Modern art was CIA 'weapon'

view gallery VIEW GALLERY

Revealed: how the spy agency used unwitting artists such as Pollock and de Kooning in a cultural Cold War

For decades in art circles it was either a rumour 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.

The connection is improbable. This was a period, in the 1950s and 1960s, when the great majority of Americans disliked or even despised modern art - President Truman summed up the popular view when he said: "If that's art, then I'm a Hottentot." As for the artists themselves, many were ex- communists barely acceptable in the America of the McCarthyite era, and certainly not the sort of people normally likely to receive US government backing.

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.

The existence of this policy, rumoured and disputed for many years, has now been confirmed for the first time by former CIA officials. Unknown to the artists, the new American art was secretly promoted under a policy known as the "long leash" - arrangements similar in some ways to the indirect CIA backing of the journal Encounter, edited by Stephen Spender.

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.

Initially, more open attempts were made to support the new American art. In 1947 the State Department organised and paid for a touring international exhibition entitled "Advancing American Art", with the aim of rebutting Soviet suggestions that America was a cultural desert. But the show caused outrage at home, prompting Truman to make his Hottentot remark and one bitter congressman to declare: "I am just a dumb American who pays taxes for this kind of trash." The tour had to be cancelled.

The US government now faced a dilemma. This philistinism, combined with Joseph McCarthy's hysterical denunciations of all that was avant-garde or unorthodox, was deeply embarrassing. It discredited the idea that America was a sophisticated, culturally rich democracy. It also prevented the US government from consolidating the shift in cultural supremacy from Paris to New York since the 1930s. To resolve this dilemma, the CIA was brought in.

The connection is not quite as odd as it might appear. At this time the new agency, staffed mainly by Yale and Harvard graduates, many of whom collected art and wrote novels in their spare time, was a haven of liberalism when compared with a political world dominated by McCarthy or with J Edgar Hoover's FBI. If any official institution was in a position to celebrate the collection of Leninists, Trotskyites and heavy drinkers that made up the New York School, it was the CIA.

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."

To pursue its underground interest in America's lefty avant-garde, the CIA had to be sure its patronage could not be discovered. "Matters of this sort could only have been done at two or three removes," Mr Jameson explained, "so that there wouldn't be any question of having to clear Jackson Pollock, for example, or do anything that would involve these people in the organisation. And it couldn't have been any closer, because most of them were people who had very little respect for the government, in particular, and certainly none for the CIA. If you had to use people who considered themselves one way or another to be closer to Moscow than to Washington, well, so much the better perhaps."

This was the "long leash". The centrepiece of the CIA campaign became the Congress for Cultural Freedom, a vast jamboree of intellectuals, writers, historians, poets, and artists which was set up with CIA funds in 1950 and run by a CIA agent. It was the beach-head from which culture could be defended against the attacks of Moscow and its "fellow travellers" in the West. At its height, it had offices in 35 countries and published more than two dozen magazines, including Encounter.

The Congress for Cultural Freedom also gave the CIA the ideal front to promote its covert interest in Abstract Expressionism. It would be the official sponsor of touring exhibitions; its magazines would provide useful platforms for critics favourable to the new American painting; and no one, the artists included, would be any the wiser.

This organisation put together several exhibitions of Abstract Expressionism during the 1950s. One of the most significant, "The New American Painting", visited every big European city in 1958-59. Other influential shows included "Modern Art in the United States" (1955) and "Masterpieces of the Twentieth Century" (1952).

Because Abstract Expressionism was expensive to move around and exhibit, millionaires and museums were called into play. Pre-eminent among these was Nelson Rockefeller, whose mother had co-founded the Museum of Modern Art in New York. As president of what he called "Mummy's museum", Rockefeller was one of the biggest backers of Abstract Expressionism (which he called "free enterprise painting"). His museum was contracted to the Congress for Cultural Freedom to organise and curate most of its important art shows.

The museum was also linked to the CIA by several other bridges. William Paley, the president of CBS broadcasting and a founding father of the CIA, sat on the members' board of the museum's International Programme. John Hay Whitney, who had served in the agency's wartime predecessor, the OSS, was its chairman. And Tom Braden, first chief of the CIA's International Organisations Division, was executive secretary of the museum in 1949.

Now in his eighties, Mr Braden lives in Woodbridge, Virginia, in a house packed with Abstract Expressionist works and guarded by enormous Alsatians. He explained the purpose of the IOD.

"We wanted to unite all the people who were writers, who were musicians, who were artists, to demonstrate that the West and the United States was devoted to freedom of expression and to intellectual achievement, without any rigid barriers as to what you must write, and what you must say, and what you must do, and what you must paint, which was what was going on in the Soviet Union. I think it was the most important division that the agency had, and I think that it played an enormous role in the Cold War."

He confirmed that his division had acted secretly because of the public hostility to the avant-garde: "It was very difficult to get Congress to go along with some of the things we wanted to do - send art abroad, send symphonies abroad, publish magazines abroad. That's one of the reasons it had to be done covertly. It had to be a secret. In order to encourage openness we had to be secret."

If this meant playing pope to this century's Michelangelos, well, all the better: "It takes a pope or somebody with a lot of money to recognise art and to support it," Mr Braden said. "And after many centuries people say, 'Oh look! the Sistine Chapel, the most beautiful creation on Earth!' It's a problem that civilisation has faced ever since the first artist and the first millionaire or pope who supported him. And yet if it hadn't been for the multi-millionaires or the popes, we wouldn't have had the art."

Would Abstract Expressionism have been the dominant art movement of the post-war years without this patronage? The answer is probably yes. Equally, it would be wrong to suggest that when you look at an Abstract Expressionist painting you are being duped by the CIA.

But look where this art ended up: in the marble halls of banks, in airports, in city halls, boardrooms and great galleries. For the Cold Warriors who promoted them, these paintings were a logo, a signature for their culture and system which they wanted to display everywhere that counted. They succeeded.

* The full story of the CIA and modern art is told in 'Hidden Hands' on Channel 4 next Sunday at 8pm. The first programme in the series is screened tonight. Frances Stonor Saunders is writing a book on the cultural Cold War.

Covert Operation

In 1958 the touring exhibition "The New American Painting", including works by Pollock, de Kooning, Motherwell and others, was on show in Paris. The Tate Gallery was keen to have it next, but could not afford to bring it over. Late in the day, an American millionaire and art lover, Julius Fleischmann, stepped in with the cash and the show was brought to London.

The money that Fleischmann provided, however, was not his but the CIA's. It came through a body called the Farfield Foundation, of which Fleischmann was president, but far from being a millionaire's charitable arm, the foundation was a secret conduit for CIA funds.

So, unknown to the Tate, the public or the artists, the exhibition was transferred to London at American taxpayers' expense to serve subtle Cold War propaganda purposes. A former CIA man, Tom Braden, described how such conduits as the Farfield Foundation were set up. "We would go to somebody in New York who was a well-known rich person and we would say, 'We want to set up a foundation.' We would tell him what we were trying to do and pledge him to secrecy, and he would say, 'Of course I'll do it,' and then you would publish a letterhead and his name would be on it and there would be a foundation. It was really a pretty simple device."

Julius Fleischmann was well placed for such a role. He sat on the board of the International Programme of the Museum of Modern Art in New York - as did several powerful figures close to the CIA.

Life & Style
Sampling wine in Turin
food + drink...and abstaining may be worse than drinking too much, says scientist
Arts & Entertainment
Kingdom Tower
architecture
Sport
Jose Mourinho restrains his assistant manager Rui Faria, Fabio Borini celebrates his winning penalty and Connor Wickham equalises for Sunderland
sportChelsea 1 Sunderland 2: Deafeat is extra bitter as former Chelsea player Fabio Borini scores late penalty to seal victory
Arts & Entertainment
Game of Thrones writer George R.R. Martin has been working on the novels since the mid-Nineties
books
VIDEO
Have you tried new the Independent Digital Edition iPad app?
News
Easter a dangerous time for dogs
these are the new ones. Old ones are below them... news
News
Brand said he
people
Sport
Roger Federer celebrates his victory over Novak Djokovic in the Monte Carlo Masters
sport
Voices
Actor Zac Efron
voicesTopless men? It's as bad as Page 3, says Howard Jacobson
Arts & Entertainment
The monster rears its head as it roars into the sky
film
Voices
For the Love of God (2007) The diamond-encrusted skull that divided the art world failed to sell for
its $100m asking price. It was eventually bought by a consortium
which included the artist himself.
voicesYou can shove it, Mr Webb – I'll be having fun until the day I die, says Janet Street-Porter
Extras
indybestFake it with 10 best self-tanners
Arts & Entertainment
Madonna in her music video for 'Like A Virgin'
music... and other misheard song lyrics
News
Much of the colleges’ land is off-limits to locals in Cambridge, with tight security
educationAnd has the Cambridge I knew turned its back on me?
News
peopleOrlando Bloom the pin-up hero is making a fresh start
News
Who makes you happy?
happy listSend your nominations now for the Independent on Sunday Happy List
Independent
Travel Shop
the manor
Up to 70% off luxury travel
on city breaks Find out more
santorini
Up to 70% off luxury travel
on chic beach resorts Find out more
sardina foodie
Up to 70% off luxury travel
on country retreats Find out more
Have you tried new the Independent Digital Edition iPad app?
Independent Dating
and  

By clicking 'Search' you
are agreeing to our
Terms of Use.

iJobs Job Widget
iJobs General

Apprentice IT Technician

£150.00 per week: QA Apprenticeships: This company is a company that specializ...

1st Line Technical Service Desk Analyst IT Apprentice

£153.75 per week: QA Apprenticeships: This company is an innovative outsourcin...

1st Line Helpdesk Engineer Apprentice

£150.00 per week: QA Apprenticeships: This company has been providing on site ...

Sales Associate Apprentice

£150.00 per week: QA Apprenticeships: We've been supplying best of breed peopl...

Day In a Page

How I brokered a peace deal with Robert Mugabe: Roy Agyemang reveals the delicate diplomacy needed to get Zimbabwe’s President to sit down with the BBC

How I brokered a peace deal with Robert Mugabe

Roy Agyemang reveals the delicate diplomacy needed to get Zimbabwe’s President to sit down with the BBC
Video of British Muslims dancing to Pharrell Williams's hit Happy attacked as 'sinful'

British Muslims's Happy video attacked as 'sinful'

The four-minute clip by Honesty Policy has had more than 300,000 hits on YouTube
Church of England-raised Michael Williams describes the unexpected joys in learning about his family's Jewish faith

Michael Williams: Do as I do, not as I pray

Church of England-raised Williams describes the unexpected joys in learning about his family's Jewish faith
A History of the First World War in 100 moments: A visit to the Front Line by the Prime Minister's wife

A History of the First World War in 100 moments

A visit to the Front Line by the Prime Minister's wife
Comedian Jenny Collier: 'Sexism I experienced on stand-up circuit should be extinct'

Jenny Collier: 'Sexism on stand-up circuit should be extinct'

The comedian's appearance at a show on the eve of International Women's Day was cancelled because they had "too many women" on the bill
Cannes Film Festival: Ken Loach and Mike Leigh to fight it out for the Palme d'Or

Cannes Film Festival

Ken Loach and Mike Leigh to fight it out for the Palme d'Or
The concept album makes surprise top ten return with neolithic opus from Jethro Tull's Ian Anderson

The concept album makes surprise top ten return

Neolithic opus from Jethro Tull's Ian Anderson is unexpected success
Lichen is the surprise new ingredient on fine-dining menus, thanks to our love of Scandinavian and Indian cuisines

Lichen is surprise new ingredient on fine-dining menus

Emily Jupp discovers how it can give a unique, smoky flavour to our cooking
10 best baking books

10 best baking books

Planning a spot of baking this bank holiday weekend? From old favourites to new releases, here’s ten cookbooks for you
Jury still out on Manchester City boss Manuel Pellegrini

Jury still out on Pellegrini

Draw with Sunderland raises questions over Manchester City manager's ability to motivate and unify his players
Ben Stokes: 'Punching lockers isn't way forward'

Ben Stokes: 'Punching lockers isn't way forward'

The all-rounder has been hailed as future star after Ashes debut but incident in Caribbean added to doubts about discipline. Jon Culley meets a man looking to control his emotions
Mark Johnston: First £1 million jackpot spurs him on

Mark Johnston: First £1 million jackpot spurs him on

The most prize money ever at an All-Weather race day is up for grabs at Lingfield on Friday, and the record-breaking trainer tells Jon Freeman how times have changed
Ricky Gervais: 'People are waiting for me to fail. If you think it's awful, then just don't watch it'

Ricky Gervais: 'People are waiting for me to fail'

As the second series of his divisive sitcom 'Derek' hits screens, the comedian tells James Rampton why he'll never bow to the critics who habitually circle his work
Mad Men series 7, TV review: The suits are still sharp, but Don Draper has lost his edge

Mad Men returns for a final fling

The suits are still sharp, but Don Draper has lost his edge
Google finds a lift into space will never get off the ground as there is no material strong enough for a cable from Earth into orbit

Google finds a lift into space will never get off the ground

Technology giant’s scientists say there is no material strong enough for a cable from Earth into orbit