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COMMENT: (Avail­able as of 8/18/2026.)

On Sun­day, August 16, it was Mr. Emory’s great plea­sure to host the bril­liant Hal Sander­son.

Pre­sent­ing the first of a series of Zoom inter­views about Andy Warhol, his back­ground, his work, his near-mur­der, the deep polit­i­cal forces sur­round­ing him and against which he strug­gled, Hal began by detail­ing how the Rusyn/Ruthenian back­ground of the Warhol fam­i­ly led to the fas­cist forces dom­i­nat­ing Ukraine to attempt to claim him as “one of their own.”

Hav­ing come from a deeply-beset work­ing-class back­ground, Warhol suf­fered from the phys­i­o­log­i­cal slings and arrows to which he had been sub­ject­ed.

Grow­ing up Campbell’s Soup was a luxury—something those famil­iar with Warhol’s work have over­looked.

Warhol was described as sin­gle-hand­ed­ly shat­tered abstract expres­sion­ism, an artis­tic art form that was an essen­tial part of the CIA’s Cul­tur­al Cold War.

The pow­er­ful forces under­pin­ning the devel­op­ment of abstract expres­sion­ism as an art form are the political/economic engines that dom­i­nate Amer­i­can soci­ety.

Warhol’s life and work can only be prop­er­ly under­stood by ana­lyz­ing those forces and the oppo­si­tion that he rep­re­sent­ed.

Lviv, Ukaine, Sum­mer of 2018. Cel­e­bra­tion of the 75th anniver­sary of the 14th Waf­fen SS Divi­sion (Gali­cian). Note the Ukrain­ian hon­or guard in the back­ground.

Top­ics of Dis­cus­sion and Analy­sis Include: The impor­tance of soup as a form of sus­te­nance vital to work­ing-class peo­ple; The sig­nif­i­cant role of Franklin Delano Roosevelt’s WPA in gen­er­at­ing momen­tum in the art world; Mr. Motyl’s attempt at the “Ukrainiza­tion” of Warhol against the back­ground of Volodomyr Via­tro­vich and the crim­i­nal­iza­tion of his­tor­i­cal truth about Ukraine; Dis­cus­sion of the mul­ti-eth­nic com­po­si­tion of Ukrain­ian soci­ety; The role of Nel­son Rock­e­feller in the oper­a­tions and his­to­ry of the U.S. nation­al secu­ri­ty estab­lish­ment; The role of Nel­son Rock­e­feller in the devel­op­ment of the Muse­um of Mod­ern Art, one of the insti­tu­tions pre­sent­ing and under­pin­ning the devel­op­ment of the CIA-favored abstract expres­sion­ism; Nel­son Rockfeller’s net­work­ing with asso­ciates who, togeth­er, com­prised the elite of the Cold War intel­li­gence com­mu­ni­ty; The pro­found over­lap between the CIA-linked milieu of Nel­son Rock­e­feller et al and the media; That Rock­e­feller-con­nect­ed milieu and its role in pro­mot­ing abstract expres­sion­ism; The ascent of abstract expres­sion­ists in the world of art, large­ly as a result of the efforts of Rock­e­feller, the CIA and the nation­al secu­ri­ty estab­lish­ment; the late Jack­son Pollock’s role in the devel­op­ment of abstract expres­sion­ism; The untime­ly deaths of many abstract expres­sion­ist artists—apparently alco­hol-pre­cip­i­tat­ed auto­mo­bile acci­dents, appar­ent sui­cides and oth­er acci­dents that pre­ma­ture­ly ter­mi­nat­ed their lives.