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Artists As Militant Trade Union Workers During the Great Depression

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Artists As Militant Trade Union Workers During the Great Depression 7 1936 Museum of Modem Art retro- spective, "Cubism and Abstract Art," Artists As Militant subsequent Museum of Modem Art exhibitions, American Abstract Artists annuals, and other occasions which had prompted denunciations and smug Trade Union Workers During dismissals. Except for several paragraph headings, an introduction and a conclu- sion, writers of the A.A.A. pamphlet The Great did a minimum of editorializing, allow- Depression ing the critics to speak for themselves, although the selection of excerpts was GeraldM. Monroe calculated to embarrassand to highlight misstatements and contradictions. It The artist of modem times has she the entreaties of the was an irreverent document, created to generally tions, ignored functioned in alienation from the main- them that there were put forth the opinion that major critics UAG, informing for New York and stream of prevailing society. During the relief agencies to which they might writing newspapers of the Great of the The artists held mass art publications often had little know- period Depression apply. angry pro- of in 1930's, however, artists rushed forward tests, mounted picket lines on the nar- ledge 20th-century developments in numbers to to the devas- row sidewalk in front of the European art and held fixed opinions large respond Whitney, about the national characterof American tating economic and political crisis. then located on 8th Street, and sent After a of stunned art- numerous to her office. The painting and sculpture. period inaction, delegations "The Art Critics-!" was the last ists gradually realized that their eco- pressure was overwhelming and Force American Abstract Artists nomic and professional needs could only gradually made concessions. She also publication be obtained massive closed the museum on March 27-six to project this aggressive tone toward through govern- New York the and the ment patronage. Influenced by socialist weeks early-presumably out of a fear of museums, press, and the vandalism! public. Abstract artists, by their num- ideology inspired by growing their and the solid ac- labor movement, artists organizedthem- In February 1934, the name of the bers, energy, selves as "cultural and turned was to the Artists complishment of their work, were at workers," organization changed last a role inAmerican to militant trade union tactics to effect Union; it became a trade union of paint- playing significant their and allied painting and sculpture. By 1941, abstrac- goals. ers, sculptors, printmakers, tion ceased to be treated as an issue and In the summer of 1933, a small artists. Although the union professed to of the content of individual artists'work be- group artists began to meet informally be nonpolitical, many of the leaders at the John Reed Club, an were Communists or fellow travelers. came the primary focus of artistic and organization critical attention. TheAmericanAbstract of radical artists and writers, to discuss Control of the leadership by members of Artists exhibitions and had the possibility of promoting government the Communist Party was maintained publications About of them because were to do helped to stimulate, provoke,and educate support. twenty-five primarily they eager the art the later 1930s in jointly issued a manifesto declaring the (unpaid)work. However, the union public during "The State can eliminate once and for was run on democratic significant ways, helping the abstract generally lines, artist to discover his and his all the unfortunate dependence of Amer- and non-Communists who were active identity ican artists the of became officers and were influential in public in the United States. upon caprice private patronage."1 The New York artists re- the union's affairs. During that time of ferred to themselves as the Unemployed pressing humanitarian issues and polit- Artists Group; among its early leaders ical idealism, liberals and radicals were Notes were Max Spivak, Phil Bard,Boris Gore- often able to work effectively together. lik, Bemarda Bryson, Ibram Lassaw, The union's first president was 1. Archives of American Art, Smithsonian In- Balcomb and Gertrude Michael Balcomb a former in- stitution, "American Abstract Artists," microfilm Greene, Greene, English NY59-11. This file contains the minutes of early Loew, Joseph Vogel, and James Guy. structor at Dartmouth who had become meetings of the American AbstractArtists, c. 1937- Frequent demonstrations by the UAG a painter. When he resigned, his term 1940. attracted hundreds of followers and were was completed by Michael Loew, who in 2. Archives of American Art, Smithsonian effective in a of turn was succeeded Phil Institution, American Abstract Artists, General securing variety city, by Bard,surely Prospectus,1937, microfilm NY59-11, frame #00184. state, and federal programsthat supplied the most popular of the union's leaders. 3. Charles Shaw, "A Word to the Objector," the artists with occasional work. During He was a dedicated Communist who American Abstract Artists 1938, unpaged. the winter of 1933-1934, the federal always seemed anxious to demonstrate 4. Ibid. government initiated the Public Works that he was more radical than anyone 5. Carl Holty, "A Letter to Alfred Barr,"Nov- of Art a not so to be ember 22, 1937, Archives of American Art, Smith- Project, large-scale patronage else, but he was dogmatic as sonian Institution, microfilm NY59-11. program that was intended to last only unable to work closely with those with 6. Ilya Bolotowsky, "An Interview With Ilya three months but actually remained in whom he disagreed ideologically. Bard Bolotowsky," interview with Susan C. Larsen,New effect about six months. was also much admired as a York 1973. Juliana Force, draftsman; City, January29, the patrician director of the Whitney he had cartoons in The author wishes to express appreciationto mem- published political bers of the American Abstract Artists who have Museum, was appointed head of the New Masses when he was nineteen and generously provided information, reminiscences, New York region with a budget provid- was a regular contributor to the Daily and documentation regardingthe A.A.A. ing work for approximately 600 artists. Worker and Freiheit, the Communist After requesting a list of needy artists English and Yiddish daily papers. Bard from the major professional organiza- was followed as president by Murray Hantman, former member of the Los Angeles John Reed Club and exhibitor of a of the Scottsboro in court. Susan C. Larsen received her degree from North- Gerald M. Monroe teaches painting and drawingat painting boys western University in 1974 and now teaches at Glassboro State College and has made a study of Right wing "critics" broke into the ex- CarletonCollege, Northfield, Minnesota. political activities in the visual arts in the 1930s. hibit and shot bullet holes into the heads 8 of the Negroesin the painting. employmentin preferenceto the dole. were won. The police were summoned The willingness of artists to turn Specialprojects were createdin music, anda bloodybattle ensued. Twelve dem- out for demonstrationsearned them the theater,writing, and art. All were rep- onstratorswere woundedand 219 were nickname"fire brigade," and they were resentedby craftunions but the Artists carriedoff in eleven patrolwagons-the frequentlycalled upon to assist other Union was the most aggressive and largest police bust in New York City unions or left-wing organizationsin imaginativein its tactics in promoting history. Paul Block, the chief organizer picket lines anddemonstrations. A sub- jobopportunities and in preventingmass and spokesman for the action, was stantialnumber of young radicalartists dismissals.At its peak in 1936, the Fed- severely beaten when he stubbornly consideredpicketing for fellow unionists eral Art Projectemployed about 5000 resistedeviction by the police.Although or participatingin "anti-facist"demon- visual artistsand the union was the de trainedas a sculptor,Block had decided strations, a legitimate activity on be- facto bargainingagent. In the fall of that, during those troubled times, he half of their union, but the leadership 1936, PresidentRoosevelt orderedthe would devote his life to politicalwork. nevermade it an obligationfor the rank WPAAdministration to pareits rolls in Shortlyafter the demonstration-along and file-they didn't have to; all that keepingwith the expectedabsorption of with other union members-he volun- was neededwas a suggestionfrom the workersby industryduring an apparent teered to fight for the Loyalistsin the executiveboard or a requestby a member upturn in the economy. The cultural SpanishCivil War;he dieda hero'sdeath or a visitor duringa Wednesdaynight workers,who would be the last to bene- in a churchyardin Belchite,Spain, while meeting. fit from such a lift, were determinedto leading the Lincoln Brigade's Third Wednesdaynight meetings started battle any cuts in federalsupport; mass Company, of which he had become at 8:30and often continuedbeyond mid- demonstrationsand sit-in attemptswere commander. night. Usually two to three hundred continuedthroughout the fall.At a No- On Thursday,December 3, 1936, membersattended and a crisismeeting vember30 rally,attended by 1200work- the 219 demonstratorswere arraignedin could drawup to six or eight hundred. ersfrom the variousArts Projects, Boris two groups,because the YorkvilleCourt Most of the artists probablylived in Gorelick, an organizerfor the Artists could not processthat many personsin GreenwichVillage, Chelsea, or the one sitting. A week later the artists, LowerEast
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