By Christos M. Joachimides, David Anfam, Norman Rosenthal
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1955 how a peculiarly into the Cold War and AlcCarthyism as Daniel Bell, Goodman and Hannah mass recent European traditions of thought would mesh home-grown amalgam of idealism and pragmatism. such (see and their European emigre counterparts assessed their preoccupations related (or failed to relate) to the around them and how ical theorists Paul became locked intellectuals David Riesman, Arendt, alongside J. Social and polit- K. Wright Mills, Theodor \\'. Adorno, xMax Hork- Douglas Tallack 30 Fig.
I lere, the best illustration is the 'career' of the journal Par- tisan Revieiv. Refounded in 1937 after three years as a (-ommunist Party cultural organ, Partisan Review took issue with the Stalinist-inspired Popular Front against fascism that had «-^*¥i been inaugurated by the C^omintern in 1935. The acceptance of this policy by the ^Vmerigan C>ommunist Party and many fellow-travellers was, in part, politically determined: a' recognition of the dire threat of fascism (particularly to the USSR, the ideal against which the failings of American capitalism could be set) ami an acknowleilg- Douglas Tallack 32 ment of the poor electoral CPUSA and perfonnance of the the Socialist Part}- in spite of the visible collapse of capitalism.
Of New York art-talk, which meant: you you wish matt, self-referential flat, art. It a philosophical 27 in the final same painting. ' Oddly, with Reinhardt, almost the last thing one is is the only thing for an artist to conscious of in his work is the thematization of the physical parameters of painting: the work instead seems over- whelmingly your all such as spiritual, and even mystical. black painting When Glaser said some kind of relationship Duchamp', Reinhardt demurred: his 'some critics have seen in to the negative acts of dada artists work was 'the exact opposite of Duchamp'.