Chernov showed that the USSR and the Soviet bloc considered their own historic mission not as the centre for ‘world revolution’, the ideal of the Trotskyites, but as the bulwark against one-worldism:
In the guise of cosmopolitan phraseology, in false slogans about the struggle against ‘nationalist selfishness’, hides the brutal face of the inciters of a new war, trying to bring about the fantastic notion of American rule over the world. From the imperialist circles of the USA today issues propaganda of ‘world citizenship’ and ‘universal government’.[123]
The above passage must be put into the context of the ‘Cold War’ that was emerging, as the result of Stalin’s rejection of the US demand for a United Nations as the vehicle for ‘universal government’, and the Soviet repudiation of the ‘Baruch Plan’ which would have given such a ‘universal government’ control over atomic energy.[124] Indeed, if the reader did not realise that the above passage was written by a Soviet functionary, would it not be assumed to be the statement of a ‘right-wing extremist’? Chernov continued, drawing on the 1948 speech of Zhdanov: ‘Comrade A A Zhdanov showed that bourgeois cosmopolitism and, in particular, the cosmopolitan idea of “one-world government” have a strikingly expressed anti-Soviet orientation’.[125]
This was the background against which the ‘cultural cold war’ was formulated: that of a Trotskyite-liberal-plutocratic alliance against an intransigently nationalistic USSR that had rejected firstly the ‘world revolution’ of Trotsky, and secondly the ‘one-world government’ proposed by the USA in the aftermath World War II.
The leading patron of American Modernism has been the Rockefeller founded and owned Museum of Modern Art (MoMA).[126] John J Whitney, formerly of the US Government’s Psychological Strategy Board, was a trustee of the Museum, and he supported Jackson Pollock and other modernists.[127] According to the archives of the Rockefeller Center, Abby, Nelson and David Rockefeller were particularly important to the ‘founding and continuous success of the museum’.[128]
Abby Rockefeller had co-founded MoMA in 1929. Her son Nelson had been museum president through the 1940s and 1950s.[129] Nelson was an enthusiastic promoter of Abstract Expressionism, and described it as ‘free enterprise painting’,[130] while others promoted it because of its revolutionary socialist virtues. Nelson Rockefeller became president of the Museum in 1939[131]. After his service as Assistant Secretary of State for Latin America, he resumed the role in 1946. While Nelson was Coordinator of Inter-American Affairs, the Department organised exhibitions of ‘contemporary American painting’, nineteen of which were contracted to the MoMA.[132] He was closely linked with the CIA, according to Tom Braden.[133] In 1954 Nelson became President Eisenhower’s special adviser on Cold War policy.[134]
John Whitney was a MoMA Trustee, while also serving as chairman and president of the board. He had served with the CIA-forerunner, the OSS during the war, after which he continued to work with the CIA. William Burden, who joined the museum as chairman of its Advisory Committee in 1940, worked with Nelson Rockefeller’s Latin American Department during the war. A ‘venture capitalist’ like Whitney, he had been president of the CIA’s Farfield Foundation; and in 1947 was appointed chairman of the Committee on Museum Collections, and in 1956 as MoMA’s president.[135] Other corporate trustees of MoMA were William Paley, owner of CBS, and Henry Luce of Time-Life Inc., who both assisted the CIA.[136] Joseph Reed, Gardner Cowles, Junkie Fleischmann, and Cass Canfield were all simultaneously trustees of MoMA and of the CIA’s Farfield Foundation. There were numerous other connections between the CIA and the museum, including that of Tom Braden, who had been executive secretary of the museum through 1947-1949 before joining the CIA.[137] Clearly MoMA has long been considered a major element in the globalist strategy for a ‘new world order’.
In 1952 MoMA launched its world revolution of Abstract Expressionism via the International Program. This received a five year annual grant of $125,000 from the Rockefeller Brothers Fund, under the direction of Porter McCray, who had also worked with Nelson’s Latin American Department, and in 1950 as an attaché of the cultural section of the US Foreign Service.[138] Russell Lynes, writing of this period stated that MoMA now had the entire world to ‘proselytise’ with what he called ‘the exportable religion’ of Abstract Expressionism.[139]
While the CIA’s Congress for Cultural Freedom no longer exists, the cultural-bolshevism it was set up to promote set the trend for a nihilism that has not abated in the world of the Arts, but has rather accelerated. All criteria for what constitutes art and culture generally has been rendered redundant, and derided as ‘old fashioned’ and ‘reactionary’, while Modernism remains a tool for those who see the Arts as a means of creating a universal ‘culture’ as the basis for a ‘universal state’, or ‘new world order’ as it is now called. Chernov’s Stalinist analysis of the arts in 1949 predicted what would take place.
Despite the fall of the Soviet bloc and the end of the Cold War there has been no cessation of the globalist cultural offensive. The National Endowment for Democracy was formed by neo-Trotskyites with the help of neo-conservatives and funding from US Congress to assume the role of the CIA and CCF in instigating global subversion.[140] A new ‘Cold War’ era was declared with the so-called ‘war on terrorism’. With the destruction of the Soviet bloc a new was bogey was invented: ‘Islamofascism’, a term coined by Trotskyite-turned neo-con, Stephen Schwartz, Director of the Center for Islamic Pluralism; thereby making Islam the new Stalinism/Hitlerism.[141] Like World War II, this new era of tension is supposed to herald a one world government or what President George H W Bush referred to as a ‘new world order’. Again, Russia threw a spanner in the works, and the post-Yeltsin regime under Putin has been uncooperative, while the globalists warn of an ominous return to Stalinism in Russia.
The cultural offensive is being continued as a primary strategy for the ‘emaciation’[142] of nations, cultures and peoples. America as the historic centre of world Bolshevism has its own version of Trotsky’s ‘permanent revolution’ which US strategists call ‘constant conflict’. Major Ralph Peters[143], a prominent military strategist, appears to have coined the term. Peters has written of this in an article by that name:
136
Ibid., 262. Luce’s Life magazine featured Jackson Pollock in its August 1949 issue, giving Pollock household fame. Saunders, ibid., 267.
139
Russell Lynes, Good Old Modern Art: An Intimidate Portrait of the Museum of Modern Art (New York: Atheneum, 1973), cited by Saunders, op. cit., 267.
140
The National Endowment for Democracy was established in 1983 by Act of US Congress, at the prompting of Tom Kahn, an adherent of the Shachtmanite wing of US Trotskyism; which has supported US foreign policy since the Cold War.
141
Schwartz was a supporter of the Trotskyist Fomento Obrero Revolucionario during the 1930s. Like possibly most Trotskyists of note he ended up as a ‘neo-conservative’ (which is neither ‘new’ nor ‘conservative’), and writes as a columnist for National Review; a phenomenon that would not have surprised Stalin. Schwartz affirmed that, ‘To my last breath I will defend Trotsky… The Shachtmanites, in the 1960s, joined the AFL-CIO in its best Cold War period, and many became staunch Reaganites’. Stephen Schwartz, ‘Trotskycons?,’ National Review, 11 June 2003: http://faceoff.nationalreview.com/comment/comment-schwartz061103.asp
143
Peters was assigned to the Office of the Deputy Chief of Staff for Intelligence, where he was responsible for future warfare. Prior to becoming a Foreign Area Officer for Eurasia, he served exclusively at the tactical level. He is a graduate of the US Army Command and General Staff College. Over the past several years, his professional and personal research took Peters to Russia, Ukraine, Georgia, Ossetia, Abkhazia, Armenia, Azerbaijan, Uzbekistan, Kazakhstan, Latvia, Lithuania, Estonia, Croatia, Serbia, Bulgaria, Romania, Poland, Hungary, the Czech Republic, Pakistan, Turkey, Burma, Laos, Thailand, and Mexico, as well as the countries of the Andean Ridge. He has published widely on military and international concerns. Peters retired in 1998 with the rank of Lieutenant Colonel, and continues to write widely as a novelist, essayist and is a frequent media commentator. Peters’ primary area of expertise appears to be Eurasia and the former Soviet bloc states, those states that are particularly targeted by the ‘colour revolutions’ instigated by the National Endowment for Democracy, and others.