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How Maoist Propaganda Transformed Into a Global Art Commodity

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How Maoist Propaganda Transformed Into a Global Art Commodity From Propaganda to Pop Culture: How Maoist Propaganda Transformed Into a Global Art Commodity The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation O'Keeffe, Andrew. 2019. From Propaganda to Pop Culture: How Maoist Propaganda Transformed Into a Global Art Commodity. Master's thesis, Harvard Extension School. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:42004066 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA From Propaganda to Pop Culture: How Maoist Propaganda Transformed into a Global Art Commodity Andrew O’Keeffe A Thesis in the Field of International Relations for the Degree of Master of Liberal Arts in Extension Studies Harvard University March 2019 ii © 2019 Andrew O’Keeffe iii Abstract Propaganda artwork created during the Chinese Cultural Revolution has been a widely studied topic since the decline of Mao Tse-Tung’s leadership. Less often discussed is how Maoist inspired visual arts transformed from government-sanctioned propaganda into pop culture iconography. This thesis will discuss the artistic evolution that took place through examining the methods used by Chinese propagandists to saturate foreign audiences with Maoist iconography, and how the appropriation of those symbols transformed the works from propaganda to pop art. While lacking meaningful diplomatic relationships abroad, the Chinese Communist Party undertook an international propaganda campaign with a goal of promoting Mao as the symbolic leader of the global proletariat. With no influential alliances, Chinese propagandists circumvented traditional diplomatic channels and saturated audiences around the world with propaganda in the forms of radio broadcasts, magazines, pamphlets, paintings, books of Mao’s quotations, and more. China’s blind distribution of Maoist propaganda was so extensive that the imagery became globally significant. Additionally, the appropriation of Maoist symbols by foreign groups led to an artistic transformation specific to the causes of international leftist groups. Eventually, the propaganda reached a critical point of global recognition and penetrated into the realm of pop culture iconography. Coinciding with the liberalization of China, this ushered in a new era where Maoist propaganda symbols became commodities on the global art market. Artists from around the world have capitalized on Maoist icons, which regularly feature at auction and in high profile museums exhibitions around the world. Table of Contents List of Images…………………………….…….…………v Chapter 1: Introduction……………..…………………....1 Chapter 2: Foundations of Chinese Propaganda……...…13 Chapter 3: Origins of a New Art Form..….……....…..…19 Chapter 4: Independence on the International Stage........27 Chapter 5: China’s Foreign Audience………………......39 Chapter 6: Saturation and Appropriation…………….…50 Chapter 7: Propaganda Symbols in the Post-Mao Era….70 Chapter 8: Conclusion……………...……………….......87 Bibliography………………………………………...…..92 iv List of Images Figure 1, Sergeev, Victor Georgevich, Lenin at the Tribune, 1929–1930, http://www.artnet.com/artists/victor-georgevich-sergeev/lenin-at-the-tribune- ipBW1OXyg2tRON172NtjHA2 Figure 2, A Long Life to Chairman Mao, 1967, http://library.ucsd.edu/dc/object/ bb5052414d Figure 3, Bevzenko, Ivan, Young Steel Workers, 1961, https://www.marxists.org/subject/art/visual_arts/painting/exhibits/socialist- realism.htm Figure 4, Deineka, Alexander, Defense of Sevastopol, 1942, http://en.rusmuseum.ru/collections/painting-of-the-second-half-of-the-xix- century-beginning-of-xxi-century/artworks/a-defence-of-sebastopol/ Figure 5, Advance bravely along the bright road shown by Chairman Mao’s May 7th Instruction, 1971, http://library.ucsd.edu/dc/object/bb11615959 Figure 6, Long Live the Victory of the People’s War, 1966, http://library.ucsd.edu/dc/object/bb9933005n Figure 7, Chairman Mao is the red sun in the hearts of people of the world, 1967, http://library.ucsd.edu/dc/object/bb9557574s Figure 8, Resolutely support the anti-imperialist struggles of the people of Asia, Africa and Latin America, 1967, http://library.ucsd.edu/dc/object/bb7680427f Figure 9, All demons will be completely destroyed, 1968, http://library.ucsd.edu/dc/object/bb7646295v Figure 10, Selection of pages from Peking Review, Vol. 11, No. 2, January 12, 1968 https://www.marxists.org/subject/china/peking-review/ Figure 11, A selection of pages taken from China Pictorial, Issue 9, 1970. http://www.mzdbl.cn/rmhb/index.html Figure 12, “Welcome Zaire VIP” China Pictorial, Issue 4, 1973. http://www.mzdbl.cn/rmhb/index.html Figure 13, Examples of Mao Badges from the private collection of Haiyan Hua, Boston, MA, USA, photo by Andrew O’Keeffe, December 2018. v Figure 14: The feelings of friendship between the peoples of China and Africa are deep, Shanghai renmin chubanshe, May 1972. https://chineseposters.net/posters/e15- 837.php Figure 15, Chairman Mao is the great liberator of the world's revolutionary people. Shanghai renmin meishu chubanshe, April 1968. https://chineseposters.net/posters/e16- 339.php Figure 16, Page from China Pictorial, Issue 4, 1968. http://www.mzdbl.cn/rmhb/index.html Figure 17, Cover of La Cause du Peuple, No. 14, December 10, 1969. https://www.bibliomarxiste.net/documents/france/archives-de-la-cause-du- peuple/la-cause-du-peuple/ Figure 18, “Overthrow Peng Dehuai, Luo Ruiqing, Chen Zaidao, Liao Laotan!” China, 1967. https://chineseposters.net/gallery/e12-626.php Figure 19, La Cause du Peuple, No. 14, December 10, 1969, p 4. https://www.bibliomarxiste.net/documents/france/archives-de-la-cause-du- peuple/la-cause-du-peuple/ Figure 20, Cartoon by Jack Chen from Peking Review, Vol. 9, No. 5, January 28, 1966, p 15. https://www.marxists.org/subject/china/peking-review/ Figure 21, Mao Badge made by Columbian Youth, Peking Review, Vol. 11, No. 8, February 23, 1968, p 27. Figure 22, Prisoners of War in the Shining Trench of Battle at Luriganchao, Lima, 1984, Ferry, Megan M. China as Utopia: Visions of the Chinese Cultural Revolution in Latin America. Modern Chinese Literature and Culture, Vol. 12, No. 2, Visual Culture and Memory in Modern China (FALL, 2000), pp. 236-269. Figure 23, Power Grows out of the Barrel of a Gun, Lima, 1984, Ferry, Megan M. China as Utopia: Visions of the Chinese Cultural Revolution in Latin America. Modern Chinese Literature and Culture, Vol. 12, No. 2, Visual Culture and Memory in Modern China FALL, 2000), pp. 236-269. Figure 24, Campaign to Celebrate the 30th Anniversary of the Great Proletarian Cultural Revolution, from the Peru People’s Movement, 1996, in Megan M. Ferry, “China as Utopia: Visions of the Chinese Cultural Revolution in Latin America.” Modern Chinese Literature and Culture 12, no. 2, Visual Culture and Memory in Modern China (Fall, 2000): 236-269. Figure 25, Fifth Anniversary of President Gonzalo's Speech, 1997, Ferry, Megan M. vi China as Utopia: Visions of the Chinese Cultural Revolution in Latin America. Modern Chinese Literature and Culture, Vol. 12, No. 2, Visual Culture and Memory in Modern China (Fall, 2000), pp. 236-269. Figure 26, Defeat American Imperialism defeat Soviet Revisionism, 1967, http://jochemgrin.tumblr.com/post/48032347220/defeat-american-imperialism- defeat- soviet Figure 27, Cover of the Black Panther Newspaper 22, no. 19 (1969). Figure 28, Firmly support U.S. people against U.S. imperialism invading Vietnam, 1966, http://www.npr.org/sections/pictureshow/2012/11/16/164785930/the-art-of- chinese-propaganda. Courtesy of the Shanghai Propaganda Poster Art Center. Figure 29, Warhol, Andy, Mao, 1972, http://revolverwarholgallery.com/portfolio/mao- full-suite/. Figure 30, Warhol, Andy, Mao, 1972, http://www.sothebys.com/en/auctions/ecatalogue/ 2017/modern-contemporary-art-evening-sale-hk0713/lot.1030.html Figure 31, Jiawei, Shen, Standing Guard for Our Great Motherland, 1974, https://www.juilliard.edu/journal/portraying-chinese-revolution-propaganda-or-art Figure 32, Jiawei, Shen, The Third World, 2002, James, Bruce, “Artist with Awesome Promise Must Escape the Mosh Pit”, The Sydney Morning Herald, October 2, 2002. http://www.smh.com.au/articles/2002/10/01/1033283488932.html Figure 33, Jiawei, Shen, Brothers and Sisters, 2010-2012, McDonald, John, “Shen Jiawei: the art of history”, The Sydney Morning Herald, December 15, 2012. http://www.smh.com.au/entertainment/art-and-design/shen-jiawei-the-art-of- history-20121212-2bart.html Figure 34, Guangyi, Wang, Mao Zedong AO, 1988, http://artasiapacific.com/Magazine/ 77/ReasoningWithIdolsWangGuangyi Figure 35, Guangyi, Wang, Ferrari - Great Criticism Series, 2004, http://www.christies.com/lotfinder/Lot/wang-guangyi-chinese-b-1957-great- criticism-5959142-details.aspx Figure 36, Guangyi, Wang, Coca-Cola - Great Criticism Series, 1994, http://www.tate.org.uk/art/art-terms/p/political-pop Figure 37, Guangyi, Wang, Chanel – Great Criticism Series, 1997, http://www.artnet.com/artists/wang-guangyi/great-criticism-series-chanel- 4zuPGuwDocOzQxKLNU5_2Q2. vii Chapter 1 Introduction Can government sanctioned propaganda be appreciated for its artistic merits? When considering the Chinese propaganda created under Mao Tse-Tung’s leadership, the answer is almost certainly, yes. During the decade of the Cultural Revolution, a vast amount of propaganda art was produced and disseminated
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