How did New York City become the centre of the western art world?

Paintings by Jackson Pollock (R) and Willem de Kooning (L) on display at the Museum of Modern Art Queens, New York City, 2002. Image: Getty.

A new exhibition, Abstract Expressionism, opens at London’s Royal Academy this weekend. It's the first major survey of the movement since 1959.

Abstract expressionism is often considered the first artistic movement to shift the centre of Western art from Europe to the US, and more precisely New York. But what is it, and how did this happen?

Associated with a group of artists working in New York in the 1940s, abstract expressionism came to be known as the quintessential American and modern art movement. Heirs to the progressive abandonment of figurative and naturalist painting styles that had been taking place in Europe since the early 20th century, the painters associated with the movement came to be known for their innovative use of new synthetic industrial paints, large scale canvases, and the development of very individual abstract styles.

Some of the most easily identifiable include Franz Kline’s quick and simple brushstrokes, at times likened to Japanese calligraphy; the drips and rapid splatters of Jackson Pollock; Robert Motherwell’s large repeated ovals and rectangles; and Mark Rothko’s large blocks of colour.

Franz Kline, Vawdavitch, 1955. Image © ARS, NY and DACS, London 2016.

Despite often being seen as “childish” painting that “anyone could do”, abstract expressionism has a history that is more interesting than we might suspect at first. Because the emergence of the movement in the 1940s and its internationalisation in the 1950s wasn’t only due to the work of its artists. It was also due to both the art criticism and political environments of its time. So much so that we cannot think abstract expressionism without considering the work of critics such as Clement Greenberg and the role of art as a cultural weapon during the Cold War.

A European story

Writing at the same time as the abstract expressionists were developing their signature styles, Greenberg became the critic that most famously endorsed the movement. He claimed it represented the most “advanced” form of Western art. To justify this, Greenberg looked at the work of older European artists such as Manet, Monet, Cézanne and Picasso, arguing that European painting had been progressively moving away from representations of the three-dimensional world outside. According to him, this was also accompanied by a progressive flattening of the pictorial space.

Greenberg argued that this showed an increasing concern with investigating the potential and limitations of the elements that belonged exclusively to the medium of painting: a flat canvas with specific dimensions (length and width) upon which paint is applied. All historic examples of paintings that give the impression of three-dimensional space on canvas, all painting that tries to mimic the world outside of it, were, for Greenberg, paintings that tried to conceal their true nature.

Mark Rothko, No. 15, 1957. Image © 1998 Kate Rothko Prizel & Christopher Rothko ARS, NY and DACS, London.

What is crucial here is that, by producing this narrative of European art, Greenberg was able to claim that, for the first time ever, the most “advanced” form of Western art was no longer being produced in Europe but instead in New York. For him, it was painters like Pollock, Motherwell, De Kooning, Rothko, Kline, and Newman that were now, thanks to the new abstract languages they were developing, carrying on the work that had begun with the European avant-gardes. European artists, he argued, had not been able to carry this to completion, due, in part, to the weight of tradition, something that America did not have to carry.

So it was in large part due to critics like Greenberg, but also collectors like Peggy Guggenheim, and curators like MoMA’s Alfred H Barr, that abstract expressionism eventually gained momentum among the art glitterati of New York in the 1950s, despite never being popular among the wider American public.

Lee Krasner. The Eye is the First Circle, 1960. Image © ARS, NY and DACS, London 2016.

Cold War art

But there is also politics to consider. Abstraction had been allowed to thrive in part due to the earlier sponsorship of Franklin Roosevelt’s New Deal, which saw an incredible amount of government funds being used to directly employ artists and commission new public artworks in the aftermath of the Great Depression.

Most of the works funded by that programme were American regionalist paintings and large social realist murals. But some of the funds were also used to support the early work of some of the artists whose career would eventually progress towards what came to be known as abstract expressionism.

Willem De Kooning, Woman II, 1952. Image © 2016 The Willem de Kooning Foundation/Artists Rights Society (ARS), New York and DACS, London 2016.

But perhaps one of the most iconic contributors to the dissemination of the movement as the culmination of Western art history was the Cold War. In the 1950s, at the peak of the ferocious anti-Communist sentiment of the McCarthy era in the US, the agendas of institutions like MoMA in New York and critics like Greenberg converged with the political interests of the CIA. Such convergence led to a series of exhibitions that would tour Europe during the Cold War years. The most famous of those was MoMA’s The New American Painting, which came to Europe in 1958-59. This show was responsible for bringing abstract expressionism to all major European capitals, including West Berlin.


Whether or not these exhibitions were funded or facilitated by the CIA, as some have convincingly argued, they were certainly responsible for cementing the perception of America as the legitimate heir of European aesthetic and political values. Against a USSR perceived as totalitarian and oppressive, with state-sanctioned socialist realism coming across as kitsch and formulaic propaganda, abstract expressionism – with its variety of individual voices and painterly styles – would eventually become a symbol of the autonomy, liberty and creative freedom allegedly enjoyed by all in the West. These were values that, from then on, became manifest in the generalised perception of the US as the ultimate beacon of Western culture.The Conversation

João Florêncio is a lecturer in the history of modern and contemporary art at the University of Exeter.

This article was originally published on The Conversation. Read the original article.

 
 
 
 

Urgently needed: Timely, more detailed standardized data on US evictions

Graffiti asking for rent forgiveness is seen on a wall on La Brea Ave amid the Covid-19 pandemic in Los Angeles, California. (Valerie Macon/AFP via Getty Images)

Last week the Eviction Lab, a team of eviction and housing policy researchers at Princeton University, released a new dashboard that provides timely, city-level US eviction data for use in monitoring eviction spikes and other trends as Covid restrictions ease. 

In 2018, Eviction Lab released the first national database of evictions in the US. The nationwide data are granular, going down to the level of a few city blocks in some places, but lagged by several years, so their use is more geared toward understanding the scope of the problem across the US, rather than making timely decisions to help city residents now. 

Eviction Lab’s new Eviction Tracking System, however, provides weekly updates on evictions by city and compares them to baseline data from past years. The researchers hope that the timeliness of this new data will allow for quicker action in the event that the US begins to see a wave of evictions once Covid eviction moratoriums are phased out.

But, due to a lack of standardization in eviction filings across the US, the Eviction Tracking System is currently available for only 11 cities, leaving many more places facing a high risk of eviction spikes out of the loop.

Each city included in the Eviction Tracking System shows rolling weekly and monthly eviction filing counts. A percent change is calculated by comparing current eviction filings to baseline eviction filings for a quick look at whether a city might be experiencing an uptick.

Timely US eviction data for a handful of cities is now available from the Eviction Lab. (Courtesy Eviction Lab)

The tracking system also provides a more detailed report on each city’s Covid eviction moratorium efforts and more granular geographic and demographic information on the city’s evictions.

Click to the above image to see a city-level eviction map, in this case for Pittsburgh. (Courtesy Eviction Lab)

As part of their Covid Resource, the Eviction Lab together with Columbia Law School professor Emily Benfer also compiled a scorecard for each US state that ranks Covid-related tenant protection measures. A total of 15 of the 50 US states plus Washington DC received a score of zero because those states provided little if any protections.

CityMetric talked with Peter Hepburn, an assistant professor at Rutgers who just finished a two-year postdoc at the Eviction Lab, and Jeff Reichman, principal at the data science research firm January Advisors, about the struggles involved in collecting and analysing eviction data across the US.

Perhaps the most notable hurdle both researchers addressed is that there’s no standardized reporting of evictions across jurisdictions. Most evictions are reported to county-level governments, however what “reporting” means differs among and even within each county. 

In Texas, evictions go through the Justice of the Peace Courts. In Virginia they’re processed by General District Courts. Judges in Milwaukee are sealing more eviction case documents that come through their courtroom. In Austin, Pittsburgh and Richmond, eviction addresses aren’t available online but ZIP codes are. In Denver you have to pay about $7 to access a single eviction filing. In Alabama*, it’s $10 per eviction filing. 

Once the filings are acquired, the next barrier is normalizing them. While some jurisdictions share reporting systems, many have different fields and formats. Some are digital, but many are images of text or handwritten documents that require optical character recognition programs and natural language processors in order to translate them into data. That, or the filings would have to be processed by hand. 

“There's not enough interns in the world to do that work,” says Hepburn.


Aggregating data from all of these sources and normalizing them requires knowledge of the nuances in each jurisdiction. “It would be nice if, for every region, we were looking for the exact same things,” says Reichman. “Instead, depending on the vendor that they use, and depending on how the data is made available, it's a puzzle for each one.”

In December of 2019, US Senators Michael Bennet of Colorado and Rob Portman of Ohio introduced a bill that would set up state and local grants aimed at reducing low-income evictions. Included in the bill is a measure to enhance data collection. Hepburn is hopeful that the bill could one day mean an easier job for those trying to analyse eviction data.

That said, Hepburn and Reichman caution against the public release of granular eviction data. 

“In a lot of cases, what this gets used for is for tenant screening services,” says Hepburn. “There are companies that go and collect these data and make them available to landlords to try to check and see if their potential tenants have been previously evicted, or even just filed against for eviction, without any sort of judgement.”

According to research by Eviction Lab principal Matthew Desmond and Tracey Shollenberger, who is now vice president of science at Harvard’s Center for Policing Equity, residents who have been evicted or even just filed against for eviction often have a much harder time finding equal-quality housing in the future. That coupled with evidence that evictions affect minority populations at disproportionate rates can lead to widening racial and economic gaps in neighborhoods.

While opening up raw data on evictions to the public would not be the best option, making timely, granular data available to researchers and government officials can improve the system’s ability to respond to potential eviction crises.

Data on current and historical evictions can help city officials spot trends in who is getting evicted and who is doing the evicting. It can help inform new housing policy and reform old housing policies that may put more vulnerable citizens at undue risk.

Hepburn says that the Eviction Lab is currently working, in part with the ACLU, on research that shows the extent to which Black renters are disproportionately affected by the eviction crisis.

More broadly, says Hepburn, better data can help provide some oversight for a system which is largely unregulated.

“It's the Wild West, right? There's no right to representation. Defendants have no right to counsel. They're on their own here,” says Hepburn. “I mean, this is people losing their homes, and they're being processed in bulk very quickly by the system that has very little oversight, and that we know very little about.”

A 2018 report by the Philadelphia Mayor’s Taskforce on Eviction Prevention and Response found that of Philadelphia’s 22,500 eviction cases in 2016, tenants had legal representation in only 9% of them.

Included in Hepburn’s eviction data wishlist is an additional ask, something that is rarely included in any of the filings that the Eviction Lab and January Advisors have been poring over for years. He wants to know the relationship between money owed and monthly rent.

“At the individual level, if you were found to owe $1,500, was that on an apartment that's $1,500 a month? Or was it an apartment that's $500 a month? Because that makes a big difference in the story you're telling about the nature of the crisis, right? If you're letting somebody get three months behind that's different than evicting them immediately once they fall behind,” Hepburn says.

Now that the Eviction Tracking System has been out for a week, Hepburn says one of the next steps is to start reaching out to state and local governments to see if they can garner interest in the project. While he’s not ready to name any names just yet, he says that they’re already involved in talks with some interested parties.

*Correction: This story initially misidentified a jurisdiction that charges $10 to access an eviction filing. It is the state of Alabama, not the city of Atlanta. Also, at the time of publication, Peter Hepburn was an assistant professor at Rutgers, not an associate professor.

Alexandra Kanik is a data reporter at CityMetric.