Art in Embassies began in direct coordination with SC Johnson based in Racine, Wisconsin.
"In addition to continuing its support of individual exhibits of American art to foreign nations, the USIA and the Department of State also embarked on new programs designed to acquaint the world with American painting. One new initiative involved working more closely with U.S. businesses that owned large art collections in order to facilitate their exhibition overseas. More spectacularly, the State Department established the Art in Embassies program in 1964, which sought to turn U.S. embassies into small art galleries."
"In 1962, Edward R. Murrow, who was then director of the USIA, proclaimed a 'new and, I think, significant development' in terms of art patronage in the United States. This was the 'increasing interest of large corporations - Big Business as an institution, as opposed to the big businessman as an individual - in giving financial backing to our performing and creative arts.' As the 'interpreter of America to the rest of the world', Murrow was particularly excited by this development. 'The mere fact that profit-motivated corporations in a price-directed economy find good reason to subsidize the arts speaks eloquently against those who see in our system only the grossest materialism.'
"HE WAS PARTICULARLY EXCITED ABOUT THE OFFER BY S.C. JOHNSON & SON, INC. (THE FLOOR WAX GIANT) TO SEND ITS LARGE COLLECTION OF CONTEMPORARY AMERICAN ART AROUND THE WORLD, SPONSORED BY USIA."
---Fall-Out Shelters for the Human Spirit: American Art and the Cold War By Michael L. Krenn.
Art in Embassies began in direct coordination with SC Johnson based in Racine, Wisconsin.
"In addition to continuing its support of individual exhibits of American art to foreign nations, the USIA and the Department of State also embarked on new programs designed to acquaint the world with American painting. One new initiative involved working more closely with U.S. businesses that owned large art collections in order to facilitate their exhibition overseas. More spectacularly, the State Department established the Art in Embassies program in 1964, which sought to turn U.S. embassies into small art galleries."
"In 1962, Edward R. Murrow, who was then director of the USIA, proclaimed a 'new and, I think, significant development' in terms of art patronage in the United States. This was the 'increasing interest of large corporations - Big Business as an institution, as opposed to the big businessman as an individual - in giving financial backing to our performing and creative arts.' As the 'interpreter of America to the rest of the world', Murrow was particularly excited by this development. 'The mere fact that profit-motivated corporations in a price-directed economy find good reason to subsidize the arts speaks eloquently against those who see in our system only the grossest materialism.'
"HE WAS PARTICULARLY EXCITED ABOUT THE OFFER BY S.C. JOHNSON & SON, INC. (THE FLOOR WAX GIANT) TO SEND ITS LARGE COLLECTION OF CONTEMPORARY AMERICAN ART AROUND THE WORLD, SPONSORED BY USIA."
Fall-Out Shelters for the Human Spirit: American Art and the Cold War By Michael L. Krenn.
The State Department established the Art in Embassies program in 1964, which sought to turn U.S. embassies into small art galleries."
"n 1962, Edward R. Murrow, who was then director of the USIA, proclaimed a 'new and, I think, significant development' in terms of art patronage in the United States. This was the 'increasing interest of large corporations - Big Business as an institution, as opposed to the big businessman as an individual - in giving financial backing to our performing and creative arts.' As the 'interpreter of America to the rest of the world', Murrow was particularly excited by this development. 'The mere fact that profit-motivated corporations in a price-directed economy find good reason to subsidize the arts speaks eloquently against those who see in our system only the grossest materialism.
HE WAS PARTICULARLY EXCITED ABOUT THE OFFER BY S.C. JOHNSON & SON, INC. (THE FLOOR WAX GIANT) TO SEND ITS LARGE COLLECTION OF CONTEMPORARY AMERICAN ART AROUND THE WORLD, SPONSORED BY USIA.
So, in summary, Racine, Wisconsin is a main root of Pizzagate and Global Criminal Corruption across every aspect of the network that is directly tied through Art in Embassies, political parties, major industries, freemasons, Knights of Pythias, Knights of Malta, Pilgrims Society and other groups involved at the highest levels around the world.
Inb4 TrustTheTruth ;)