From the Editors: The Fake “Dana Schutz” Letter
Thursday morning, following days of protests and discourse around Dana Schutz’s painting Open Casket, which depicts Emmett Till lying dead in his casket, we received an “open letter” from someone who appeared to be the artist, calling for the work to be removed from display in the 2017 Whitney Biennial. The letter was sent to an Artsy staff member who knows the artist, and appeared to come from the artist’s studio. We reached out to the Whitney Museum for comment, and ultimately made the decision to publish the letter.
Artsy Editorial was among several online publishers to reprint Dana Schutz’s letter in full.
Shortly after the letter was published on our website, we received written confirmation from Stephen Soba, director of communications at the Whitney Museum of American Art, that they had been in touch with the artist and that the letter was fake. Upon receiving this information, we removed the letter from our website.
We have also reached out to Dana Schutz directly for comment. As of this time, the artist has not responded to our inquiries.
We regret the decision to print the letter without corroborating the source, and apologize for any confusion caused. In the interest of transparency, we have included the letter below.
Dear Mia and Christopher,
I am writing to publicly request that my painting, Open Casket, be removed from this year’s Whitney Biennial. Though it was not at all my intention to cause harm, many artists have come forward to announce that my depiction of suffering is in turn causing them suffering. I cannot rightly protect a painting at the expense of human beings.
I understand that many have attempted to defend my work in the interest of free speech, and with calls against censorship. However, the artists and writers generously critiquing Open Casket have made plain to me that I have benefited from the very systems of racism I aimed to critique, in a way that blinded me to what my representing this image would mean to Black audiences.
Particularly because, with my stamp of authorship, Open Casket could enter into the market and, in turn, commodify the very suffering I wished to explore. And while I agree with your curatorial statement that art can be an appropriate venue for political expression and debate, I do not agree with your implication that Black pain—what you refer to as “tremendous emotional resonance”—is a social good to be sought after through art. At least, not within a historically white-run institution, at the hands of a white artist, in an exhibit organized by a predominantly non-Black staff.
Indeed, I wanted to critique anti-Black violence and explore the real empathy I found between myself and the mother of Emmett Till, but I have learned that my representation of violence against her son has proven to demonstrate its opposite: appealing to the universal truth of motherhood goes against what I have learned about the denial of motherhood, and of humanity itself, on the basis of race.
I recognize that the calls for the painting’s removal have been made not as an imputation of my person or my career but of this artistic choice, this work, and the system that supports, even celebrates, such a gesture. Donna Haraway credits getting “called to account” by Black feminist thinkers for her most famous text (itself a call for sensitivity, a willingness to be wrong and a commitment to anti-racist coalition building). I want to model a willingness to learn from my mistakes, and honesty about accounting for them.
People who have been harmed by and are at risk of continued harm by systems of racist violence are in a much better position to know what is needed for restitution for that violence. If the removal of my painting has been called for by Black artists, writers, and activists, I can no longer protect an object at their expense. The painting must go.
I now join them in calling for the immediate removal of Open Casket. I have already promised the work will never be for sale, and I will also promise to make it impossible for the work to re-enter the public sphere. I also plan to redirect all funds from the sales of my other paintings included in the Biennial towards the Black liberation movement. Finally, out of continued respect for those harmed by the work, I ask that the catalog and the press in the future and retroactively remove all images of the work from circulation, and replace it with images of the work’s subsequent protest.
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