Also see Art, Literature, and the CIA
by James Petras
The CIA’s cultural campaigns created the prototype for today’s seemingly apolitical intellectuals, academics, and artists who are divorced from popular struggles and whose worth rises with their distance from the working classes and their proximity to prestigious foundations. The CIA role model of the successful professional is the ideological gatekeeper, excluding critical intellectuals who write about class struggle, class exploitation and U.S. imperialism—”ideological” not “objective” categories, or so they are told.
The singular lasting, damaging influence of the CIA’s Congress of Cultural Freedom crowd was not their specific defenses of U.S. imperialist policies, but their success in imposing on subsequent generations of intellectuals the idea of excluding any sustained discussion of U.S. imperialism from the influential cultural and political media. The issue is not that today’s intellectuals or artists may or may not take a progressive position on this or that issue. The problem is the pervasive belief among writers and artists that anti-imperialist social and political expressions should not appear in their music, paintings, and serious writing if they want their work to be considered of substantial artistic merit. The enduring political victory of the CIA was to convince intellectuals that serious and sustained political engagement on the left is incompatible with serious art and scholarship. Today at the opera, theater, and art galleries, as well as in the professional meetings of academics, the Cold War values of the CIA are visible and pervasive: who dares to undress the emperor?