Bischoff, who in 1976 told Paul Karlstrom: “I’m still supporting myself by teaching,” had only two one man shows before his first New York show at Staempfli Gallery in 1960, including a 1955 show at the Paul Kantor Gallery in Los Angeles from which nothing sold. In contrast, leading artists in New York benefitted from a booming art market. For example, Willem de Kooning’s 1959 New York show sold out on the first day, bringing in about $150,000 (about $1.2 million dollars today, when adjusted for inflation).
Of course, de Kooning was a sensation, but many other New York artists sold well while California artists struggled. In this situation, decently paying teaching jobs were a rare and precious commodity. When it was rumored in 1955 that David Park had been offered $10,000 per year to teach at UC Berkeley, artist Nathan Oliveira – who at the time was earning $2.50 per hour teaching art 18 hours per week – thought that Park had been given “the opportunity of a lifetime.” As it turns out, Park’s actual starting annual salary was $5,300.00.
Elmer Bischoff Seated Figure in Garden 1958 Oil on canvas 47 ¾ × 56 3/4in. Whitney Museum of American Art, New York
“Abstract means literally to draw from or separate. In this sense every artist is abstract for he must create his own work from his visual impressions. A realistic or non-objective approach makes no difference. The result is what counts.”
Richard Diebenkorn (1922-1993) Ocean Park #137 1985 oil and charcoal on canvas 100 x 81 in. Price realised USD 22,587,500
The CIA’s promotion of Jackson Pollock and Abstract Expressionism was part of a broader Cold War strategy to position the United States as a leader in cultural freedom and innovation, countering the Soviet Union’s emphasis on socialist realism. This was done covertly through the following methods:
1. Funding Through Front Organizations
The CIA used front organizations like the Congress for Cultural Freedom (CCF) (founded in 1950) to secretly fund art exhibitions, publications, and cultural events. The CCF was an international group that promoted Western culture and intellectual life, and it received financial backing from the CIA without the knowledge of most participants.
2. Sponsoring Exhibitions
The CIA, through the CCF and other groups, helped organize international art exhibitions showcasing American artists, including Pollock, Mark Rothko, and Willem de Kooning. One of the key exhibitions was “The New American Painting” (1958-1959), which traveled across Europe and was seen as a major moment in legitimizing Abstract Expressionism.
3. Support from Wealthy Patrons
The CIA also worked indirectly through influential figures in the art world, such as Nelson Rockefeller, who was a major supporter of modern art and had connections to the Museum of Modern Art (MoMA). MoMA itself played a key role in promoting Abstract Expressionism through exhibitions and acquisitions, with some scholars arguing that CIA funds may have indirectly supported these efforts.
4. Art as a Symbol of Freedom
Abstract Expressionism, with its emphasis on personal expression, was seen as the ultimate representation of freedom—an antidote to Soviet socialist realism, which depicted rigid, state-approved subjects. By elevating artists like Pollock, the CIA helped reinforce the idea that the U.S. valued creative liberty, which fit neatly into Cold War propaganda.
5. Influencing Art Critics and Publications
Art critics such as Clement Greenberg played a crucial role in promoting Abstract Expressionism as the pinnacle of modern art. Though there is no direct evidence that Greenberg was CIA-funded, his influence aligned with the agency’s goals. Magazines like Encounter, which was secretly funded by the CIA, also contributed to the spread of Abstract Expressionist ideas.
Did Pollock Know?
There is no evidence that Jackson Pollock (or other Abstract Expressionists) knew about the CIA’s involvement. The artists themselves were often left-leaning or even anti-establishment, which makes it ironic that their work was used as a Cold War propaganda tool.
Outcome
By the 1950s and 60s, Abstract Expressionism had become the dominant force in the art world, firmly establishing New York as the new center of modern art—overtaking Paris. This shift was largely due to the efforts of institutions that, in some cases, were backed by the CIA, whether directly or indirectly.
