Art, Censorship, and the First Amendment: Response
In “Art, Censorship, and the First Amendment,” Robert Storr argues that the First Amendment, which guarantees the freedom of the press, prohibits the censorship of all forms of art. Storr posits that the American Constitution forbids the Congress from drafting laws that infringe on the freedom of the press as well as speech. He also maintains that Americans should not tolerate such ideas, and they should struggle to protect their freedom of free speech. Individuals should enjoy the freedom to express themselves and say whatever they feel like because of the unconditional liberty to do so (Storr 12). Nevertheless, such freedom should not jeopardise or infringe on others people’s rights and freedoms.
According to Storr, the artists should stand up for their rights and fight against art censorship, which constitutes an outright violation of their First Amendment rights. Furthermore, artists should learn how to communicate to people who disagree with their perspectives but who may be persuaded. They should also be able to respond to individuals and entities that are seeking to restrict their liberties.
Works of art often evoke passionate and diverse responses that predispose them to acts of censorship. Ideally, the First Amendment rights are concerned with limiting the government’s authority in restricting to restrict artistic expressions. Both art and the concept of censorship have been around for many years. Art is inspiring and beautiful, but in some instances, artists may create pieces of art that are controversial and deemed inappropriate by others. Such pieces should not inform the decisions to censor art.
The Trials of Robert Mapplethorpe: Response
In “The Trials of Robert Mapplethorpe,” Steven Dublin evaluates the prosecution of Cincinnati’s Contemporary Art Centre, as well as its director, for exhibiting Robert Mapplethorpe’s photographs. It suggests that the law suppresses the display of a nude male body. Specifically, the trials are informed by the fact that Mapplethorpe’s artistic works were “overaestheticised” (Dubin 367).
Indeed, the trial represents cultural moments and critical conflicts in America’s art history. Critics argue that Mapplethorpe’s works are obscene and should not be displayed in public galleries. Some of the controversial photographs at the centre of the trial are portraits of semi-nude children. It is a trail about the freedom of expression and speech. The text depicts Mapplethorpe as a controversial artist who does not adhere to social standards of decency, especially in regards to the type of art an artist is allowed to create. Some of the issues that artists such as Mapplethorpe address or portray are widely considered as taboo topics that people should not discuss in public (Dubin 367).
The freedom to create artworks and experience art is important in democratic societies. As a result, the trial of Mapplethorpe shows that such freedom can be attacked through censorship as well as the prosecution of artists that are considered objectionable. On the other hand, the supporters of art censorship maintain that it prevents the corruption of morals as well as the subversion of politics. Those who appreciate art are deeply concerned about the attempts to suppress artistic expression. Such suppressions end up curtailing people’s freedom of expression because artists cannot undertake their work properly in an atmosphere of intimidation and fear. The freedom of expressing either speech or art is essential for creative cultures, and it plays an important role in promoting a free society. Various forms of art, such as painting, drawing, music, sculpture, literature, and theatre, serve as tools of freedom.
Works Cited
Dubin, Steven. The Trials of Robert Mapplethorpe. Seattle: University of Washington, 1997. Print.
Storr, Robert. Art, Censorship and the First Amendment: This is Not a Test. JSTOR. 1991. Web. March 24, 2016.
