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.So why is this idiocy (other than the obvious)? Because it shows that the CIA was playing checkers while the KGB was playing chess:
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.
But it was the Soviet Union, in its day, that was the master of this game. They made dezinformatsiya (disinformation) a central weapon of their war against “the main adversary”, the U.S. They conducted memetic subversion against the U.S. on many levels at a scale that is only now becoming clear as historians burrow through their archives and ex-KGB officers sell their memoirs.Remember, these are the people who thought that the Soviet Union was the third largest economy in the world in 1989, right before the Warsaw Pact collapsed.
The Soviets had an entire “active measures” department devoted to churning out anti-American dezinformatsiya. A classic example is the rumor that AIDS was the result of research aimed at building a ‘race bomb’ that would selectively kill black people.
On a different level, in the 1930s members of CPUSA (the Communist Party of the USA) got instructions from Moscow to promote non-representational art so that the US’s public spaces would become arid and ugly.
Americans hearing that last one tend to laugh. But the Soviets, following the lead of Marxist theoreticians like Antonio Gramsci, took very seriously the idea that by blighting the U.S.’s intellectual and esthetic life, they could sap Americans’ will to resist Communist ideology and an eventual Communist takeover. The explicit goal was to erode the confidence of America’s ruling class and create an ideological vacuum to be filled by Marxism-Leninism.
So in my book it is entirely plausible that the CIA secretly backed vacuous wastes of wall space like Rothko. Given what we know about penetration of the Western Intelligence community by the KGB, the only question is whether this program was run by double agents.