Recently, there have been cases in which out-group representation in art has faced severe criticism. Out-group representation occurs when an artist in her work engages with people, characters, or subject matters that do not fall within her own identity group. This is exemplified by the case of finding a translator for Amanda Gorman’s The Hill We Climb in the Netherlands, where the original choice was criticized because, unlike Gorman, the translator was not Black, and by the case of Dana Schutz’s (...) painting of Emmett Till in his casket at the Whitney Museum in New York, which was criticized for being painted by a White person who could not understand the suffering Emmett Till and his mother had gone through. A number of objections to out-group representation are identified in the debate, namely, an objection from authenticity, an objection from equality of opportunity, and the suggestion that out-group representation is disrespectful and/or harmful. It is argued that none of these objections establishes that it is morally problematic to engage in out-group representation in art per se, although, importantly, there are a number of moral concerns that those who thus engage should be sensitive to. (shrink)

In this essay, we address an important problem in the ethics of cultural engagement: the problem of giving a systematic account of when and why outsider use of insider cultural material is permissible or impermissible. We argue that many scholars rely on a problematic notion of collective ownership even when they claim to be disavowing it. After making this case, we motivate an alternative framework for thinking about cultural exchange, which we call the core interests framework. We conclude with some (...) reflections on how this framework helps to raise interesting questions about the most promising accounts of wrongful cultural appropriation. (shrink)