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In a 1977 interview with Glenn O’Brien for the marijuana lifestyle magazine High Times, O’Brien asked Andy Warhol if his teachers recognized his early “natural talent.” “Something like that,” Warhol responded with his characteristic unconventionality, “unnatural talent.” Warhol’s “unnatural talent” quip alluded not only to his mass-produced, machine-like paintings of soup cans and silk screen portraits, but also to his sexual orientation — the “unnatural” life of a homosexual. Just as Warhol turned that verbal double play, art scholar Michael Maizels tries to touch those two bases of Warhol’s art in “Doing It Yourself: Machines, Masturbation, and Andy Warhol” in the Fall 2014 issue of Art Journal. For Maizels, the way that Warhol made art reflected the way Warhol lived his life as a homosexual male in late 20th century America. When we look at Warhol’s art, Maizels suggests, we should see not just a critique of commercialized society and its art, but also a critique of that same society’s sexual tolerance.
Everyone you pass on the street, each person you drive by every day, has a story as well. To claim their death is not worth noticing is to say that their life was not worth living. And that's too bad, because interdependence is something we all rely on every single day, knowingly or not. 
“War is simply a continuation of political intercourse, with the addition of other means,” Carl von Clausewitz wrote in his famous book on battle strategy, On War. Many misquote that […]
A variety of responses rang out last week after Burwell v. Hobby Lobby. The SCOTUS’s decision to allow companies to deny employees access to certain forms of birth control was […]