The Connection Between an Immoral Artist and Their Work

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Emily Barbosa

Professor Kristof

English Comp 1102

16 March 2023

The Connection Between an Immoral Artist and Their Work

At the beginning of last year, I impulsively bought tickets to a Rex Orange County

concert from a girl selling extras. At the time, I knew little about the artist and my soon-to-be

friend. During the next few months, I grew closer and closer to her, and we developed a strong

bond in such little time. I also slowly began to familiarize myself with the artist and his music.

Although there were some songs I did not know, his concert was one of the best nights of my

life. Months later, I continue to hold that experience close to my heart because of the lasting

bonds I made with the artist and my friend. However, in October 2022, it was exposed that Rex

was accused of six counts of sexual assault. With very little information on what occurred, I

refused to listen to his music after that. I did not want to support someone who does not represent

what I believe in, however, my friend and I struggled with how we were going to let him go, and

more importantly, his music. To us, his music represents pain, loss, euphoria, and the bond we

formed that summer. We were not sure if we were ever going to be able to cut him out of our

lives, but we also struggled with the idea that it would be going against our morals. I wanted to

continue to listen to his music, but if I did, that would mean I would be supporting him and his

actions. From my experience with Rex Orange County, I want to explore the question: is it

possible to hold an artist's work as valuable while simultaneously disagreeing with their actions

or behavior?

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One thought in which someone can separate an artist and their music is through an

adaptive literary lens called the Death of the Author. Established by French literary critic Roland

Barthes in a 1967 essay titled “The Death of the Author”, Barthes proposes, “this disjunction

occurs, the voice loses its origin, the author enters his own death, writing begins” (1). The author

has no authority once they start to write, their words no longer belong to them. Keeping the

author's death in mind, the writing belongs to anyone who takes possession of it. In the context

of an immoral artist’s work, the Death of the Author suggests that the artist and their work can be

separated, allowing someone to maintain the worth of a piece of work from an unethical artist.

This source provides one perspective on how someone can create a separation, by removing the

artist from the lyrics, a song can still hold as valuable to that specific person, even if the artist is

not seen in the same position.

This idea stems from a twentieth-century theory called the New Criticism which “tended

to consider texts as autonomous and closed”, and deems the author's background as irrelevant to

the text's meaning (“New Criticism”). Similar to Barthes's Death of the Author, New Criticism

removes any authority from the author and gives it to the reader. This goes hand in hand when

put into a lyrical sense. For example, the artist is also considered irrelevant and their music can

be removed from their possession and put into the listeners. In the situation mentioned earlier,

according to New Criticism, one should be able to ignore Rex and his controversies and can

continue to listen to his music without considering it as supporting him. In an article called

“Good Art, Terrible People: Is It Immoral to Enjoy the Work of Immoral Artists?”, author Andy

Lamey agreeingly states, “formalists considered it a vulgar mistake to devote attention to

anything other than an artwork’s formal features”. It would be lacking the sophistication to

incorporate an author's biography when appreciating a piece of art.

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Finally, the Aesthetic Response is another lens that is thought to be responsible for the

separation of an immoral artist and their art, which allows for their work to be held with value. In

an article titled “Conflicted Art: How to Approach Works by Morally Bad Artists”, Daisy Dixon

explains a philosophy where “ethical criteria should not be brought to bear on the aesthetic

realm, for subsuming art under ethical issues is to ignore the true essence of art, which is simply

the affording of an intense aesthetic experience”. There is no need for context behind a piece of

art to enjoy it or to consider the fact that an unethical person created it. In fact, to acquire and

debate such information could be to go against the purpose of art. While someone's morals do

reflect the person they are and the decisions they make, they may have the ability to create

beautiful things that others enjoy, cherish, or even relate to. To be unethical and create deserving

art are two non-mutually exclusive events according to the Death of the Author, New Criticism,

and the Aesthetic Response.

Other opinions suggest the author's background and context help shape the meaning

behind the writing. Although New Criticism mainly focuses on the separation of artist and art,

the contemporary culture of New Criticism states that the author holds power. It is thought to be

“centered on his person, his history, his tastes, his passions”, where the reader takes account of

their life and how it is deeply rooted in their product (Barthes 1). All aspects of the author

contribute to the significance of their work. Without recognizing the above-mentioned, the piece

of art may be lacking. The author's background can also influence the way someone interprets

the artwork. Author Erich Matthes believes, “It doesn’t need to be the only lens through which

we view the painting … but it’s certainly a lens we can use, and knowing these facts can add

depth to our appreciation of the art” (qtd. in Lamey, “Good Art”). The author's background does

not have to be the final say when interpreting artwork, however, Matthes argues that it is crucial

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to have some sort of acknowledgment for a better understanding. Furthermore, one way someone

creates a strong connection to an artist is if the words they say reflect that person's feelings. It

especially deepens a connection when it is revealed that the artist, who is otherwise seen as

invincible, has personally dealt with some of the same issues the listener may be experiencing.

My first time listening to Mac Miller's “Poppy” was a few months after my grandma passed

away. Before discovering that song, I had always associated Mac Miller with a lively pop genre,

however, “Poppy” was the opposite of that. It was the first song of his I heard that deals with sad

emotions, where he reflects on his grandfather passing away and coping with his loss. Although I

already formed an immediate connection because I was going through the same thing, I wanted

to explore the song even more. By doing so, I was able to understand Mac and the song to a

whole other level, one that would not be possible if I did not learn about the song in addition to

the artist and his connection to it.

A person's morals and limits can be another factor in the decision on what to do with

artists who do not reflect one's values. An article written by Eden Mor titled “Can We Separate

the Art From the Artist?” argues that a person must make their decision on their own and it is

“unfair to force these expectations upon everyone else”. Everyone, at any time, is responsible for

making decisions that impact others around them. However, deciding who to support or who not

to support should not affect anyone other than oneself. Mor makes it a point to share how they

have specific boundaries on who they will not listen to and how this is reflective of individual

morality. There are some cases where, although one may not agree with an artist's choices, one

can create that separation and be able to enjoy their music without feeling remorse. One must be

able to recognize their boundaries and draw the line when appropriate, however, the line does not

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need to be the same for each person. The quantitative aspect of supporting an artist comes into

question as well.

When weighing options on what outlook to have on an immoral artist, an individual must

consider a financial aspect in addition to one's ethics. In “Complicity and Solidarity: Is It Wrong

to Enjoy the Work of Immoral Artists?”, Erich Matthes uses Chick-fil-a as an example, a

company with a questionable past “for its charitable donations and CEO Dan Cathy’s public

comments opposing gay marriage”. As reported by Amelia Lucas in a CNBC article titled

“Chick-fil-A No Longer Donates to Controversial Christian Charities After LGBTQ Protests”,

activists pressured Chick-fil-a to cut ties with such organizations in response to the new findings

about the company's harmful donations. Matthes states, “your individual decisions to forgo fried

chicken sandwiches makes no difference (you're not going to hurt their bottom line on your

own), but your solidarity with the cause has moral significance” (52). While a specific company

or person may have achieved overall success with their business, many may worry about

financially supporting indecent corporations. In reality, one person's contribution will not make a

significant difference in revenue, when it is a large company, such as Chick-fil-a, in comparison

to a small locally owned business that has unethical business practices. Some may choose to

boycott and protest against Chick-fil-a, however, others can make the argument that their

contribution to the company makes no impact, it simply depends on a person's morals. Therefore,

Matthes argues that although it will not make a difference to the recipient, it does to the

consumer and their morals, especially since they possess consumer buying power, the ability on

who or what to spend money on. If an artist’s actions have crossed an individual's line, their

solidarity in boycotting that artist stands with those who the artist may have negatively affected.

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After researching the many techniques and ideologies of how critics evaluate this type of

question, it seems as though there is no concrete answer. Whether or not it is possible to hold an

artist's work as valuable while simultaneously disagreeing with their actions or behavior can only

be answered by an individual. However, it is not black and white. Even with all the resources I

found during my research, I struggled with associating with a specific way to support Rex

Orange County without feeling guilty. No amount of literary or philosophical theories could

justify the ethics behind my choices. I was increasingly conflicted when a few months after the

accusations were released, Rex publicized that he was cleared of any wrongdoing due to lack of

evidence. In an article written by Larisha Paul titled “Rex Orange County: Sexual Assault

Charges Dismissed Following Investigation”, Rex stated:

I was wrongly accused of touching someone one evening on their leg, neck, back, and

bottom. That led to 6 charges of sexual assault. The only evidence against me was the

individual’s account. However, CCTV footage obtained by the police contradicted their

version of events. Their partner was also present throughout the evening in question and

gave a statement to the police which did not support the allegations against me. (qtd in

Rex Orange County, “Rex Orange County”).

Ultimately, I was relieved, and I thought I would finally be able to listen to his music again and

reclaim the artist I once idolized. My conscience was clear because that meant I did not need to

justify how I could support him. However, it is not that simple. Even though he stated that the

footage and a reliable witness did not support the victim's claims, no one could ever know what

really happened. A large part of my confusion came from my own growth that started in 2020

when I took a self-defense class at my high school. One section was about how to physically

defend yourself from an attacker, and the rest of the course included informational content like

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rape culture, the dangers of victim blaming, and stories from survivors. I was able to gain a

unique experience with self-defense and the widespread violence against women which has

helped shaped my morals and make up who I am. I will continue to carry this information with

me, especially in this world where violence against women increasingly grows. So while I was

filled with relief at the fact that the charges were dropped, my morals tell me that there could be

a small chance that they were dropped prematurely and the victim was telling the truth, however,

I can never know for sure. Nonetheless, it is important to have the ability to recognize the artist’s

wrongdoing. To ignore any type of controversy or past actions, such as assault, would be

privileged and dangerous to those affected. While I have been able to once again appreciate Rex

and his music, these accusations will always stick with him and his fans, which is why I will

always question myself and wonder if it is wrong to listen to an artist like Rex Orange County.

Therefore, I feel as though the individual is the only person that can decide whether or

not to support an immoral artist and their work. The Death of the Author, New Criticism, and the

Aesthetic Response are a few lenses that allow for a separation between the artist and their work.

In doing so, an individual is able to appreciate the work by letting it stand on its own, with no

influence from the artist’s biography or history. This way, someone can take the artist’s work and

adapt it as their own, to fit whatever experience that person may be going through and ignore the

malice of the creator. In contrast, the author's biography can help shape their work and the

connection someone forms with it. And since there is no right answer, depending on the

threshold, one may still support an unethical artist’s work, even if the sentiment comes from the

artist’s background that is expressed through their artwork. This all derives from the idea of

individual morality, where an individual decides for one’s self how to live. Choices may range

from what they put in their body to living an honest and charitable life. Individual morality

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allows for someone to make their own choices, without pressuring anyone else or receiving that

pressure from outside sources. One’s choices or threshold may differ from someone else, in fact,

this should be expected. Everyone has a different, unique perspective on life based on the things

they have seen or been through. It is unfair to expect others to fit the same mold, which is why it

is up to an individual to decide if they can value a piece of work while simultaneously

disagreeing with the artist’s actions or behavior.

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Works Cited

Barthes, Roland. “The Death of the Author” Upenn.edu.

https://writing.upenn.edu/~taransky/Barthes.pdf Accessed 15 Feb. 2023.

Dixon, Daisy. “Conflicted Art: How to Approach Works by Morally Bad Artists” Art Aesthetics

Magazine. 26 May 2019.

https://www.artaesthetics.net/publications/2019/5/26/conflicted-art-how-to-approach-wor

ks-by-morally-bad-artists Accessed 18 Feb. 2023.

Lamey, Andy. “Good Art, Terrible People: Is It Immoral to Enjoy the Work of Immoral Artists?”

Thestar.com, Toronto Star, 6 March 2022.

https://www.thestar.com/opinion/contributors/2022/03/06/good-art-terrible-people-is-it-i

mmoral-to-enjoy-the-work-of-immoral-artists.html?utm_source=share-bar&utm_medium

=user&utm_campaign=user-share. Accessed 18 Feb. 2023.

Lucas, Amelia. “Chick-Fil-A No Longer Donates to Controversial Christian Charities after

LGBTQ Protests.” CNBC, CNBC, 19 Nov. 2019,

https://www.cnbc.com/2019/11/18/chick-fil-a-drops-donations-to-christian-charities-after

-lgbt-protests.html. Accessed 19 April 2023.

Matthes, Erich Hatala. “Complicity and Solidarity: Is It Wrong to Enjoy the Work of Immoral

Artists?” Drawing the Line: What to Do with the Work of Immoral Artists from Museums

to the Movies, Oxford University Press, New York, NY, 2022, pp. 52.

Mor, Eden. “Can We Separate the Art from the Artist?” The Daily Free Press. Back Bay

Publishing Co., Inc. 30 Nov. 2021.

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https://dailyfreepress.com/2021/11/30/can-we-separate-the-art-from-the-artist/ Accessed

15 February 2023.

“New Criticism.” Poetry Foundation, Poetry Foundation.

https://www.poetryfoundation.org/learn/glossary-terms/new-criticism#:~:text=Name%20

given%20to%20a%20style,work%20is%20present%20within%20it. Accessed 19 March

2023.

Paul, Larisha. “Rex Orange County: Sexual Assault Charges Dismissed Following

Investigation.” Rolling Stone, Rolling Stone, 22 Dec. 2022,

https://www.rollingstone.com/music/music-news/rex-orange-county-sexual-assault-charg

es-dropped-1234651788/.