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By: Daisy Dixon
A bold, expansive argument for a new way to understand immoral art in our time of cultural and political upheaval
In this unconventional journey through the history of art, philosopher and artist Daisy Dixon explores works of art that society has condemned as depraved, obscene, or dangerous, from prehistoric sculpture to extreme metal music, videogames to classical paintings. Interrogating our sense of morality, past and present, Depraved asks readers to engage with essential questions about art, censorship, social progress, and the eternal debate over right and wrong. Can an artwork speak? How can it shape or distort our world? Who gets to decide whether a work of art is depraved, and what are the qualities that make it so? And of course, what should we do about it?
As art is subjected to renewed criticism in the cultural and political spheres, it is imperative that we examine it with care. Only by understanding the long history of depraved art can we begin to bring our own age into focus. Art can be dangerous—but censorship can be equally catastrophic. Where does this leave us? With wit, fascinating anecdotes, and shrewd analysis, Dixon crafts a path forward that demands a new understanding of the nature of art itself.
A bold, expansive argument for a new way to understand immoral art in our time of cultural and political upheaval
In this unconventional journey through the history of art, philosopher and artist Daisy Dixon explores works of art that society has condemned as depraved, obscene, or dangerous, from prehistoric sculpture to extreme metal music, videogames to classical paintings. Interrogating our sense of morality, past and present, Depraved asks readers to engage with essential questions about art, censorship, social progress, and the eternal debate over right and wrong. Can an artwork speak? How can it shape or distort our world? Who gets to decide whether a work of art is depraved, and what are the qualities that make it so? And of course, what should we do about it?
As art is subjected to renewed criticism in the cultural and political spheres, it is imperative that we examine it with care. Only by understanding the long history of depraved art can we begin to bring our own age into focus. Art can be dangerous—but censorship can be equally catastrophic. Where does this leave us? With wit, fascinating anecdotes, and shrewd analysis, Dixon crafts a path forward that demands a new understanding of the nature of art itself.
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