By Christos M. Joachimides, David Anfam, Norman Rosenthal
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Additional info for American Art in the 20th Century - Painting and Sculpture, 1913-1993
Those post-war American standably, saw totalitarianism That as the antithesis of private intellectuals life who and who, under- latched on to only the consequences of 'massification' found themselves intellectually caged - unable to interpret political participation other than in the shadow of totalitarian regimes. It was hardly surprising that many of the New Yorkers found it hard to sup- port whole-heartedly the kinds of political action that became widespread with the Civil Rights Alovement, the new Women's iMovement, the Counter-Culture and the protest marches against the Vietnam War.
Also in the pages of Paitisan Rroim- in the 1930s and the 1940s late we find parallels to Greenberg's argument in essays on literature and cinema by Philip Rahv (one of the editors), Dwight Alacdonald, Lionel are not the ordinar\- people often the most who Trilling, Fred Dupee and others. Their 'heroes' populate the novels of Steinbeck, but the unlikely artist - the cosmopolitan Henry James with conservative political views. These writers took on ical a or artist, heroic and a politically rad- character precisely because - according to the Paitisan Revieii- critics - the cult}' and T S.
Appropriately, came out of the we are helped 1930s, but was less that had attracted many post-war comprehensive to contain all points of Douglas Tallack ^^6 enough yet experienced \ne\v, to recognize the dangers of totahzing ideologies. Instead, Rosenberg, while sharing his contemporaries' acute sense of historical crisis, found in his contact with those he calls the 'American action painters' the impetus to break out of the enclosed consensual spaces of post-war thought. WTiere Riesman and Bell, recommended negotiated writing about mid-centur\' interest-group politics, responses (progress 'on the diagonal'.