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Is it appropriate to honor artists who have created great works but who have also acted immorally? In this article, after arguing that honoring involves identifying a person as someone we ought to admire, we present three moral reasons against honoring immoral artists. First, we argue that honoring can serve to condone their behavior, through the mediums of emotional prioritization and exemplar identification. Second, we argue that honoring immoral artists can generate undue epistemic credibility for the artists, which can lead to an indirect form of testimonial injustice for the artists’ victims. Third, we argue, building on the first two reasons, that honoring immoral artists can also serve to silence their victims. We end by considering how we might respond to these reasons.
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Despite the growing number of women in museums, the undervaluing of educational work traditionally associated with women, and labor largely done by women today, persists. This begs the question: in what other ways are women and femmes working in museums undermined despite their growing presence as workers and the emerging centrality of the educational role of museums? In society more broadly, we see how undervaluing women and their labor leads to a spectrum of treatment that can be considered violent. In this spectrum, we include pay and benefit disparities, disempowerment, and marginalization through sexist, homophobic, and transphobic comments and objectification, harassment, threats, verbal, physical, emotional, and financial abuse, and at the far end of the spectrum sexual assault and murder. In this article, we discuss data collected through a survey conducted about incidences of sexual abuse and harassment experienced by museum workers. We explore the results of the survey in relation to the gender-based division of labor and skills among the museum workforce. We look to the responses to this survey as a gauge of how much power women and gender non-conforming people have in their daily work lives in museums and propose actions that could increase empowerment and support.
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This article brings to attention and explores women?s use of non-traditional forms of resistance to online sexual harassment. In this piece we use Anna Gensler?s Instagram art project Instagranniepants to examine how women are appropriating the language and practices of the cyber realm to expose online sexual harassment and to engender a creative resistance which is critical, comedic and entertaining. Drawing from interdisciplinary literature on witnessing, satire and shaming, we explore the techniques Gensler uses to not only document harassment but also resist, engage and punish those who seek to perpetrate it. This article problematises the stereotype of women as passive victims of online public spaces, and is critical of popular discourses that portray online spaces as exclusively risky and that position women as the natural victims of online violence. It concludes that a more nuanced account of women?s negotiation of online spaces is necessary, particularly as an overarching narrative of risk and victimisation undermines the liberatory potential of the online realm.
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Beginning in 2014, the LGBTQ Alliance professional network of the American Alliance of Museums (AAM) met to develop and publish a broad set of LGBTQ Welcoming Guidelines for Museums. The authors sought to help museums be more inclusive of lesbian, gay, bisexual, transgender and queer staff and visitors. The Guidelines conform to the most recent established standards of professional practice in museums and touch on all areas of museum work; they may be viewed as part informational reference, part institutional self-assessment tool. The Guidelines were unveiled at the AAM’s 2016 annual meeting, and are now available at no charge online (http://www.aam-us.org/resources/professional-networks/lgbtq). The LGBTQ Alliance encourages readers to use and review the Guidelines and to make observations, critiques and corrections directly to the current chair, Mike Lesperance (mike@thedesignminds.com).
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This book examines the complex and conflicting relationships between LGBT people and our cultural and heritage organisations including libraries, museums and