- The Social and the Real: Political Art of the 1930s in the Western HemisphereOur PickBy Alejandro Anreus, Diana L. Linden, and Jonathan Weinberg
- Rethinking Social Realism: African American Art and Literature, 1930-1953Our PickBy Stacy I. Morgan
- Social Realism: Art as a WeaponBy David Shapiro
- Mexican Painters: Rivera, Orozco, Siqueiros, and Other Artists of the Social Realist SchoolBy MacKinley Helm
Important Art and Artists of Social Realism
Committed to Marxism and communism, William Gropper drew vast numbers of illustrations for such radical publications as the New Masses and the Communist Party's Daily Worker. Wanting to reach the greatest number of working people, Gropper and others created prints and graphics for radical magazines, which were easy to distribute. Here, Gropper engaged the revolutionary visual rhetoric of the monumental, triumphant worker who both ideologically and physically dominates the puny clerics and capitalists in the lower left corner. Religion, in cahoots with capital, seeks in vain to contain and repress America's worker who is represented almost as a King Kong figure breaking free of his chains; the movie King Kong debuted in 1933. The idea of industrial servitude and slavery are also communicated by the chain links that the worker powerfully splits apart. Gropper's message is as stark and clear as is his choice of black and white coloration.
A member of the Communist Party, this is Douglas's fourth panel from a series covering the transition between human slavery and modern industrial enslavement; the final, fifth panel was to show Karl Marx amongst African-American workers leading them to a better proletarian future. At the work's apex, a saxophonist stands triumphantly with his instrument held high above his head, far above the green grasping hands that would draw him back into slavery. Yet his triumph is fleeting, as the industrial cog on which he stands will carry him back into the depths of the city and society; industrialism and mechanization are not friends of the American worker. Beyond the man's reach, in the far distance, stands the Statue of Liberty symbolizing the unfulfilled promises of universal freedom. Song of the Towers showcases Douglas's signature style of concentric, radiating circles that are punctured by bold silhouetted figures.
Isamu Noguchi's early sculptural works dedicated to social concerns, which align with the artistic Left, are often overlooked in deference to his abstract statuary and furniture design. As compared to other Social Realists, Noguchi employed a more modernist vocabulary instead of particularizing the figure and its facial features. Considered a major early piece by Noguchi, Death (Lynched figure) testifies to the artist's progressive racial views and strong social commitment, which position the sculpture within the concerns of Social Realism. Noguchi modeled the painfully contorted figure hanging from a rope on a photograph of African-American George Hughes being lynched above a bonfire, writhing in agony; Hughes was hanged in Texas in 1930. The horrifying photograph of Hughes was later reproduced in the Communist magazine, Labor Defender, which is where Noguchi saw it. In terms of form, the sculpture is unusual since Noguchi suspended the figure above the ground on a metal armature. Noguchi created this sculpture for a 1935 exhibition organized by the NAACP to protest the national rise in lynching and also to pressure President Franklin D. Roosevelt to enact legislation prohibiting such vigilante violence; Roosevelt did not. Concurrently, the communist arts and cultural organization known as the John Reed Club held its own anti-lynching exhibition. While Noguchi's sculpture was well received, some critics reacted harshly to it, revealing their own racism by claiming the artist was not native-born and, in one instance, referring to the provocative sculpture as "a little Japanese mistake."