Fall-Out Shelters for the Human Spirit : American Art and the Cold War

During the Cold War, culture became another weapon in America's battle against communism. Part of that effort in cultural diplomacy included a program to arrange the exhibition of hundreds of American paintings overseas. Michael L. Krenn studies the successes, failures, contradictions, and controversies that arose when the U.S. government and the American art world sought to work together to make an international art program a reality between the 1940s and the 1970s. The Department of State, then the United States Information Agency, and eventually the Smithsonian Institution directed this effort, relying heavily on the assistance of major American art organizations, museums, curators, and artists. What the government hoped to accomplish and what the art community had I mind, however, were often at odds. Intense domestic controversies resulted, particularly surrounding the promotion of modern or abstract expressionist art. Ultimately, the exhibition of American art overseas was one of the most controversial Cold War initiatives undertaken by the United States. Krenn's investigation deepens our understanding of the cultural dimensions of America's postwar diplomacy and explores how unexpected elements of the Cold War led to a redefinition of what is, and is not, "American." During the Cold War, culture became another weapon in America's battle against communism. Part of that effort in cultural diplomacy included a program to arrange the exhibition of hundreds of American paintings overseas. Michael L. Krenn studies the successes, failures, contradictions, and controversies that arose when the U.S. government and the American art world sought to work together to make an international art program a reality between the 1940s and the 1970s. The Department of State, then the United States Information Agency, and eventually the Smithsonian Institution directed this effort, relying heavily on the assistance of major American art organizations, museums, curators, and artists. What the government hoped to accomplish and what the art community had in mind, however, were often at odds. Intense domestic controversies resulted, particularly when the effort involved modern or abstract expressionist art. Ultimately, the exhibition of American art overseas was one of the most controversial Cold War initiatives undertaken by the United States. Krenn's investigation deepens our understanding of the cultural dimensions of America's postwar diplomacy and explores how unexpected elements of the Cold War led to a redefinition of what is, and is not, "American." Contents......Page 6 Preface......Page 10 Acknowledgments......Page 12 Introduction......Page 14 1 Advancing American Art......Page 22 2 Art as a Weapon......Page 63 3 A Delightful Political Football......Page 88 4 Success at Brussels......Page 124 5 A Little Too Strange for the Average Russian......Page 160 6 New Frontiers for the Government and the Arts......Page 192 7 See Venice and Propagandize......Page 220 Conclusion......Page 246 Notes......Page 258 Bibliography......Page 294 A......Page 302 B......Page 303 D......Page 304 G......Page 305 H......Page 306 L......Page 307 N......Page 308 P......Page 309 S......Page 310 T......Page 311 U......Page 312 Z......Page 313 "During the Cold War, when the United States believed that it was locked in a life-or-death struggle with the Soviet Union for the hearts and minds of people throughout the world, culture became another weapon in the battle against communism. Part of that effort in cultural diplomacy included a program to arrange the exhibition of hundreds of American paintings overseas. Michael L. Krenn studies the successes, failures, contradictions, and controversies that arose when the U.S. government and the American art establishment sought to work together to make an international art program a reality between the 1940s and the 1970s."--Jacket A look at the successes, failures and controversies that arose when the US government and US art world sought to unite to make an international art program a reality between the 1940s and 1970s. It questions the cultural dimensions of US postwar diplomacy and asks how elements of the Cold War led to a redefinition of what is, and isn't, 'American'. In March 1941, the United States was less than a year away from being engulfed by World War II.