The following is an updated version of a post that appeared originally on the philosophy website Daily Nous as part of their “Philosophers On” series. Thanks to Justin Weinberg for permission to repost it with updates here.
This edition of Artworld Roundtable appears in collaboration with Chris Richards, the pop music critic for the Washington Post. Over the next several weeks, we’ll present a series of roundtable discussions based on Richards’ “five hardest questions in pop music”: “cultural appropriation, problematic lyricism, selling out, the ethics of posthumous listening, and … separating the art from the artist.” AFB has rounded up several thinkers working in these areas to see what they have to say about each question. Richards has provided AFB with key examples to draw out the problems and complexities of each debate. First was cultural appropriation. Second was how to respect the wishes of dead artists. Third was whether selling out is still possible. Fourth was how to engage with objectionable lyrics. Today we ask whether and to what extent we can separate art from the artist who made it.
The past couple of years have been filled with news about artists and entertainers history of sexual harassment and assault. But the bad behavior of artists isn’t limited to that. Many musicians are outspokenly racist. Some have committed crimes or even murders. And others are just terrible jerks.
How, if at all, should the personal character and moral transgressions of musicians change what we think about, and how we act in regard to, their music?
Whether we can separate the art from the artist is the fifth of “the five hardest questions in pop music”, as described in the Washington Post by pop music critic Chris Richards. Below is the guiding question accompanied by a few examples that Richards finds particularly salient, followed by our contributors’ responses. Continue reading