The daily worker. [volume] (Chicago, Ill.) 1924-1958, 1932-01-04
EXPOSE DIEGO RIVERA AS TOOL
OF FASCIST MEXICAN GOVERNMENT
lmperialist Lackeys Called on to Appear Before
Negro and White Workers

NEW YORK.-The John Reed
Club, So W. 18th St., was the scene
Friday night of an enlightening if
rather disorderly meeting, when Diego
Rivera, artist, opporturiSt, renegade
from Communism and propaganda
agent for the fascist Mexican gov
eminent, tried to speak on "revolu-
tionsry art.''
It appears that the revolutionary
artists Of the club had invited Rivera
to speak under the distaken point of
view that he IVES an honorable OPP
pOnent or erring brother rather than
an agent Of the enemy class.
Entering an hour and half late,
Rivera, speaking in French through
an interpreter, strung along for some
time on themes OF scholastic nature
but made some fatal admissions such
as that there was no work Of art but
what was a weapon for one class
against another. He also asserted that
nowadays the ruling class could not
compel an artist to paint according
TO its command.
At this point there was Interrupt
ton, with questions demanding to
know why, If the ruling class could
not do this, Rivera himself had done
it. After a lengthy cornmotion, Bill
Dunno took the floor and declared
that all should be made aware of the
ater-reYolutionary character OF
Riyera, q supporter Of the fascist gov
eminent of Mexico, the murderer of
Mexican workers and peasants and
tool OF American imperialism since
the snibassadorship Of Dwight Nor
row. The club had made mistake,
he said, in inviting Rivera to speak,
hence a warning was necessary.
Rivera went into furtive and
crooked explanation" forthwith. of
how he came to be expelled from the
Communist Party Of Mexico: claim
ing that he had had political differ
ences" with the Party, and that later
he was expelled because he painted
q portrait for Dwight Morrow, ac-
copied d gorerln, rent posi- IS director
OF the Academy Of Art and w1s seen
in an automobile with a cabinet min
lister.
Hugo Gellert then raised the cues
ton OF the degeneration Of Rivera's
art; from its revolutionary character
TO the typical Bsbbitry in the mural
Decorators OF the San Francisco
Stock Exchange which Helen
Wills, and not Mooney and Billings,
represented California.
Rivera made a misers.. e mess OF 81
defense. advancing the astounding
treason" for revolutionary artist
that If he had tried to Gepict the
Mconer frsn1c-ttp, b. would not have
been allowed to finish the job. And.
OF course. he Rad 10 firish it-and
collect the fat fec. Ce1lert declared
thst Rivera had not answered aatis-
fsc1orily.
Harrison George then pointed cut
the fslseoeod of Rivera in first claim
ing that no work of art vas neutral"
and then shel5ering hlnseF bebind
the excuse that his works for Ameri-
cen inpsrialists rorc no different
thar a piece Of plumbing pipe"
AS the art 1as admittedly connect
ed with politics, Fiyera's political role
vas reviewed by George. rs ono re-
soonsible for the fatal collaboration
Of the WORKERS and Peasants Bloc
which Rivera then headed, with the
MeS1can Government In the time Of
the British backed Escobar rebellion
Of March, 1929. This gross opportun-
ism had cost the lives Of hundreds OF
Mexican peasants and workers and
directly aided the Yankee in1perialist