Why using a woman’s bruised metoo selfie without consent takes ‘appropriation art’ too far
Andrea Bowers’ installation work on display at Art Basel, which appropriates information and images that were already in the public domain as part of the #MeToo movement and related reporting, would likely meet the requirements of ‘fair use’ if challenged in court. And the survivors who have spoken out against, “Carney does not dispute the fact that her story and those of the other women are a matter of public record.
Considering Bowers’ intention in making the piece was to “[document] the important cultural shifts represented by the #MeToo and Time’s Up international movements against sexual harassment and assault”, it is a bitter irony that she has caused survivors in the movement to feel exploited, by resurfacing their trauma in a very public way, without their consent.
“I’m assuming [Bowers] was well intentioned, but apparently she spent TWO YEARS researching this [project], and never once reached out,” Carney says in the same article, adding her opinion that the work “glorifies a rapist and makes us all voiceless footnotes” . It seems Bowers has spectacularly missed the point of her own artwork. If it’s supposed to be a monument to the #MeToo movement, then undermining the central value of that movement – consent – has surely consigned it to abject failure.
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