A Depression-era federal program let artists depict the underside of American capitalism. Republicans killed it.
Three men huddle around a lit fire in an oil drum. An entire community of the dispossessed goes about its day, here hanging laundry or carrying water in buckets, there mending a tattered shirt. A homeless family stands disconsolately before their wrecked home.
These paintings and many other examples of what Dijkstra calls American Expression are currently on display at the Oceanside Museum of Art.Abstraction was supposed to be the great thing of the moment, but one of the nice things about abstraction is that there was no content—you could look at the picture and see nothing except construction.was launched earlier this year at the Crocker Art Museum in Sacramento. It will run in Oceanside through Nov.
The anti-”woke” movement so beloved of conservative Republicans would never accept depictions of an American underclass or questioning of the nobility of American capitalism today. Nor would Democrats beholden to wealthy and corporate donors be inclined to fight for such funding. Many works are by artists whose heydays were in the 1930s and 1940s, but who fell into undeserved obscurity as artistic fashion in the U.S. moved away from the humanism of their approach toward depoliticized, deliberately unrealistic abstract modernism.
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