and sometimes for several at once, patrons".

William Paley, who inherited «Congress Cigar Company», was another trustee of MoMA, with close contacts in the world of intelligence. Paley was a close friend of Allen Dulles. With CBS - the network, the owner of which he was, Paley provides a cover for CIA officers, some, as did Henry Luce (also a member of the Board of Trustees of MoMA) in their empire Time-Life. In the best of times these relations CBS correspondent annually invited to dinners and private briefings, arranged for senior officials of the CIA. These dinners - "have become a tradition for a good meeting table and with a good cigar" - took place in the house Dulles or a private club "Alibi" in Washington. One CBS administrator said the involvement of Paley in the CIA: "This is the only issue on which his memory skid.

Here are a few names, without which described the scheme would have been incomplete. Joseph Verner Reed, for example, is a trustee of MoMA and simultaneously served in the Farfield Foundation. Was he and Gardner Kovles. It was them and Jahnke Fleshmen. Was he and Cass Canfield. Ovett Culp Hobby, a founding member of MoMA, the Committee met in the council of free Europe, and authorized the CIA to use their family foundation as a cover. When she served as Minister of Health, Education and Social Welfare in the Eisenhower, her assistant was listed as a kind of Joan Braden, who worked previously for Nelson Rockefeller. Joan was married to Tom. Tom, before you join the CIA, also worked on Nelson Rockefeller from 1947 to 1949 as Executive Secretary of the Museum of Modern Art.


"Abstract Expressionism: weapon of the Cold War"

As Gore Vidal once observed: "In our unexpectedly Jacobin republic many mutual acquaintances that anything was not surprised." Of course, we can say that this coincidence slightly open except that behind the scenes of American power at the time. Then you can argue that even if all these people knew each other when they are socially and even formally been linked to the CIA, it does not give grounds to assert that they conspired with each other in promoting a new American art.

However, the interdependence of these relationships have long been accusations MoMA creates a semi-official ties with the secret government program of cultural war. These rumors, in 1974 first raised the Eva Cockcroft, in his article in the magazine Artforum ", called" Abstract Expressionism: weapon of the Cold War. " It concluded that "the relationship between cultural politics of the Cold War and the success of abstract expressionism is no accident ... They then deliberately forged by many influential figures who controlled the policy of the museum and defending the civilized tactics of the Cold War, conceived for flirting with European intellectuals." Moreover, Cockroft, said: "If we talk about cultural propaganda, the cultural apparatus of the CIA, and the operation of programs MoMA were very similar and mutually supportive.

"I do not need to do anything to promote Pollock or anyone else - confessed Lawrence de Neufvill - I do not even remember when I first heard of him. But I remember that Jock Whitney and Allen Dulles agreed that they should do with contemporary art, once waived by the Ministry of Foreign Affairs. Perhaps it can be called "mutual support". At first glance, evidence of a formal agreement between the CIA and the MoMA no. In fact, it simply was not necessary - it is understood by way of the development of initiatives in the institutional structures of the United States.

Dionysius Kunzhin

[Art-ort]

Posav, "Artcol you about pancakes, and you him about the cake" People can control the cost of art, but can not control themselves iskusstvom.Neuzheli Nouveau style in the world would be absent, if they should not pay for it? Or Style Empire did not appear to "Reflections from Artcol much deeper and more interesting than the political intrigue scheme vremyanschikov which can be seen from the above your article.

[artcol]

[Кирилл Сызранский]

Сообщение от artcol

Tips invested in the money and had a department of corre-rd in the CPSU Central Committee

Division of what? Where to invest?
And more: UFO not mysticism.
For example, the president of Kalmykia, Kirsan Ilyumzhinov communicates with aliens, visiting their ships.
Here you go:

K. Ilyumzhinov: It was a Saturday. In September 1997, I was going to Kalmykia and in the evening came home to an apartment, it is Leontief lane. Here, in Moscow. In the evening read a book, looked at TV and went to rest. And then probably fall asleep, and felt that the balcony was opened and someone is calling. He came up, I look - such as polutruba translucent. I went into this tube and saw people in yellow suits. I'm often asked what language to communicate. Perhaps, at the level of thought, because not enough is little oxygen, and air. They gave me to understand: "Here a little touch, everything will be fine." And then a tour of this vehicle. Even they said: "We need to take a sample from the same planet." Then there was the dialogue: "Why do not you go to a live broadcast on TV and do not say that you are here?" Look, are communicating with us. " They said that "we are not ready to meet." And then just back to back. But I probably would not have believed in it, if there were three witnesses - it's my driver, the Minister, my assistant, who arrived in the morning, and found that I was not there. Things are in place, an open balcony (top floor was). We watched, began to call friends. Also no data was. Then they sat in the kitchen, discussing where to call, where to go - because the phone, things are in place, the apartment was closed, but they have their own key was. And then they see me coming out of the bedroom, directing the kitchen. They both look at me, I say: "Prepare an omelette, you must hurry to the airport." They say: "Where were you?" Well, a normal reply: "Well, he flew. At the plate was. They are upset, saying: "We are asking you seriously." And then sat down, began logically. So this time, about an hour they were, I was not in the apartment. One was in the hall, past him I could not pass. Well, emerged from the bedroom where the door was opened to the balcony. Then a few months they were shocked by this. Well, logically, as if I was not, and I appeared, you can believe it. On the other hand, our mind still, when I talk to them, I do not believe in it.http://www.1tv.ru/sprojects_edition/si=5756&fi=3800