lpetrich
Contributor
Naomi Klein on opposition to the original New Deal:
Part of that was all the abundance of artwork that the New Dealers commissioned.From the start, elite critics derided FDR’s plans as everything from creeping fascism to closet communism. In the 1933 equivalent of “They’re coming for your hamburgers!” Republican Sen. Henry D. Hatfield of West Virginia wrote to a colleague, “This is despotism, this is tyranny, this is the annihilation of liberty. The ordinary American is thus reduced to the status of a robot.” A former DuPont executive complained that with the government offering decent-paying jobs, “five negroes on my place in South Carolina refused work this spring … and a cook on my houseboat in Fort Myers quit because the government was paying him a dollar an hour as a painter.”
Far-right militias formed; there was even a sloppy plot by a group of bankers to overthrow FDR.
Self-styled centrists took a more subtle tack: In newspaper editorials and op-eds, they cautioned FDR to slow down and scale back. Historian Kim Phillips-Fein, author of “Invisible Hands: The Businessmen’s Crusade Against the New Deal,” told me that the parallels with today’s attacks on the Green New Deal in outlets like the New York Times are obvious. “They didn’t outright oppose it, but in many cases, they would argue that you don’t want to make so many changes at once, that it was too big, too quick. That the administration should wait and study more.”
And yet for all its many contradictions and exclusions, the New Deal’s popularity continued to soar, winning Democrats a bigger majority in Congress in the midterms and FDR a landslide re-election in 1936.
The Federal Art Project alone produced nearly 475,000 works of art, including over 2,000 posters, 2,500 murals, and 100,000 canvasses for public spaces. ...
Much of the art produced by New Deal programs was simply about bringing joy and beauty to Depression-ravaged people, and challenging the prevalent idea that art belonged to the elites. ...
There was more overtly political art too, like the highly controversial theatrical productions of Sinclair Lewis’s “It Can’t Happen Here,” which opened in 18 cities. ...
Other artists produced more optimistic, even utopian creations, using graphic art, short films, and vast murals to document the transformation underway under New Deal programs — the strong bodies building new infrastructure, planting trees, and otherwise picking up the pieces of their nation.