The Slave Who Loved Caviar

by Ishmael Reed

The greatest and most fearless living writer turns his unerring eye to the art world and the fraught relationship between Jean-Michel Basquiat and Andy Warhol.

The relationship between Andy Warhol and Jean-Michel Basquiat is already one of the most iconic, intensely analyzed partnerships in the history of art. Ishmael Reed, perhaps America's greatest living writer, brings the same unsparing, deeply researched perspective as he did for the Archway Editions bestseller The Haunting of Lin-Manuel Miranda, for a captivating, illuminating final word on the famous duo.

Already the subject of controversy during its original run at the Theater for the New City in the East Village, Archway Editions is proud to bring you the unabridged text of The Slave Who Loved Caviar, Ishmael Reed’s latest feat of research and drama, the tragedy as disturbingly real for today’s artists as it was in the 1980’s.

Genres: Plays

108 pages, Paperback

Published November 14, 2023

About the author

Ishmael Scott Reed is an American poet, essayist, and novelist. A prominent African-American literary figure, Reed is known for his satirical works challenging American political culture, and highlighting political and cultural oppression.

Reed has been described as one of the most controversial writers. While his work has often sought to represent neglected African and African-American perspectives, his energy and advocacy have centered more broadly on neglected peoples and perspectives irrespective of their cultural origins.

Reviews

[Morgan Thomas · Rating 4 out of 5]

I picked this up for what I had hoped would be an interesting story about the collaboration between Andy Warhol and Jean-Michel Basquiat. I studied Art History and find the inner workings of the art world fascinating. This did not disappoint.
I will say I went in thinking this was going to be one thing (a play between fictionalized versions of Basquiat and Warhol) but it wasn't. With Reed writing in the introduction he was served a cease and desist, of course he would not be writing about the actual characters. Instead two forensic experts examine that time in Basquiat's life and his relationship to Warhol.
I was a bit skeptical once I got to reading, as I know Reed sometimes has a tendency proselytize. Several years ago I saw a performance of his play "The Haunting of Lin-Manuel Miranda" in which Reed has long monologues from performers telling people information. Some of this felt dull and hard to engage with in this play, but by the end I felt riveted. Reed did what he set out to do which was open my eyes to the true nature of the pairs relationship (I hope this does not sound to conspiracy theory). Fascinating questions were brought up in terms of profiting off people's work. Who really benefitted? A lot of people it seemed, with very few seeming to have much incentive to help Basquiat, say with his drug problems. Warhol was happy to use Basquiat, his own career in decline and have some new fresh blood in his creative orbit. It is said that Basquiat got Warhol to paint again. (As an Art History fan I also think it's interesting, even though Reed doesn't talk about, is who was in Warhols orbit by this point. A lot of the bohemians and people he associated with at the factory in the 60s were gone. It is said the place looked more like an office with people in suits).
Oftentimes stories can be presented one way and leave out valuable information in which maybe one party doesn't look so good. And if anyone wanted to look good it was Andy Warhol, who didn't care who was in his path.

[Grant Catton · Rating 5 out of 5]

This is like Art History 799 Graduate Seminar. This is not a good "entry point" for those unfamiliar with the Basquiat/Warhol legend or those looking for a primer. It's positioned pretty deep into the conversation about how issues of race and class (or, more accurately, racism and classism) have shaped U.S. art history, the art world in the 80s, and specifically the Basquiat/Warhol relationship.

Takes a very sharply critical view of Warhol and the white art "establishment," which, whether or not you agree with his view 100% of the time (I don't necessarily) it is an extremely important addition to the conversation and a valuable new angle through which to look at this complex topic.

Although it purports to be a play, it's really more of a position paper. There are characters and dialogue, but they are just props through which Reed is elucidating his views on the Warhol/Basquiat thing in answer the sanitized version of events in the Warhol Foundation approved play, "The Collaboration." And...at that...it's really good. I feel like it challenged me to look at this episode in art history (and others) in a different way than I'm used to.

[Geo · Rating 4 out of 5]

A great way to show how the leeches took advantage of Basquiat until his end

[Jasminum Mcmullen · Rating 5 out of 5]

A two-act play that came out the box swinging! This author never disappoints.

[Edward Moreta]

Thank u Adi and Seth