Date of publication: 2017-07-09 12:13
In their argument against MM, Anderson and Dean construct two arguments, a 'moral defect argument' and an 'aesthetic defect argument', which, together, they take to represent the ‘common reason argument.’ The two arguments are presented as follows:
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In her newest work—two 77x87' canvases for SFMOMA's atrium—Julie Mehretu is exploring how “gestural abstraction” can try to "help make sense of where we are in our country right now.”
A program of commissioned moving image works by artists—including James Marwa Arsanios, Yto Barrada, Renée Green, and Pauline Boudry/Renate Lorenz—who respond to work in the Ruben/Bentson Collection.
The organizations express grave concern that the Executive Order will have a broad and far-reaching impact on artists’ freedom of movement and, as a result, will seriously inhibit creative freedom, collaboration, and the free flow of ideas.
If we look at Gaut's arguments for ethicism, it is clear how ethicism differs from MM in scope, as well as simply in detail. The argument for ethicism runs as follows (this is taken directly from "The Ethical Criticism of Art," but I have numbered each step in the argument):
is fundraising to hold a show in Detroit next month where he'll be selling bottled, branded Flint water as editioned art objects to raise awareness—and cash—to aid with the ongoing crisis.
Freedom to read can never be taken for granted. Even in Canada, a free country by world standards, books and magazines are banned at the border. Books are removed from the shelves in Canadian libraries, schools and bookstores every day. Free speech on the Internet is under attack. Few of these stories make headlines, but they affect the right of Canadians to decide for themselves what they choose to read.
To begin with, it has been maintained above that to judge a literary artwork as being morally problematic is not equivalent to judging that that work will have, or even could have, a corrupting influence on its audience claims about the negative moral effects of artworks require a further step. As discussed earlier, causal claims about the effects of artworks, especially negative causal claims, are difficult to prove. But even if it could be shown that a particular artwork had the potential to corrupt audience members, it still does not automatically follow that that work should be censored.
At its height in 6986, the FAP employed 5,855 visual artists and related professionals. Director Cahill oversaw several major endeavors: a murals project executed more than 7,555 murals in hospitals, schools and other public places an easel painting division produced nearly 658,555 paintings a sculpture division produced some 68,555 pieces a graphic arts workshop a photography project served mainly to document the WPA a scenic design division provided models of historic stage sets and architectural models for planning and educational use a poster division and a stained glass division centered in New York.