The ethical criticism of art has recently begun to address the subject of immoral artists, with two questions seeming to dominate discussion. How does moral misconduct on the part of artists affect their work’s aesthetic value? How should the art world respond to cases of artists who have been accused of morally outrageous behaviour? Such value and policy debates are important, but they leave aside a pressing question towards which this article proposes a reorientation: What is the possible impact of (...) an artist’s moral ill repute on how we understand the meaning of their work? I argue in this paper that an artist’s bad moral reputation can lead (i) to participatory resistance to an art work, as viewers abstain from a response to the work’s illocutionary force, (ii) to the isolation of the work from the ‘quality context’ that normally allows propositions expressed by the work to be taken as sincere, (iii) to the reinterpretation of the work’s propositional content against the background of new knowledge about the author, and (iv) to the perception of the work as a lie. To illustrate, I look at works by Chuck Close and Jan Fabre, contemporary artists whose reputation has been affected by a scandal. (shrink)

Erich Hatala Matthes’s (2021)Drawing the Line is about what we ought to do when we discover that an artist whom we love has committed a great moral wrong. As it turns out, Matthes and I agree almost entirely on the moral obligations of the individual consumer. We both agree that it is necessary to ascertain whether the life of the artist affects the aesthetic quality of their work, and that we should attend to how continuing to engage with their work (...) publicly expresses our ethical values. Both of us wind up with a morally permissive stance, according to which individuals can, in some contexts, continue to engage with the artwork of immoral artists.There is one distinct difference in how we approached the problem. Matthes took up the question of the role and responsibility of institutions in his third chapter, a question I set aside almost entirely. In this article, I want to delve more deeply into the question of art institutions and their responsibilities to reform themselves. I will argue that the nature of aesthetic practice means that it is harder for an institution to tread the desirable middle ground between uncritically endorsing an immoral artist and cancelling them. (shrink)

Matthes and I both hold that the central ethical harm of continuing to engage with the work of immoral artists lies in what doing so inadvertently expresses to others. (Matthes, 2021; Matthes, 2022; Willard, 2021; Willard, 2022). We also agree that there’s little wrong ethically with continuing to engage the work of immoral artists in private or within interpretive communities poised to place the ethical and the aesthetic in dialogue with each other. Matthes (2022, p. 523) notes that part of (...) his motivation for writing the book was the countless conversations he had with friends, colleagues, and strangers about the problem of immoral artists, and my experience–—everywhere from the doctor’s office to the classroom to the bike shop—was similar. Interpretive communities reappraise immoral artists’ art together.Outside of those contexts, we both advise caution. Liao (forthcoming) suggests that doing so comes at an unrecognized cost to our aesthetic agency because the source of aesthetic value is social. In response, Matthes (2022) argues that attending to the social expression of one’s aesthetic pursuits does not compromise our aesthetic agency. This seems right. Any reasonable account of the value of aesthetic agency should presumably allow for ordinary human decency to restrain one’s public expression of one’s aesthetic loves. The proper exercise of aesthetic autonomy requires not unbridled freedom, but sensitivity to the right kinds of reasons. (shrink)

A dealbreaker, in the sense developed in this essay, is a relationship between a person's psychology and an aspect of an artwork to which they are exposed. When a person has a dealbreaking aversion to an aspect of a work, they are blocked from embracing the work's aesthetically positive features. I characterize dealbreakers, distinguish this response from other negative responses to an artwork, and argue that the presence or absence of a dealbreaker is in some cases an appropriate target of (...) moral evaluation. I then use the concept of dealbreakers to develop a new approach to the question of our moral obligations with respect to the work of immoral artists, arguing that there is no general obligation binding us to cultivate or eliminate a dealbreaking aversion to their work. I conclude by suggesting several other philosophical debates that could benefit from a focus on dealbreakers. (shrink)

Many view cancellation as a method for holding influential personalities accountable for bad behavior, while others think cancelling amounts to censorship and bullying. I hold that neither of these accounts are worth pursuing, especially if the aim is social progress. In this paper, I offer a situated account of cancellation and cancel culture, locating the phenomenon in our exclusionary history while examining the social dynamics of belief. When we situate cancel culture, we can see how problematic instances of cancelling are (...) embedded in ignorance. While combatting ignorance appears to call for a remedy rooted in feminist standpoint epistemology, there are risks in adopting naive practices of deference. Applying criticisms of epistemic injustice and adopting Táíwò’s elite capture framework, I explain how well-intentioned cancelling can work against social movements. Since epistemic trust mechanisms discourage self-reflection and belief revision, the relevant tactics for enacting social change—coalition politics and education—seem out of reach. I conclude by sketching cancel culture as a diagnostic tool: cancellation can be used appropriately in marginalized communities, but when it comes to combatting ignorance among privileged folks, we should view cancel culture as a method for determining where our social institutions are failing us. (shrink)

This essay discusses Mary Beth Willard's _Why It's OK to Enjoy the Work of Immoral Artists_ and puts it into dialogue with my book _Drawing the Line._ In particular, I focus on the role of aesthetic projects in thinking about artistic immorality, and develop further thoughts on the public/private and individual/social distinctions with respect to our engagement with the arts.

When the 2022 FIFA Men’s World Cup was awarded to Qatar, it raised a number of moral concerns, perhaps the most prominent of which was Qatar’s woeful record on human rights in the arena of migrant labour. Qatar’s interest in hosting the event is aptly characterised as a case of ‘sportswashing’. The first aim of this paper is to provide an account of the nature of sportswashing, as a practice of using an association with sport, usually through hosting an event (...) or owning a club (such as Newcastle United, owned by Saudi Arabia), to subvert the way that others attend to a moral violation for which the sportswashing agent is responsible. This may be done through distracting away from wrongdoing, minimising it, or normalising it. Second, we offer an account of the distinctive wrongs of sportswashing. The gravest moral wrong is the background injustice which sportswashing threatens to perpetuate. But the distinctive wrongs of sportswashing are twofold: first, it makes participants in sport (athletes, coaches, journalists, fans) complicit in the sportswasher’s wrongdoing, which extends a moral challenge to millions of people involved with sport. Second, sportswashing corrupts valuable heritage associated with sporting traditions and institutions. Finally, we examine how sportswashing ought to be resisted. The appropriate forms of resistance will depend upon different roles people fill, such as athlete, coach, journalist, fan. The basic dichotomy of resistance strategies is to either exit the condition of complicity, for example by refusing to participate in the sporting event, or to modify one’s engagement with the goal of transformation in mind. We recognize this is difficult and potentially burdensome: sports are an important part of many of our lives; our approach attempts to respect this. (shrink)

The relation between art and morality is one of the vexed issues of aesthetics; it has a history at least from Plato and has been written about, or commented on, by most if not all the luminaries in aesthetics—it is not coincidence that one of the most influential papers on these debates is also one of the most cited papers of this journal. Also, the (im)pertinence of moral concerns for the assessment of artworks is arguably one of the most discussed (...) philosophical issues in the public opinion (albeit not always informed by philosophical insights). The prompt for this Special Issue was the publication, over a short space of time, of four books in the area: James Harold’s Dangerous Art: On Moral Criticisms of Artwork (2020), Erich Hatala Matthes’s Drawing the Line: What to Do with the Work of Immoral Artists from Museums to Movies (2022), Ted Nannicelli’s Artistic Creation and Ethical Criticism (2020), and Mary Beth Willard’s Why It’s OK to Enjoy the Art of Immoral Artists (2021). In this issue, each of these authors provides a précis of their own book, a criticism of one of the other books, and then a defence of their own work against this criticism. Although each book is, obviously, very different, there are some overlapping concerns that make for an especially productive interaction. In particular, one thread that runs through is the current vexed issue of what attitude an audience should take on a work of art in the light of facts about the moral character of its creator. With the wars over ‘cancel culture’ raging in the popular discourse, it is important to subject this issue to detailed philosophical examination. (shrink)

In this chapter we analyse the nature and ethical implications of parasocial relationships. While this type of relationship has received significant attention in other interdisciplinary fields such as celebrity studies and fan studies, philosophers have so far had very little to say about them. Parasocial relationships are usually defined as asymmetrical, in which a media-user closely relates to a media-personality as if they were a friend or family member, and where this connection is mostly unreciprocated. We focus on the most (...) typical form of this kind of relationship, between fans and celebrities. We argue that a parasocial relationship between fan and celebrity is a distinct kind of personal relationship, constituted by three basic structural asymmetries: attention, communication, and epistemic. These asymmetries give rise to a more substantial asymmetry concerning the way in which celebrities and fans have ‘directive’ or ‘interpretative’ influence over each other’s identity. This can lead to a failure of recognition respect, and generates ethical responsibilities for both fans and celebrities. We conclude by noting that the structural asymmetries we find in parasocial relationships are present in many other types of relationship, especially those in which one person holds a position of power. As such, it is valuable to pay attention to the way in which asymmetries point to forms of parasociality in these other relationships, and the extent to which they give rise to distinct ethical responsibilities. (shrink)

Should college teachers still teach works with immoral content? What if the works are by deeply immoral thinkers? This guide is intended to help us answer these sorts of pedagogical questions by articulating the pertinent moral issues and then suggesting strategies for navigating them.