17d05d030193283f60ac573244de53e6 полностью

Nancy Jachec, in The Philosophy and Politics of Abstract Expressionism (Cambridge: Cambridge University Press, 2000), makes much the same point about MoMA’s exhibition policies but still argues that the U.S. government deliberately promoted abstract expressionism because Marxist and existentialist influences on the movement’s aesthetics rendered it attractive to non-communist left audiences in western Europe. Finally, see also Robin Burstow’s excellent article,

“The Limits of Modernist Art as a ‘Weapon of the Cold War’: Reassessing the Unknown Patron of the Monument to the Unknown Political Prisoner,” Oxford Art Journal 20 (1997): 68–80.

33. Saunders, Who Paid the Piper? pp. 264–275.

34. See Kris Russman, “The Coca-Colonization of Music: Cultural Strategies of the American State Department and the CIA Regarding the Performance of Music during the Cold War” (D.Phil. diss., University of Cambridge, 2002).

35. See Saunders, Who Paid the Piper? chap. 8.

36. Herbert Luethy, quoted in Ian Wellens, Music on the Frontline: Nicolas Nabokov’s

N O T E S T O PA G E S 1 0 9 – 1 1 4

281

Struggle against Communist and Middlebrow Culture (Aldershot: Ashgate, 2002), p. 58.

37. Saunders, Who Paid the Piper? p. 117.

38. C. D. Jackson to Henry Cabot, 14 August 1951, box 38, folder BSO-1951, C. D.

Jackson Papers, Dwight D. Eisenhower Library, Abilene, Kansas. Lasky quoted in Saunders, Who Paid the Piper? p. 124. Braden quoted in ibid., p. 125.

39. Saunders, Who Paid the Piper? p. 125.

40. Quoted in ibid., p. 221.

41. Ibid., p. 223.

42. Wellens, Music on Frontline, p. 125.

43. See Russman, “Coca-Colonization of Music,” app. 5.

44. Frank Wisner to Nelson Rockefeller, “Cultural Exchange with the Soviet Union,” 14 September 1955, 80.615, Nelson A. Rockefeller Papers, Washington, D.C., Files, Special Assistant to the President for Foreign Affairs, 1954–55, Rockefeller Archive Center, Sleepy Hollow, New York.

45. See Naima Prevots, Dance for Export: Cultural Diplomacy and the Cold War (Hanover, N.H.: Wesleyan University Press, 1998).

46. Frank Wisner to Nelson Rockefeller, “Cultural Exchange with the Soviet Union,”

14 September 1955, 80.615, Nelson Rockefeller Papers. This letter of Wisner’s to Rockefeller is the only contemporaneous written record of the CIA’s tastes in the early Cold War period available to researchers. Rockefeller’s papers also contain correspondence suggesting that Wisner not only closely monitored the reception of Robert Breen’s production of George Gershwin’s opera Porgy and Bess when it toured Europe with State Department backing (a venture generally considered one of the United States’s most successful attempts at Cold War cultural diplomacy), but also that he might have been behind the official decision to sponsor the tour in the first place. In a letter of April 1955, Rockefeller tells Wisner, “You rendered a great service to our country in getting this started.” Nelson Rockefeller to Frank Wisner, 12 April 1955, 89.674, Nelson Rockefeller Papers.

47. For a highly suggestive analysis of the ideological correspondences between modernism and Cold War American cultural power, see Alan Sinfield, Literature, Politics, and Culture in Postwar Britain (Oxford: Blackwell, 1989).

48. See Burstow, “Limits of Modernist Art.”

49. Lowell incident recounted in Saunders, Who Paid the Piper? pp. 347–349, 277; Reinhardt quoted in ibid., p. 277.

50. For more on the Macdonald incident, see ibid., pp. 315–324; and Hugh Wilford, The CIA, the British Left, and the Cold War: Calling the Tune? (London: Frank Cass, 2003), pp. 279–281.

51. Michael Holzman, “Café CIA Roma: Mary McCarthy’s Cold War,” Prospects 25

(2000): 685.

282

N O T E S T O PA G E S 1 1 4 – 1 1 8

52. Quoted in Saunders, Who Paid the Piper? pp. 122–123.

53. Isaiah Berlin to Arthur Schlesinger, Jr., 6 June 1952, box 9, folder Berlin, Sir Isaiah, Arthur M. Schlesinger, Jr., Papers, John F. Kennedy Library, Boston.