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Art Fronts: Visual Culture and Race Politics in the Mid-Twentieth- Century United States

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Art Fronts: Visual Culture and Race Politics in the Mid-Twentieth- Century United States University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations Spring 2010 Art Fronts: Visual Culture and Race Politics in the Mid-Twentieth- Century United States Erin P. Cohn University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the African American Studies Commons, American Art and Architecture Commons, Other American Studies Commons, and the United States History Commons Recommended Citation Cohn, Erin P., "Art Fronts: Visual Culture and Race Politics in the Mid-Twentieth-Century United States" (2010). Publicly Accessible Penn Dissertations. 156. https://repository.upenn.edu/edissertations/156 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/156 For more information, please contact [email protected]. Art Fronts: Visual Culture and Race Politics in the Mid-Twentieth-Century United States Abstract ART FRONTS: VISUAL CULTURE AND RACE POLITICS IN THE MID-TWENTIETH-CENTURY UNITED STATES Erin Park Cohn Supervisor: Kathy Peiss Art Fronts argues that visual culture played a central and understudied role in the African American freedom struggle in the middle part of the twentieth century. In particular, it traces the political lives and cultural productions of a generation of visual artists, both black and white, who seized on the Depression-era ethos of art as a weapon to forge a particular form of visual activism that agitated for social, political, and economic equality for African Americans. Participating in the proliferation of visual culture that characterized early twentieth-century America, the activist artists of this generation took advantage of opportunities to reproduce images widely and thus convey political messages in powerful and immediate ways. Art Fronts traces the careers of these artists from the early days of the Depression, when artists affiliated with the Communistar P ty first created images in service of African American civil rights, through the Cold War, which limited but did not destroy the links they forged between art and activism. By highlighting changes and continuities in African American cultural politics over the course of four decades, it offers fresh perspectives on the contours of the long civil rights movement. Art Fronts thus participates in recent efforts to challenge the classic narrative of the history of the civil rights movement, yet draws that scholarship in a new direction, pointing to the importance of culture, and particularly visual culture, in all phases of the movement. Indeed, visual artists were highly active in the long civil rights movement, while the images they created and circulated in service of the cause served as a necessary visual forum for a range of competing ideas about the politics of race and civil rights. Degree Type Dissertation Degree Name Doctor of Philosophy (PhD) Graduate Group History First Advisor Kathy Peiss Second Advisor Thomas J. Sugrue Third Advisor Gwendolyn DuBois Shaw Keywords African American art, visual culture, civil rights movement, culture and politics Subject Categories African American Studies | American Art and Architecture | Other American Studies | United States History This dissertation is available at ScholarlyCommons: https://repository.upenn.edu/edissertations/156 ART FRONTS: VISUAL CULTURE AND RACE POLITICS IN THE MID- TWENTIETH-CENTURY UNITED STATES Erin Park Cohn A DISSERTATION in History Presented to the Faculties of the University of Pennsylvania in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy 2010 Supervisor of Dissertation _______________________________ Kathy Peiss Roy F. and Jeannette P. Nichols Professor of American History Graduate Group Chairperson _______________________________ Antonio Feros, Associate Professor of History Dissertation Committee Thomas J. Sugrue, David Boies Professor of History and Sociology Gwendolyn DuBois Shaw, Associate Professor of American Art ACKNOWLEDGMENTS When I entered graduate school, I attended orientation meetings in which various professors and deans described the process of pursuing a doctoral degree. One metaphor, offered by Walter Licht, really stood out for me; he compared it to running a marathon – a hugely exhausting task that requires inner fortitude and strength as well as the ability to continue to put one foot in front of the other until suddenly you cross the finish line. While the metaphor is apt in a number of ways, running a marathon is a far more solitary pursuit than getting a Ph.D. While I’m immensely proud of having crossed this finish line, I never would have made it to the end of the race without the intellectual training, encouragement, and support of advisors, mentors, friends, and family. I had the pleasure of working with a wonderfully open-minded and enthusiastic dissertation committee that encouraged me to engage in interdisciplinary work and provided me with a perfect combination of diverse perspectives on my project. Tom Sugrue served as an example of a historian who leaves no stone unturned in his research and a model for writing clear and compelling prose. His advice, ranging from leads for research sources to suggestions for “thickening” my argument, was always very helpful. While she joined my committee after the project was well under way, Gwendolyn DuBois Shaw also did much to shape my dissertation by providing me with an art historian’s perspective and helping me hone my skills in visual analysis. I especially appreciate her willingness to take on an unknown advisee from outside of her department and her openness to my taking an alternative, interdisciplinary approach to the study of visual culture. ii I could not have asked for a more dedicated doctoral advisor than Kathy Peiss. Having received a bachelor’s degree in medieval European history, I entered graduate school with virtually no background knowledge of the twentieth-century United States. From the beginning, Kathy showed tremendous patience and faith in me as I developed that foundational knowledge from the ground up. She has shaped me as a scholar in ways I can only now appreciate in retrospect, pushing me at every turn to my intellectual limits and thus helping me to surpass those limits time and time again. These “pushes” usually took the form of a mind-bending, three-page, single-spaced response to every piece of written work I ever gave her, or casual but brilliant suggestions that were difficult to wrap my head around at the time and only made sense later. I fully recognize how rare such dedication is in a graduate advisor, and I’m honored to have had a chance to be the recipient of Kathy’s mentorship. Other historians have helped to shape this project in numerous ways and deserve thanks. Early on in my graduate training, Phoebe Kropp assisted me greatly in developing my thinking about race. Likewise, Bryant Simon lit a fire in me to explore the politics of culture through the graduate seminar he guest-taught at Penn. More recently, Maren Stange and Casey Blake offered valuable feedback on portions of the dissertation and assisted me in testing out some of this material on audiences at the American Historical Association Conference. Special thanks also go to Dan Horowitz, who took a chance on me as a young Smith alumna, took me under his wing, and helped me get into graduate school in the first place. Through the years, his mentorship has meant more to me than he knows. iii Among the greatest pleasures of graduate school have been the intellectual exchange and friendships I developed with fellow graduate students at Penn. The Kathy Peiss student dissertation reading group was a particular treat, offering a safe place within which I got to test some early (and crappy) first drafts and a chance to contribute to a number of fascinating projects. The monthly meetings also provided much-needed social interaction and psychological support during the lonely days of dissertation research and writing. Thanks in particular to Kim Gallon, Sarah Van Beurden, Jess Lautin, Will Kuby, and Rob Goldberg. While not a part of the reading group, Dan Amsterdam and Erik Mathisen proved wonderful friends and colleagues throughout graduate school. Thanks to both of them for their support along the way. Attending graduate school at Penn also gave me the invaluable gift of the friendship of Sarah Manekin and Joanna Cohen. Sarah and Jo have been my sounding boards, confidants, comic relief, and nerd accomplices from the very beginning. Thanks to Sarah for providing close readings of my work, coaching me through crises of faith, and serving as an inspiration in the teaching department. Eternal gratitude to Jo for her brilliant vision of broad historical connections, her silly sense of perspective, lots of yummy dinners, and her ability to get me out in a sparkly top from time to time. Friends like these don’t come along often, and I plan to hold onto them for a lifetime. I also owe a great deal of thanks to friends outside of the academic bubble and especially family, who provided moral, financial, and edible support throughout my journey through graduate school. Finding Elizabeth Clark as a nanny and then friend was a huge stroke of luck; many thanks to Liz for the energetic love she brought to Dahlia and the moral support she gave me upon emerging from my office for snacks. John and Mary iv Stack housed and fed me in royal fashion during research trips to Washington, D.C. Colby Smith Schoene and Clare Mortensen, my oldest friends, brought me much-needed respite from my academic life by continuing to know and nourish the whole me. My sister, Caitlin Park, has likewise served as a witness for my life story and offered support in times of need. I feel lucky to have a sister who I can also count on as a best friend. Warren and Dana Cohn provided countless delicious meals, weekends away, and hours of childcare that made completing a dissertation not only possible, but enjoyable.
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