9780300092202

Artists on the Left : American Artists and the Communist Movement, 1926-1956

by
  • ISBN13:

    9780300092202

  • ISBN10:

    0300092202

  • Format: Trade Book
  • Copyright: 2002-10-11
  • Publisher: Yale University Press
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Supplemental Materials

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  • The New copy of this book will include any supplemental materials advertised. Please check the title of the book to determine if it should include any access cards, study guides, lab manuals, CDs, etc.

Author Biography

Andrew Hemingway is reader in the history of art, University College London.

Table of Contents

Acknowledgements viii
Introduction: The Left Movement in the Arts 1(1)
Argument
1(1)
Rationale
2(1)
Scope and Organisation
3(1)
Stalinism and the Question of Larger Significance
3(1)
Note on Limits
4(1)
Part I `Revolutionary Art': The CPUSA and the Arts in the `Third Period'
5(96)
New Masses and the Cultural Movement in the Third Period
7(18)
The Early New Masses
8(5)
Mike Gold and the Proletarian Aesthetic
13(3)
The Future and the Past: USSR versus USA
16(3)
New Masses and the International Union of Revolutionary Writers
19(1)
The Rise and Fall of the John Reed Clubs
20(5)
Defining Revolutionary Art: Cultural Criticism in the Third Period
25(22)
Lessons of Soviet Culture
25(2)
Mexican Revolutionary Art
27(2)
Proletarian Artists versus 100 per cent Americanism: Art Criticism in New Masses up to 1935
29(10)
Art Front
39(8)
Revolutionary Art on Display: The John Reed Clubs and the Whitney Museum
47(28)
John Reed Club Art Exhibitions
47(20)
John Reed Club Artists outside the Clubs
67(8)
Communist Artists and the New Deal (I): The Federal Art Projects before the People's Front
75(26)
The CPUSA and the New Deal
75(2)
Federal Art Projects, 1933--1935
77(2)
The Ideology of Federal Art
79(6)
The Artists' Union
85(2)
The Union Critique
87(1)
Communists in the Public Works of Art Project
88(13)
Part II The Popular Front and the Transition to `People's Art'
101(88)
Cultural Criticism from the People's Front to the Democratic Front
103(20)
New Masses, 1936--1940
105(4)
Art Criticism in New Masses, 1936--1940
109(4)
The Marxist Critics Group
113(1)
Art Front's Last Year
113(3)
The Daily Worker's Art Column
116(4)
Conclusions
120(3)
Social Art on Display: Organisations and Exhibitions
123(24)
The American Artists' Congress
123(2)
Exhibitions of the American Artists' Congress
125(5)
Artists' Union Exhibitions and Other Initiatives
130(2)
The American Artists School
132(1)
An American Group, Inc.
133(3)
The ACA Gallery
136(8)
Social Art at the Whitney Museum
144(3)
Communist Artists and the New Deal (2): From the People's Front to the Democratic Front
147(42)
The Federal Art Project and the Struggle over WPA
147(2)
The CPUSA and the Federal Art Project
149(2)
The Ideology of the Federal Art Project
151(2)
The Treasury Section of Fine Arts
153(16)
The WPA Federal Art Project
169(20)
Part III From the Grand Alliance to Oblivion
189(90)
Cultural Organising After 1939: The Artists League of America, Artists Equity and Other Initiatives
191(16)
The Artists League of America
192(2)
The Victory Workshop and the Graphic Workshop
194(1)
The Arts, Sciences and Professions
195(3)
The Waldorf Conference
198(1)
Artists Equity Association
199(2)
The Defence of the Rincon Post Office Murals
201(3)
The ACA Gallery
204(1)
Endings
205(2)
Cultural Criticism between Hollywood and Zhdanovism
207(18)
The Maltz Affair
208(1)
Art Criticism in the Daily Worker
209(2)
New Masses and Masses & Mainstream
211(8)
The End of Democratic Front Aesthetics and the Emergence of Zhdanovism
219(4)
The Crisis of 1956--1957 and its Aftermath
223(2)
Social Art in the Cold War
225(54)
Changing Personnel
226(1)
The New Symbolism
227(11)
Socialist Humanism and the Portrait
238(14)
Jack Levine's comedie humaine
252(8)
African American People's Art: Charles White and Jacob Lawrence
260(9)
Modernism and Social Narrative
269(10)
Epilogue 279(4)
Notes 283(53)
Select Bibliography 336(7)
Photograph Credits 343(1)
Index 344

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