Review by Lincoln Cushing, The
Americas, January 2007, page 457
|
Marlene Park offers insight into the politics of a pair of competing anti-lynching art exhibitions held in New York City. The strongest essays go further, raising challenging questions about deeper issues such as nationalism, the orthodoxy of representational art, the importance of federal funding for the arts, and the relationships between artists and Party organizations. Andrew Hemingway posits that the various U.S. communist cultural movements of that period fell apart because of how the CPUSA imploded in response to repression, Jonathan Weinberg suggests that the hypermasculine representations in 30s artwork were a response to the insecurity felt from massive unemployment and women entering the workforce, and Anthony W. Lee makes the case that Diego Rivera’s Detroit murals perpetuated a “leftist fantasy of the American worker” (p. 202) and “…call forth a capitalist vision of harmony on the assembly line even as [they try] to articulate a socialist vision…” (p. 208). One quality of this book is that many of these essays are about failures, not successes. It’s easy to glorify and romanticize the artmaking during the pre-McCarthy golden years of militant unionism and social upheaval, but this book takes a hard look at the contradictions and limitations of this period. People of color were stereotyped and used to political advantage, women artists had a hard time getting recognition, and the Left spent much of its time fighting itself. Some things never change, but this book gives us tools to avoid the mistakes of the past. Some peculiar and significant flaws mar this otherwise illuminating work. There are no author biographies, and almost all the images lack documentary photographer credits. The reproductions are often inadequate; important images are referred to but not displayed, the lack of color reproduction eviscerates much of their impact, and many of the mural photos – admittedly a difficult documentation challenge – lack sharpness and contrast. Finally, the emphasis on muralists and painters perpetuates the marginalization of the important role of posters and prints during this period. |
---|