Abstract
Controversies in the arts are rarely only about the arts. Works of art are not inherently controversial. What we see at work is more typically a power dynamic being played out by interested parties. The art work is usually—and sometimes only—the catalyst.
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Notes
Pierre Bourdieu, Distinction: A Social Critique of the Judgement of Taste. Translated by Richard Nice. (Cambridge, MA: Harvard University Press, 1987).
Cited in Alan Travis, Bound and Gagged: A Secret History of Obscenity in Britain (London: Profile Books, 2000).
This account is drawn from John Savage, England’s Dreaming (London: Faber and Faber, 1991, 2005), pp. 257–259.
George Melly, Revolt into Style (Harmondsworth: Penguin, 1972).
See Norman Rosenthal and Richard Stone, eds., new ed., Sensation: Young British Artists from the Saatchi Collection (London: Thames and Hudson, 1998).
Floyd Abrams, Speaking Freely: Trials of the First Amendment (New York: Viking, 2005), p. 195.
This figure is given in Robert Post, “Religion and Freedom of Speech: Portraits of Muhammad,” Constellations, 14:1 (2007), pp. 72–90.
Nicholas Hiley, “Showing Politics to the People: Cartoons, Comics and Satirical Prints,” in Using Visual Evidence, eds. Richard Howells and Robert W. Matson (Maidenhead and New York: Open University Press and McGraw Hill Education, 2009), pp. 24–41; see pp. 34–35.
Philip Pullman, The Good Man Jesus and the Scoundrel Christ (Edinburgh: Canongate, 2010).
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© 2012 Richard Howells
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Howells, R. (2012). Controversy, Art, and Power. In: Howells, R., Ritivoi, A.D., Schachter, J. (eds) Outrage: Art, Controversy, and Society. Palgrave Macmillan, London. https://doi.org/10.1057/9781137283542_2
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DOI: https://doi.org/10.1057/9781137283542_2
Publisher Name: Palgrave Macmillan, London
Print ISBN: 978-1-349-34612-7
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