The news over the past several months has been full of revelations of sexual harassment and assault by men involved in arts and entertainment and other fields (for lists of recently revealed cases, see here and here). The cases have brought to the public’s attention a variety of questions concerning power, justice, gender relations, privacy, business practices, and the responsibilities of perpetrators, victims, and bystanders. When it comes to those involved in the arts, most of us come into contact with them largely as consumers, and so it is no surprise that one of the questions many people are discussing is this: How, if at all, should the moral transgressions of those involved in making art change what we think about, and how we act in regard to, their art? Continue reading
What follows is a guest post by John Rapko about the recent Guggenheim Museum controversy.
On Friday, September 22, a friend sent me an e-mail alerting me to an on-line petition. This time the issue was that the Guggenheim Museum in New York City had released a list of the names of the artists and their works to be included in the upcoming show “Art and China after 1989: Theater of the World.” Among the 150 works were three involving live animals, including a video of an installation by Sun Yuan and Peng Yu wherein dogs were strapped into opposing treadmills, where they ran in place, tugged, and snarled at each other to exhaustion. The two other pieces are by artists better-known outside China: a notorious piece by Huang Yong Ping, “Theater of the World”, which shows a large structure wherein many reptiles and insects have been placed, with the animals left to willy-nilly eat each other, fight for space, or make some kind of mutual accommodation; and a video by Xu Bing that shows a boar and a sow, each densely painted with nonsense–Chinese and –Roman characters, mating in a gallery. Thousands of people, including myself after a scanning, were signing the petition. The Guggenheim quickly released a statement urging people to consider the works as a document of their times, and to reflect upon the situation of the artists who were driven to make such works. The signing of the petition only quickened, and by Tuesday, September 26, when the Guggenheim announced that the works would not be shown, supposedly because of the threatening tone of many of the complaints about the show, the petition had garnered over half a million signatories. What had happened? Was it simply a matter of an internet mob hurling electronic threats of violence towards the museum’s employees that forced the otherwise unjustified withdrawal of the works, as the Guggenheim stated? Was the withdrawal further a cowardly capitulation to thugs with an impoverished understanding of animal rights and human rights, indeed “tragic for a modern society”, as the artist Ai Weiwei said? Is this an act of “censorship” violating the artists’ “right to free expression”, as Huang Yong Ping, the artist behind one of the allegedly objectionable works has urged? Or had an inexplicable category mistake been corrected, as implied by the countless objections that “animal torture is not art“? Continue reading
The American Society for Aesthetics has sponsored the development of new, annotated reading lists, with an eye to increasing diversity. These are intended for use in teaching, but would make a great reading list for curious minds!
These are publicly available at the ASA website, but Aesthetics for Birds has asked the designers of these reading lists to provide us with brief overviews of what we can find in the documents. That way you, our readers, have a better idea of what you are looking at and what you might want to look for.
Will Italy Back Down on Hermann Nitsch Show?
Italian animal rights activists have launched an online petition to stop a Nitsch performance, slated to kick off in Palermo on July 10, and continue throughout the summer until September 20…
The full story can be found here.
Animal Rights Activists Protest Untitled (12 Horses)
Animal activists turned up at Gavin Brown’s West Greenwich Village gallery space in New York to protest the showstopping final exhibit there before the gallery moves uptown to Harlem. The work in question is Jannis Kounellis’s Arte Povera masterpiece, 12 Horses, which debuted in Rome in 1969. The installation features 12 horses tethered to the wall, eating hay, on a rubberized floor…
The full story can be found here.
Cynthia Freeland, Anthony Cross, Ross Cameron, John Rapko
What follows is a guest post by M. B. Willard, a metaphysician with an aesthetics problem. She is Assistant Professor of Philosophy at Weber State University.
Imagine becoming adrift in a novel in the way often described by avid readers: You’ve become lost in the book. Perhaps you’ve become so engrossed that your coffee grows cold, neglected on the table beside you. Perhaps you’ve lost track of time, to be startled when the clock chimes. Perhaps the story is deeply sad, and you spend the rest of the day in a mild malaise. Perhaps the story’s protagonist struggled in abject poverty, and you come away believing that while of course the story is made up, people really do live like that, and you resolve to increase your annual contributions to charity.
(Or perhaps you watched Star Trek; you spend the rest of the day mildly keyed up against injustice, and rebuke the man in front of you at Starbucks when he is rude to the barista. No judgment, Walter Mitty.)