American justice

Joe Jones, 1933. Columbus Museum of Art. Dalrymple writes: ‘There were Communists among the American artists in the 1930s who probably would have become socialist realists à la Stalin, if (as was, in reality, impossible) the US had turned Communist; but in the US political context, theirs was an art of protest, not unjustified in itself but ill-assorted with their blindness to the incomparably worse horrors of Soviet Russia. The working-class, self-taught Jones painted his powerful work to protest lynchings and the continued existence of the Klu Klux Klan. This was perfectly justified; lynchings, though not numerous given the size of the US population, must have exerted an influence far beyond their statistical importance, not unlike Islamist terrorism today; yet even lynchings were a minor phænomenon compared with the mass executions and starvation synonymous with Communism from its inception. Despite his obvious and sincere sympathy for the impoverished and downtrodden, Jones could not imagine that anything was worse elsewhere—least of all in his imagined utopia-on-earth.’

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