The CIA, Patron of Abstract Expressionism

Hiding in plain sight is confirmation in a 1995 story from Britain’s Independent newspaper that after WW II and continuing on throughout the ’50s the CIA promoted Abstract Expressionism, ostensibly to show America’s openness to cultural variety, as compared with the rigid Constructivism in Soviet arts. I had somehow missed the story by reporter Frances Stonor Saunders, which, thanks to fellow Tweeps @nwoah and @roc_cayard, resurfaced this evening on Twitter. Among many fascinating revelations it reports that

In 1958 the touring exhibition “The New American Painting”, including works by Pollock, de Kooning, Motherwell, [Rothko] 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.

Eisenhower-era support of boundary-busting art seems ironic now, but the article also points out the truth that the CIA, notwithstanding its Cold Warrior status, it

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.

In this regard, I recall that the first publishing house I worked for in New York was Walker & Company, whose founder Samuel Walker was long rumored to have been a member of OSS during the war, the CIA’s forerunner, and involved with Radio Free Europe during the Cold War. I remember seeing books in the Walker company library, titles published in the ’50s and ’60s, that were labeled as printed in Poland, suggesting to me that the company still had some level of involvement with America’s outreach to Eastern Europe during the Cold War. This may even explain how Walker happened to be the first American publisher of John Le Carre bringing out Call for the Dead in 1961 and The Spy Who Came in From the Cold in 1963, long before he was well known.

#FridayReads, March 30–Caro on LBJ

#FridayReads The New Yorker‘s excerpt from Robert Caro’s fourth volume in his long-running LBJ bio. Powerful narrative of the day JFK was killed and LBJ took office, and how this picture came to be taken by WH photographer Cecil Stoughton. As readers of this blog may recall, I’ve had opportunities to converse with Caro and I’m a huge admirer of his 1974 book The Power Broker. It will be a treat to read his latest book when Knopf publishes it in May. I am also finishing James Kunen’s remarkable Diary of a Company Man, which I posted on for my last #FridayReads. Think Aaron Copland’s “Fanfare for a Common Man,” only it’s not set to music, it’s in prose.

Comics and New York City–A Beautiful Friendship

Last weekend I was privileged to attend a great event celebrating the comic arts, graphic novels, and New York City for PW Comics World, the online comics home of Publishers Weekly. The event was called Comic NY-A Symposium and my article, “Comics, New York City And History at Columbia’s Low Library,” has now been published at the PW website. If you love the comic arts and graphic novels, enjoyed watching Paul Giamatti play Harvey Pekar in “American Splendor,” or ever chuckled over MAD magazine, I invite you to read my piece at the PW site or here on my blog. FYI–the rendition below is illustrated with photos of mine that do not appear on the PW site, which has other, excellent pictures.

Comics, New York City And History At Columbia’s Low Library
by Philip Turner, Mar 29, 2012


Are the creators of comics and graphic works storyteller-artists inspired by the drive to imagine the urban landscape? Or are they journalists, motivated by an impulse to document the cities where they live? As considered by a bevy of comic talent at Columbia University, the answer is they are both—imaginative artists and chroniclers reimagining and reflecting their worlds—and more. The scene for these dynamic discussions was Columbia University’s Low Library where “Comic New York-A Symposium” was held March 24-25. With thirty panelists participating in six panels, plus a keynote discussion with acclaimed X-men writer and collector Chris Claremont, more than 250 comics fans were treated to in-depth conversations about how the comic arts have been influenced by New York City and how the metropolis has absorbed the influence of the comics.  Claremont was honored for donating his archive to Columbia University’s Rare Book and Manuscript Library.

The opening panel, “New York, Real and Imagined,” began with Kent Worcester, co-editor of A Comic Studies Reader, sharing five comics images that showcased New York’s tremendous verticality; in “Gasoline Alley,” where Skeezix and Walt ride on a magic carpet high above the city, and in Superman, when the Man of Steel dangles a villain over a yawning chasm between skyscrapers. Along with the verticality the city has lent to comics, Worcester also asked his audience to consider Manhattan’s street grid, a visual analog to the panel format of comic books. Molly Crapabble, illustrator, cartoonist, denizen of New York’s downtown art scene, conceded she’s an outsider to the comics world and said that she makes frequent reference to Thomas Nast and Heironymous Bosch for the crowded scenes of ribaldry she draws. Asked about New York’s underground life, she observed that the subway is “the hair shirt” of the city, contrasted with “the sparkly, silver Babylon” above ground. John Romita, Sr., who drew Spider Man with Stan Lee, said he made New York a veritable “co-star” with the web-spinner, while his son, John Jr., aka JRJR, who drew Daredevil, spoke of the dark and “moody” look he deliberately brought to the series. TV writer and autobiographical comics artist Ariel Schrag told an improbably hilarious story about a brawl at a gay prom she attended at Columbia, events she chronicles in her coming-of-age graphic memoirs. / / read more with many pictures . . .

A Book Talk about Jim Tully

I was delighted a few weeks ago when Paul Bauer and Mark Dawidziak, authors of Jim Tully: American Writer, Irish Rover, and Hollywood Brawler, my favorite biography of 2011, came to NYU to speak about their book at NYU’s Glucksman Ireland House. I’d been in touch with Paul and Mark last November after I blogged about the book in a piece called Lost American Writer Found–Jim Tully and so was excited to attend their talk and meet them in person, especially because my artist wife Kyle Gallup and our actor and writer son Ewan, would be coming with me.

Paul and Mark gave a great talk, using photographs and film clips to anatomize the story of Tully’s life. Their book chronicles the life of the hobo writer-turned Hollywood insider who minted the hardboiled style of prose that would become even better known later on in the books of Raymond Chandler, James M. Cain, and Dashiell Hammett. The pictures accompanying this post should give you some flavor of their talk. It was a treat meeting them afterward, and the next day, having Paul over to our apartment for tea and rugelach. He’s been a second-hand book dealer for many years and so it was great to not only talk about Tully, whose early book Circus Parade I’d been reading, but also to show Paul volumes from our library.

Last November I wrote this about their book, which I stand by today as my summing up of the authors’ visit to New York City.

“Biographers Bauer and Dawidziak steep the reader in Tully’s lifelong struggle to make himself into a significant person; glimpsing his continual act of self-creation is what I found thrilling about this book. The authors chronicle how even in relatively prosperous years, he continued striving to create himself and forge his work. . . . What’s great about the Tully bio–and other books like it that achieve this deep level of discourse with their subject’s life–is that the reader has a chance to assemble, in ways the biographer shows one how to do, how a literary career is lived and aspired toward, and achieved. The successful biography spans the decades and folds of a life, making the living subject comprehensible and one whom we understand. That’s what happened for me with Jim Tully: American Writer, Irish Rover, Hollywood Brawler, and why this book will be on my best list for 2011.”

C-Span’s Brian Lamb–Good for TV, Good for the USA, Good for Books

I read with interest last night the news that C-Span founder Brian Lamb’s decided to step aside as active CEO of the network, leaving the leadership to a two-person combo, Susan Swain and Rob Kennedy. I’ve worked with Brian and Susan and I’m very happy for them both–for Brian, who can step back a bit after close to three decades in day-to-day leadership of the innovative network, and for Susan, who like Brian has always been a pleasant presence on-screen and great to deal with on any matters relating to their prodigious coverage of nonfiction books. In fact, if publishers and authors have not given C-Span an award for its coverage of current affairs and issues books, it’s hight time we as an industry did so.

I got to know Brian, and Susan, when as an editor with Times Books of Random House I edited a book with him in 1998-99. It was Booknotes–Life Stories: Notable Biographers on the People Who Shaped America, drawn from Brian’s on-air conversations with the more than 500 biographers he’d interviewed on “Booknotes,” the program that preceded his current showcase, “Q&A.” Imagine a book filled with the insights of Robert Caro (on LBJ), Ron Chernow (on John D. Rockefeller), and Blanche Wiesen Cook (on Eleanor Roosevelt), and multiply it times a couple hundred. One of the great evenings of my career was the night we launched the book at Barnes & Noble’s Union Square store, with Brian moderating a discussion among Caro, Chernow, and Cook. After the signing, as we all headed across the Square  to a restaurant I had the chance to introduce myself to Caro, whose indomitable book on Robert Moses, The Power Broker, had crystallized in me a dream to live in New York long before it was a practical possibility.  As we were crossing 17th Street, I said to Caro, “Your book made me nostalgic for the city and a time I never lived in.” Caro stopped in the street, turned to me and in his broad Bronx accent marveled, “No one’s ever said that to me.” I was some kind of glad that night, especially when Caro later told me that he long admired my late author Edward Robb Ellis and his books, The Epic of New York City and A Diary of the Century.

Working on the manuscript with Brian, he was always self-effacing and eager to hear my take on the material. Despite what I’ve seen expressed by a few commenters below the TPM story on this development, C-Span has no partisan agenda, and neither does its founder. And the neutral ‘C-Span look’ that hosts have when callers phone in and make their aggressively partisan points? It’s no accident; rather, it’s a product of Brian’s studious refusal to choose sides in Washington. By now, if a D.C. backbench politician isn’t being heard, it’s not for lack of opportunity via C-Span and other cable networks. I’d argue that C-Span has made hearing from politicians almost routine, and while we may feel we get too much of them nowadays, I believe that’s an improvement over the era when few members of congress not in leadership positions were even heard from.

Detractors might say that Speakers of the House still control the camera, and that’s true, but not for lack of C-Span trying to expand the number of lenses positioned in the chamber. Now, if the Supreme Court would finally accede to Lamb’s request that they allow cameras in their Court–something he’s asked for repeatedly over the past several years–we’d also have a somewhat more open third branch of government.

Good News for Bloggers & Internet Publishers

From Nevada comes news of this favorable Federal court ruling that will buoy the work of bloggers, social networkers, and anyone who publishes on the Internet. Had this decision gone the other way any outlet that quotes from online articles could have been deemed in violation of copyright, even when proper attribution and linking are provided, as is the custom on this blog. Thank you Electronic Frontier Foundation for becoming involved in this troublesome case, where Fair Use on the part of Democratic Underground was essentially the ruling given by Judge Roger Hunt. He slapped down the copyright trolling machinations of the plaintiff, who according to the article by Kurt Opsahl, Senior Staff Attorney of the Electronic Frontier Foundation, had “filed hundreds of copyright cases based on its sham copyright ownership claims.” h/t @jayrosen_nyu

“Dreams From My Father” & Kodansha Globe, 1995-96

As some of my book biz friends know, in the 90s I had a good long tenure as an editorial executive with Kodansha America, the NY office of the largest Japanese publisher. Although we published some Asian-oriented titles, it was a mostly U.S. list with such books as the national bestseller al bestseller Having Our Say, by the centenarian Delaney sisters, and A Diary of the Century:Tales From American’s Great Diarist by Edward Robb Ellis, which sold well and got lots of coverage, including a rare hat trick when the author appeared on all three network morning shows the week of publication. I just blogged about Eddie a few weeks ago, on the anniversary of what would have been his 101st birthday.

During my five years with Kodansha, I also started a trade paperback series that in some ways anticipated the fine list published nowadays by the New York Review of Books Classics imprint. Kodansha Globe combined titles in cross-cultural studies, anthropology, natural history, adventure, narrative travel and belle lettres. I developed the program with my astute and affable Japanese boss Minato Asakawa, with valuable contributions from talented editorial colleagues Paul DeAngelis–who introduced me to the work of Owen Lattimore, whose 1950 anti-McCarthyite broadside Ordeal by Slander I would republish in 2003–and Deborah Baker, about whom I’ll say more below. By the time I left Kodansha in 1997 we had published more than ninety Globe titles, including the first paperback edition of Barack Obama’s debut book Dreams From My Father

The Globe list included revivals of notable books that had fallen out of print: Man Meets Dog, on the origins of the human-canine bond, by Konrad Lorenz, Alone, a harrowing account of survival near the South Pole, by Admiral Richard Byrd, Blackberry Winter, the youthful memoir of Margaret Mead, and All Aboard with E.M. Frimbo, a classic of train culture by New Yorker stalwarts Rogers E.M. Whitaker and Tony Hiss; originals like Sarajevo, Exodus of a City, a biography of the besieged city by Bosnian playwright Dzevad Karahasan, which the Voice Literary Supplement made a year-end best book during the Balkan Wars; and reprints of current hardcovers from major houses like Peter Canby’s The Heart of the Sky, on the resilience of Mayan culture in the Americas and Alex Shoumatoff’s The Mountain of Names, chronicling the history of human kinship and genealogy, which before dying last year Christopher Hitchens made the springboard for one his last columns. We also developed a strong list in books on Central Asia, including four books by the master chronicler of the region, Peter Hopkirk, whose The Great Game: The Struggle for Empire in Central Asia was the top-selling Globe title. // more w/illustrations . . .

My Friend Ruth Gruber, Pioneering Photojournalist




Since 1997, when I began working with my remarkable author Ruth Gruber, I’ve had the privilege of bringing out six of her books in hardcover and trade paperback. Over the past year, it’s been really exciting to see four of those books–Ahead of Time: My Early as a Foreign Correspondent; Haven: The Dramatic Story of 1,000 WWII Refugees and How They Came to America; Inside of Time: My Journey from Alaska to Israel; Raquela: A Woman of Israel–be published as ebook editions by Open Road Integrated Media. Now, in honor of Women’s History Month Open Road is making it very easy for new readers to discover Ruth’s work by placing excerpts from each of those books on its blog.

In addition, to observe Ruth’s 100th birthday last October Open Road posted a brief video of her reflecting on her life and career. That video is pasted in above this blog post. I urge you to watch and listen to Ruth, read the free excerpts, and go on and buy her books. I’d suggest you begin with Ahead of Time, which is also the title of a fine documentary film about Ruth. In addition to the recognition that film has brought her, the International Center of Photography mounted an exhibit of Ruth’s photographs last summer, as the ICP gave her the Cornell Capa Lifetime Achievement Award for her contributions as a photojournalist.

I am really excited to spread the joy I’ve taken over the years in working with Ruth and share it with you.