JackRiddler wrote:Luther Blissett wrote:I think that the original quote might have had to do with "modernism" as opposed to "the modern world" or "the modern era" though of course I'm not sure. Modernism, as the rejection of all traditions, has been wrestling with, in opposition to, and competing with fascism since its conception around the late 19th Century, and vice versa. The early 20th Century's version of fascism was made possible partially through its response to modernism (which also had its own built-in aesthetics [though, as a modernist, I would argue that the timeless aesthetic, a pursuit of self-improvement, Utopianism, and democracy, was derived strictly from form and immaculately inspired by the philosophy]). We could have a similar discussion about defining modernism and socialism - two innately twinned concepts outside of the realm of politics and art.
Yes, I think classical fascism was very much a modern reaction to modernism - meaning, the worldview prevalent in the West by the late 19th and early 20th century; not just the art movement. That's not all I think about it, but it's a good excuse to add an interesting text to this thread.
Sandro Bocola (author of the seminal but under-selling "The Art of Modernism") influenced my thinking on this, partly because he's right, and partly because when you translate several hundred pages of an author you actually like, it makes for the deepest possible reading. It becomes very hard not to be influenced. Among art critics, Bocola (I hope he still lives) is commendable for writing a textbook on the subject that interspersed sections of straight history between chapters on particular artists and movements. It makes for great reading, although these are still short-form for the subjects he tackles (relativity theory and psychoanalysis summed up in 12 pages) and so at times he telescopes and exaggerates. As an art critic, he couldn't help but give a highly personalized version of the NS history. He sees Hitler as a failed artist who turns to politics as his new medium. (There's no doubt Hitler understood himself as a performer and took pains to refine and rehearse everything about his image and impact on crowds.) Of course the "Entartete Kunst" exhibition plays a major role in Bocola's telling of the story, at least in the longer form. And Hitler becomes the force that ends up driving the locus of modernist art from Europe to the United States, where many refugee European artists keep tight company with each other and hold court for the many up and coming Americans who would succeed them at the top of the art world.
I must still have the chapter on National Socialism from the full version of his book in file form, but I can't find it. I later translated a highly abridged, illustrated timeline version of "Modernism," which I have found. It's incredible the optimistic historical spirit of the time that (some) people who grew up postwar could still evoke, even as late as 1998.
The relevant passage:
1945-1980. Triumph and Consummation
Before we can follow the subsequent development of Modernism, we must turn to one of the darkest chapters of European history: the rise and fall of Adolf Hitler, the terror of National Socialism, and the Second World War.33
The worldview and self-concept of the modernist era, which had already found its artistic, scientific, political and social form and expression before the First World War, began during the interwar period (documented on pages 62 to 83) to spread throughout the Western world. The social and political models of the modernist idea — democracy, political equality of the sexes, separation of church and state, the right to education and information, and the protection of the private sphere — came hand-in-hand with hitherto unheard of claims to self-determination. The fulfillment of these claims, however, was perceived among broad strata of society not only as an enrichment but as a threat. The intellectual attitude of Modernism had not simply reduced dependence and social repression and helped raise the standard of living; it also destroyed the worldview and mental structures that until then provided protection and stability. The prevailing mood of the new era was marked by a general sense of insecurity.
This insecurity could be tolerated without objection only for as long as it shined in an optimistic light, i.e. for as long as the promises of the newly gained rights and freedoms could push the associated fears into the background. With the outbreak and mounting intensity of the material and spiritual crises of the postwar period, that was no longer the case. The ambiguity of the modernist era — the ineradicable link between freedom and insecurity — was increasingly perceived as intolerable. In nearly all European countries, radical nationalist and anti-democratic movements rose up with new offers of absolute certainties and promises that the life of each person and of the nation could be put back on solid spiritual and economic foundations. The declared goal of these movements, which we nowadays describe as fascist, was the creation of a totalitarian state. The most extreme and fateful manifestation of this attitude of mind (as a political revolt against the modernist idea) was found in German National Socialism.
The core of National Socialist ideology lay in Hitler’s Social Darwinist racial doctrine. According to that, humanity consists of superior and inferior races; the superior have the right to subjugate the inferior and use them in the service of their own goals and purposes. In this scheme the best and most valuable race is that of the German peoples, the "Aryan" race. The idealization of the Aryan went hand-in-hand with a fanatic anti-Semitism that in the end led to a systematic extermination of the European Jews.
The Jew functioned as a stand-in for all people, forces or institutions that directly or indirectly questioned Hitler's inflated self-image and claims to power. To Hitler, democracy and the League of Nations, pacifism, Marxism and modernist art were all Jewish inventions; the Soviet Union, "international finance capital," the German Revolution of 1918, the Weimar Republic and the Treaty of Versailles were all works of "international Judaism." It is pointless to refute these nonsensical claims. The common denominator that connects all of these manifestations branded as ”Jewish” is the mental attitude or worldview of which they were an expression. Hitler's image of the enemy — "international Judaism" — has a paradigmatic significance. It stood for the spirit of Modernism.
With Hitler's seizure of power in Germany in January 1933 came the legal disenfranchisement and the material persecution of the Jews. At the same time, cultural life was to be "freed of all Jewish influence" (literally: "dejudaized"), protected from the subversive influence of "international" thinking, and regained as a province of "Aryan genius." Accordingly the Bauhaus was shut down on April 11th, 1933, followed by the infamous book burnings on May 10th and, finally, the "purging" of the museums and galleries.34
Hitler's foreign policy was marked by the same ruthless determination that he had displayed in the pursuit of his domestic goals. After the annexation of Austria, the bloodless occupation of the Sudetenland and subsequent absorption of the rest of Czechoslovakia, German armed forces overran the Polish borders on September 1st, 1939, setting off the most destructive war in history, which ended after five and one-half years with the utter defeat of the Axis powers.
The repercussions of the Second World War on cultural history were comparable to those of the French Revolution, this time affecting not just Europe but the whole world. Henceforth the world was split into two blocs divided by a boundary running right through the middle of a devastated Europe that had ceded its political, economic and intellectual hegemony to the new world powers — to the United States and the Soviet Union. The sense of self that had once sustained the Old World lay buried beneath the rubble.
The extent of the destruction and horror unleashed upon the world by a country as cultured as Germany — with its history of great thinkers, poets and musicians — the discovery of the concentration camps and the accounts of the systematic murder of six million Jews, the photographs of prisoners, the mass graves, the gas chambers and crematoria of Auschwitz, Dachau and Treblinka united the civilized world in its abhorrence of Nazi terror and shattered any remaining illusions about the intellectual and moral supremacy of Western civilization.
All progressive, liberal and anti-bourgeois tendencies, in spite of the often unbridgeable gulfs among them, were thus cast in a new light and gained newfound respectability and vindication. With his failed attempts at restoration, with his insane extreme of political absolutism, Hitler ultimately helped to bring about the triumph of precisely those ideas and principles that he had so bitterly opposed. Internationalism, social pluralism, democracy and communism became the dominant factors in the politics of the postwar world. To secure world peace and advance international cooperation, 52 governments convened on October 24, 1945 to adopt the charter of the United Nations, which among other goals purposed the protection of human rights and basic freedoms.
This reappraisal redefined the intellectual life of Western democracies, in particular influencing their artistic consciousness. Much of the old cultural context came to be equated with a Europe of power-hungry nation states, and with traditions and values that were held responsible for the catastrophe just endured. Modernist art was not tarred with the same brush; it represented one of the few achievements of Western culture that could still be idealized. Its condemnation by the Nazis and their persecution of its exponents made it into a symbol of intellectual resistance, of the integrity and continuity of a liberal European consciousness. In the United States and the countries of western Europe, the great masters of Modernism were now presented to a broader public in individual and major group exhibitions. The outsiders and the revolutionaries of the pre-war era became established figures.
Even as they celebrated their belated triumph, even as some of them — Matisse and Giacometti spring to mind — actually created their most important works, the artists of a war-scarred Europe lacked the will and strength to build on previous artistic developments in a creative and innovative way. That fell instead to the relatively unsullied and unburdened American artists, who had recently discovered modernist art for themselves, and who sought to create their own, truly American works that would rank alongside those of their much admired predecessors.
[...]
PS - When the CIA soon after decided to do undercover PR work for the Abstract Expressionists, I would say this was an example of them (for a change) not being fascists.
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This is great. Amazing. Very affirming, and I'd like to read the whole book. There was a direct pedagogical lineage from the Bauhaus —> Basel —> my program, and I had felt a strong connection to modernism long before really learning the history of the philosophy and its conflicts with fascism.