In a provocative new book, philosopher Daisy Dixon tackles the complex and often uncomfortable subject of 'depraved' art, challenging readers to re-evaluate how they perceive controversial works across history. Titled 'Depraved', Dixon's work surveys a wide array of artistic expressions, from ancient cave paintings to modern video games and pornography, questioning the moral implications embedded within them.
Dixon's central thesis explores how an artist's character might influence their creations and the potentially harmful societal effects these creations can have. She posits that art can be considered depraved in five distinct ways: if it depicts an immoral state of affairs, incites negative actions, conveys a dangerous message, is produced by an immoral artist, or is created through morally questionable means. This framework allows her to scrutinise works often lauded for their aesthetic qualities, such as Titian's 16th-century masterpiece 'The Rape of Europa', suggesting that its beauty might mask a dangerous normalisation of sexual violence.
The book does not shy away from confronting truly disturbing content, including performance art involving animal cruelty and a video game with a title that explicitly refers to sexual assault. Dixon's comprehensive approach extends to more recent controversies, such as the 2017 Whitney Biennial, where Dana Schutz's painting of Emmett Till sparked widespread protests. Despite Schutz's stated intention to portray 'white remorse', the work was largely criticised as an appropriation of Black pain, illustrating Dixon's point that even art created with good intentions can become morally suspect.
Dixon draws parallels between contemporary debates and historical concerns about art's corrupting influence, referencing Plato's ancient fears and the more recent accusations against figures like Marilyn Manson. She highlights examples where art has been linked to real-world harm, such as the alleged influence of the Marquis de Sade's writings on the perpetrators of the 'Moors Murders' in the 1960s.
Ultimately, 'Depraved' advocates for a proactive approach to controversial art. Instead of concealing works deemed too corrupting, Dixon argues for a direct confrontation through 'better speech, better art, and better curation'. Her passionate call to action suggests that engaging with, rather than ignoring, problematic art is the path towards a more discerning and ethically aware society, though she acknowledges the simplicity of this solution given the complexity of the issues.