Warhol wasn’t hiding anything, and he wasn’t out to trick anyone. He was only changing one rule, the most basic rule, of the game. “Campbell’s Soup I” (1968) / Andy Warhol Museum / © 2010 Andy Warhol Foundation / ARS, NY / Trademarks, Campbell Soup Company; “Sixteen Jackies” (1964) / Henri Dauman / Andy Warhol Foundation / Corbis; red “Liz” (1964) / Andy Warhol Museum / © 2010 Andy Warhol Foundation / ARS, NY; “Brillo Box” (1964) / Moma / SCALA / Art Resource / © 2010 Andy Warhol Foundation / ARS, NY; All other art: Andy Warhol Foundation / Corbis
We must not be deceived by superficial phenomena and local successes. Picasso's shows still draw crowds, and T. S. Eliot is taught in the universities; the dealers in modernist art are still in business, and the publishers still publish some "difficult" poetry. But the avant-garde itself, already sensing the danger, is becoming more and more timid every day that passes. Academicism and commercialism are appearing in the strangest places. This can mean only one thing: that the avant-garde is becoming unsure of the audience it depends on -- the rich and the cultivated.
I have used my privilege to keep silent. NO MORE. NO EFFING MORE. If you are not helping, you are hurting. I will not be actively complicit in racism by closing my mouth, binding my fingers, and pretending this doesn’t exist. I am rolling up my sleeves and doing whatever I can – be that sharing an article, joining a march, or having a conversation with someone who shares an “all lives matter” meme. And I am educating myself and my children. I am not ashamed of my skin. I am ashamed of a society who values me more simply because of my skin. This is NOT OKAY. I am NOT OKAY with this. I am doing what I can, today, and continuing to read, listen, and learn to do more tomorrow.