Category Archives: Art & Architecture

Ramparts Magazine: Midwife of the 1960s Student Revolts

If you were a Left-leaning college student in the 1960s there is a good chance that you had a copy of Ramparts magazine on the coffee table. From 1964-1969, under the leadership of executive editor Warren Hinckle, Ramparts was arguably the most important anti-war, counter-culture, general circulation magazine in the United States. Closely associated with the New Left political movement the magazine reached an ultimate circulation of 250,000 in 1968. That was a large number in those days, especially for an ostensibly underground publication frequently denigrated by its competitors in the mainstream media. Ramparts was so good at its craft that it became the ire of the CIA, which tried to censor the magazine and then shut it down, failing on both counts, not to mention breaking the law and its own charter prohibiting it from domestic spying.

Why was the CIA so rattled?

In the April 1966 edition Ramparts exposed a program the CIA was running clandestinely out of Michigan State University as part of the Michigan State University Vietnam Advisory Group (MSUG). Though there were some positive outcomes from MSUG the article revealed that the Agency had infiltrated it early on and was using it as a front for covert operations, including training and arming police interrogators in South Vietnam to spy on and harass dissidents in Saigon. Though not explicit in the record there were almost certainly some classes on torture methods in the curriculum. What we do know is that Diem’s forces had gained considerable expertise in using such brutal practices during the time period in question. Ramparts asked: “what the hell is a university doing buying guns, anyway?” It was one of the early sparks in what would erupt into open confrontations between students and their universities over support for the Vietnam War, most famously at Berkeley, Michigan, Columbia, Wisconsin, Ohio State and Kent State, among many others. Ramparts won the 1966 George Polk Award for Magazine Reporting for the article. The cover is a 60s classic (see below).

Then in March 1967 Ramparts created a national sensation by publishing an embarrassing expose of CIA secret funding of the National Student Association (NSA) which was the largest college student organization in America. A year earlier the New York Times ran a series of articles which began to uncover secret CIA funding of various fronts going back to the late 1940s, including arts organizations, political and cultural journals, radio stations, cultural foundations etc. That operation, known as the Congress For Cultural Freedom, aka the Mighty Wurlitzer within the CIA, was a primary weapon against Soviet influence in what is today known as the Cultural Cold War. But the Ramparts story went one step further by including the first acknowledgement of the program’s existence by a former CIA officer involved in the covert operations, Michael Wood, who had records, not just about the NSA, but other related fronts that the CIA had established. The upstart magazine had once again scooped the big players in the main stream media on one of the biggest stories of the time, pouring more gasoline on the fire on campuses nationwide.

For excellent treatments of this history see The Cultural Cold War by Frances Stonor Saunders and Cold Warriors by Duncan White.

A side note about the March 1967 issue: Hinckle wrote the cover story, “A Social History of the Hippies.” Editorial differences over that story led contributing editor Ralph J. Gleason to resign in protest. Gleason and former Ramparts staffer Jann Wenner, then founded a new magazine, Rolling Stone, later that year.

Below are photos of these two landmark issues of Ramparts, they are two of the more influential magazine editions of any kind from the time period, helping to lay the foundation for the student radicalism that was to follow.

External Links:

Ramparts Editors on CIA Activities – KPIX TV (1967)

The University That Launched A CIA Front Operation in Vietnam – Politico (2018)

The Spy Who Funded Me: Revisiting the Congress for Cultural Freedom – LA Review of Books (2017)

NSA and the CIARamparts Magazine, March 1967, pp. 29-39 text

Robert Motherwell: Elegies to the Spanish Republic

 

 

Elegy to the Spanish Republic No. 110 by Robert Motherwell, 1971, Solomon R. Guggenheim Museum

Robert Motherwell’s Elegies to the Spanish Republic has been interpreted as the artist’s on-going personal expression of his belief “that a terrible death happened that should not be forgotten.” Motherwell was referring to the events of the Spanish Civil War (1936-1939). The savage nature of that war—more than 700,000 killed, including the mass-executions of thousands of civilians—roused a legion of artists to action. Pablo Picasso’s famous painting Guernica (1937) expresses his outrage over the unfair nature of the conflict, specifically the bombing of defenseless civilians from the sky by the Generalissimo’s Nazi allies. That painting has become the enduring symbol of the war.

For Robert Motherwell, the war became a metaphor for all injustice. Elegies to the Spanish Republic (over 100 paintings completed between 1948 and 1967) is a commemoration of human courage in the face of terror and suffering. He saw the heroism of the defenders of the elected government in stark contrast to the duplicitous dealings of the fascist alliance that ultimately prevailed. To portray this visually Motherwell’s recurring theme is a sublime contemplation of life and death, equating to light and dark. The abstract concept common to the Elegies—an alternating pattern of oval shapes slotted between columnar forms—has been said to represent the dialectical nature of life itself, expressed through the juxtaposition of black against white—the colors of death and life. The Republic is evoked as a bull (the symbol of Spain), once strong and radiant, heartbreakingly butchered by Franco, now only a dark memory.

 

 

 

Malle, Moreau and Miles – Elevator to Modernity

This masterful scene from Louis Malle’s Elevator to the Gallows (1958) is a quintessential example of 20th century postwar modernism. It’s all here– the near perfect intersection of film (a noir at the leading edge of the French New Wave), music (the atmospheric jazz score was improvised by Miles Davis in a single, all-night recording session), the electrified urban landscape (lit by neon, headlights, arcades and storefront displays), fashion (notice the various representations as Moreau walks in front of the arcade) and finally, dripping sensuality (Jeanne Moreau and Miles Davis fused in sexy melancholia ultimately climaxing in a downpour of rain and thunder). What cool is made of….

Have a martini….

Hello Michelangelo- Your Conference Call ID# is MDXII

800px-Michelango_Portrait_by_VolterraMichelangelo, master creator of great works of art like the Pietà and David and the Sistine Chapel, was also apparently far ahead of the curve when it came to telecommuting. Here’s how he put it, in a letter to his boss, Pope Julius II, making his case for the privilege of working from home:

“Now you write to me on the pope’s behalf, so you can read the pope this: let His Holiness understand that I am more willing than ever to carry on with the work; and if he wants the tomb come what may, he shouldn’t be bothered about where I work on it, provided that, at the end of the five years we agreed on, it is set up in St Peter’s, wherever he likes; and that it is something beautiful, as I have promised it will be: for I’m sure that if it’s completed, there will be nothing like it in the world.

“I have many marbles on order in Carrara which I shall have brought here along with those I have in Rome. Even if it meant a serious loss to me, I shouldn’t mind so long as I could do the work here; and I would forward the finished pieces one by one so that His Holiness would enjoy them just as much as if I were working in Rome — or even more, because he would just see the finished pieces without having any other bother. ”

The folks at Forbes Magazine announced in 2014 that “telecommuting is the future of work.” Little did they know that Michelangelo had beaten them to the punch by over a half millennium!

Source:

Selected Poems and Letters
by Michelangelo (Author), Anthony Mortimer (Editor, Translator, Introduction)  (Penguin Classics) Paperback – December 18, 2007

Portrait of Michelangelo by Daniele da Volterra