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Depraved: The Story of Dangerous Art
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A bold, expansive argument for a new way to understand immoral art in our time of cultural and political upheaval
In this unconventional journey through the history of art, philosopher and artist Daisy Dixon explores works of art that society has condemned as depraved, obscene, or dangerous, from prehistoric sculpture to extreme metal music, videogames to classical paintings. Interrogating our sense of morality, past and present, Depraved asks listeners to engage with essential questions about art, censorship, social progress, and the eternal debate over right and wrong. Can an artwork speak? How can it shape or distort our world? Who gets to decide whether a work of art is depraved, and what are the qualities that make it so? And of course, what should we do about it?
As art is subjected to renewed criticism in the cultural and political spheres, it is imperative that we examine it with care. Only by understanding the long history of depraved art can we begin to bring our own age into focus. Art can be dangerous—but censorship can be equally catastrophic. Where does this leave us? With wit, fascinating anecdotes, and shrewd analysis, Dixon crafts a path forward that demands a new understanding of the nature of art itself.
In this unconventional journey through the history of art, philosopher and artist Daisy Dixon explores works of art that society has condemned as depraved, obscene, or dangerous, from prehistoric sculpture to extreme metal music, videogames to classical paintings. Interrogating our sense of morality, past and present, Depraved asks listeners to engage with essential questions about art, censorship, social progress, and the eternal debate over right and wrong. Can an artwork speak? How can it shape or distort our world? Who gets to decide whether a work of art is depraved, and what are the qualities that make it so? And of course, what should we do about it?
As art is subjected to renewed criticism in the cultural and political spheres, it is imperative that we examine it with care. Only by understanding the long history of depraved art can we begin to bring our own age into focus. Art can be dangerous—but censorship can be equally catastrophic. Where does this leave us? With wit, fascinating anecdotes, and shrewd analysis, Dixon crafts a path forward that demands a new understanding of the nature of art itself.
304 pages, Hardcover
First published June 18, 2026
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Displaying 1 - 11 of 11 reviews
might-get
July 4, 2026I like art, every city, every country I go to, it's art galleries that are first on the list. Sometimes I even go to countries just for the art. Last year we were in Tokyo and found Yayoi Kusama's museum was closed, but that Melbourne had three more days left of the biggest exhibition of her work ever, so we went to Australia.
I like a bit of danger to my adventures. It's been a while now since I did any ocean sailing, and decades since I lived with Caboclo Indians up the Amazon. Now my danger is a bit of ziplining and racing fabulous cars a bit too fast when I get the chance. (My own car is a 2013 Outlander missing a wing light and no aircon not what you call a sports car really).
In the privacy of my own home, I might by some more conventional souls be called depraved. I think that's enough said about that. So this book looks made for me and I think I'm going to order it.
I like a bit of danger to my adventures. It's been a while now since I did any ocean sailing, and decades since I lived with Caboclo Indians up the Amazon. Now my danger is a bit of ziplining and racing fabulous cars a bit too fast when I get the chance. (My own car is a 2013 Outlander missing a wing light and no aircon not what you call a sports car really).
In the privacy of my own home, I might by some more conventional souls be called depraved. I think that's enough said about that. So this book looks made for me and I think I'm going to order it.
Read
July 9, 2026Depraved: The Story of Dangerous Art is a bold, intellectually stimulating exploration of one of the most enduring questions in human culture: what makes a work of art dangerous? Blending philosophy, history, cultural criticism, and artistic insight, Daisy Dixon challenges readers to rethink the relationship between creativity, morality, and censorship. Rather than offering simple answers, she presents a nuanced examination of how societies have repeatedly defined, condemned, and ultimately reinterpreted works once considered immoral or threatening.
One of the book's greatest strengths is its remarkable scope. Dixon moves effortlessly across centuries, examining everything from prehistoric sculptures and classical paintings to contemporary video games and extreme metal music. This broad historical perspective demonstrates that debates over offensive or "depraved" art are far from new. Instead, they are recurring conversations that reveal as much about the societies judging the art as they do about the works themselves.
What makes Depraved especially compelling is its willingness to ask difficult questions without forcing predetermined conclusions. Dixon explores whether art possesses the power to influence behavior, how artistic expression intersects with public morality, and who ultimately has the authority to determine what should or should not be acceptable. These questions remain highly relevant in an era shaped by political polarization, digital media, and ongoing debates over freedom of expression.
Dixon's writing is both accessible and intellectually engaging. Although she tackles complex philosophical ideas, she does so with clarity, wit, and a natural storytelling style that welcomes readers from a wide range of backgrounds. Rather than feeling like a dense academic text, the book unfolds through fascinating historical examples, memorable anecdotes, and thoughtful analysis that continually encourages readers to reflect on their own assumptions about art and censorship.
Another standout quality is the book's balanced perspective. Rather than portraying controversial art as inherently virtuous or censorship as inherently malicious, Dixon carefully examines the tensions between artistic freedom, public responsibility, cultural values, and social progress. This measured approach gives the work considerable credibility and allows readers to engage thoughtfully with viewpoints that often become polarized in public discourse.
Beyond art history, Depraved offers valuable insight into broader cultural and political debates. Questions surrounding censorship, free speech, identity, morality, and public accountability increasingly shape contemporary conversations across museums, publishing, entertainment, education, and online platforms. By placing these debates within a rich historical framework, Dixon demonstrates that many of today's controversies are part of much longer intellectual traditions.
The book also succeeds in making readers active participants in the discussion. Rather than simply presenting historical facts, Dixon consistently invites readers to reconsider their own definitions of obscenity, artistic value, and moral responsibility. This interactive quality makes Depraved not only informative but also deeply thought-provoking, encouraging conversations that continue well beyond the final chapter.
Insightful, provocative, and exceptionally well researched, Depraved: The Story of Dangerous Art is an important contribution to art history, philosophy, and cultural criticism. Readers interested in art, intellectual history, ethics, censorship, media studies, and contemporary cultural debates will find it both enlightening and engaging. It is a book that challenges assumptions, sparks meaningful discussion, and offers a compelling new perspective on the enduring relationship between art and society.
One of the book's greatest strengths is its remarkable scope. Dixon moves effortlessly across centuries, examining everything from prehistoric sculptures and classical paintings to contemporary video games and extreme metal music. This broad historical perspective demonstrates that debates over offensive or "depraved" art are far from new. Instead, they are recurring conversations that reveal as much about the societies judging the art as they do about the works themselves.
What makes Depraved especially compelling is its willingness to ask difficult questions without forcing predetermined conclusions. Dixon explores whether art possesses the power to influence behavior, how artistic expression intersects with public morality, and who ultimately has the authority to determine what should or should not be acceptable. These questions remain highly relevant in an era shaped by political polarization, digital media, and ongoing debates over freedom of expression.
Dixon's writing is both accessible and intellectually engaging. Although she tackles complex philosophical ideas, she does so with clarity, wit, and a natural storytelling style that welcomes readers from a wide range of backgrounds. Rather than feeling like a dense academic text, the book unfolds through fascinating historical examples, memorable anecdotes, and thoughtful analysis that continually encourages readers to reflect on their own assumptions about art and censorship.
Another standout quality is the book's balanced perspective. Rather than portraying controversial art as inherently virtuous or censorship as inherently malicious, Dixon carefully examines the tensions between artistic freedom, public responsibility, cultural values, and social progress. This measured approach gives the work considerable credibility and allows readers to engage thoughtfully with viewpoints that often become polarized in public discourse.
Beyond art history, Depraved offers valuable insight into broader cultural and political debates. Questions surrounding censorship, free speech, identity, morality, and public accountability increasingly shape contemporary conversations across museums, publishing, entertainment, education, and online platforms. By placing these debates within a rich historical framework, Dixon demonstrates that many of today's controversies are part of much longer intellectual traditions.
The book also succeeds in making readers active participants in the discussion. Rather than simply presenting historical facts, Dixon consistently invites readers to reconsider their own definitions of obscenity, artistic value, and moral responsibility. This interactive quality makes Depraved not only informative but also deeply thought-provoking, encouraging conversations that continue well beyond the final chapter.
Insightful, provocative, and exceptionally well researched, Depraved: The Story of Dangerous Art is an important contribution to art history, philosophy, and cultural criticism. Readers interested in art, intellectual history, ethics, censorship, media studies, and contemporary cultural debates will find it both enlightening and engaging. It is a book that challenges assumptions, sparks meaningful discussion, and offers a compelling new perspective on the enduring relationship between art and society.
Review of advance copy
I read a review in the Guardian which made this sound like a bold take on Depraved art. Sadly, there was very little new or brave in this book.
Let me start with what I liked. I do believe in free speech, and I did like how Daisy defends the usefulness and importance of not destroying what could be considered depraved. I would have added more points to the argument, but I do applaud a feminist for daring to take that stand. It has not been a popular view among feminists.
My main problem with the book is the core theory. That we know depraved art by the artist. The intent of the artist is what matters, and it usually shows up in the art. It is a common conclusion in the study of literature that the intent has nothing to do with the art. Neither does the artist. Once the art is created, it is independent of both. The artist can say what he or she wants to do, but the author is just one of the readers once the text is published. Well, it's a little more complicated than that, so look it up if you are not familiar with the death of the author.
Let me take an example from my own life. I once wrote a poem. I knew what I wanted to say. I showed it to a friend of mine, and she had a totally different take on it. I realised that I had set out with one intention but ended up saying something else. So what was the meaning of the poem? What I wanted to say or what I ended up saying? I don't think my intention had anything to do with the meaning. It lived an independent life, and I honestly think my friend understood it better than I did.
And then some artists say that they never meant to be racists or homophobes and so on and have maybe never shown such intentions in their lives, but end up making art that is very much that. Should we take their words for it? And if we agree that their art is problematic, could it not be because they accidentally and thoughtlessly said something they did not mean?
I often disagree with artists on their take on their art, and it is my right to do so. Their life and views may be reflected in the art, but it does not have to be. And even if it is, so what? We find such views in daily life also.
And then there's the question of what is depraved. How to define it. According to Daisy Dixon, it is everything feminists find problematic, and when the wrong people make art with good intentions, like if a black man makes art to defend black women. He should not do that because he is a man. I honestly thought we were moving away from this nonsense. Art belongs to everyone, and everyone has the right to say what they want. If you don't think so, then don't buy the art.
She even mentions cultural appropriation, a horse that has been whipped so often that I thought there was nothing left. All art is appropriation. That's how it grows and gets richer. Why should we stop now?
This book is not bold or fresh. It's mostly leftovers of very tired arguments.
Let me start with what I liked. I do believe in free speech, and I did like how Daisy defends the usefulness and importance of not destroying what could be considered depraved. I would have added more points to the argument, but I do applaud a feminist for daring to take that stand. It has not been a popular view among feminists.
My main problem with the book is the core theory. That we know depraved art by the artist. The intent of the artist is what matters, and it usually shows up in the art. It is a common conclusion in the study of literature that the intent has nothing to do with the art. Neither does the artist. Once the art is created, it is independent of both. The artist can say what he or she wants to do, but the author is just one of the readers once the text is published. Well, it's a little more complicated than that, so look it up if you are not familiar with the death of the author.
Let me take an example from my own life. I once wrote a poem. I knew what I wanted to say. I showed it to a friend of mine, and she had a totally different take on it. I realised that I had set out with one intention but ended up saying something else. So what was the meaning of the poem? What I wanted to say or what I ended up saying? I don't think my intention had anything to do with the meaning. It lived an independent life, and I honestly think my friend understood it better than I did.
And then some artists say that they never meant to be racists or homophobes and so on and have maybe never shown such intentions in their lives, but end up making art that is very much that. Should we take their words for it? And if we agree that their art is problematic, could it not be because they accidentally and thoughtlessly said something they did not mean?
I often disagree with artists on their take on their art, and it is my right to do so. Their life and views may be reflected in the art, but it does not have to be. And even if it is, so what? We find such views in daily life also.
And then there's the question of what is depraved. How to define it. According to Daisy Dixon, it is everything feminists find problematic, and when the wrong people make art with good intentions, like if a black man makes art to defend black women. He should not do that because he is a man. I honestly thought we were moving away from this nonsense. Art belongs to everyone, and everyone has the right to say what they want. If you don't think so, then don't buy the art.
She even mentions cultural appropriation, a horse that has been whipped so often that I thought there was nothing left. All art is appropriation. That's how it grows and gets richer. Why should we stop now?
This book is not bold or fresh. It's mostly leftovers of very tired arguments.
Review of advance copy received from NetGalley
This review originally appeared on The Magical Buffet website on 06/24/2026.
What makes art, art? What makes art objectionable? If considered obscene, is it still art? And what of the artists? Are they still artists if the public regards their work as without merit? There is a whole lot to examine when delving into the world of controversial art, and Daisy Dixon takes it head on in her book “Depraved: The Story of Dangerous Art.”
Dixon is a prize-winning philosopher with a PhD from the University of Cambridge. She specializes in the philosophy of art – particularly immoral and dangerous art that entrenches structural injustice. To this end, “Depraved” does an excellent job of breaking down what can make art problematic by introducing us to “The Hydra.” According to Dixon, “Art can be depraved in five ways. First, many artworks explicitly show immoral states of affairs such as gratuitous violence or obscene scenarios. Second, an artwork may somehow cause a person to do something terrible. Third, an artwork may express dangerous messages in how it invites us to think and feel about something. Fourth, sometimes works of art are created by immoral artists. Lastly, the way an artwork has been created may be morally suspect.”
The Hydra analogy works magnificently as Dixon addresses each of its heads with intelligence and nuance. “Depraved”, and its Hydra, explore music, literature, video games, art, and even a bit of film. Within its pages you’ll find thoughtful discussion of Marquis de Sade, Brett Bailey’s “Exhibit B”, drill music, Pablo Picasso, Leni Riefenstahl’s “Triumph of the Will”, Norwegian black metal band Venom, the video game “Custer’s Revenge”, Paul Gauguin, Cardi B’ “WAP”, Damien Hirst’s “The Physical Impossibility of Death in the Mind of Someone Living”, Adolph Hitler, and much, much more.
To call “Depraved: The Story of Dangerous Art” by Daisy Dixon thought provoking is an understatement. This book challenged me to look at artists, and their art, in whole new ways. I find myself litigating and relitigating my thoughts and feelings about art. Dixon’s work stays with you in the best way possible.
“Depraved” is scheduled for an August release.
What makes art, art? What makes art objectionable? If considered obscene, is it still art? And what of the artists? Are they still artists if the public regards their work as without merit? There is a whole lot to examine when delving into the world of controversial art, and Daisy Dixon takes it head on in her book “Depraved: The Story of Dangerous Art.”
Dixon is a prize-winning philosopher with a PhD from the University of Cambridge. She specializes in the philosophy of art – particularly immoral and dangerous art that entrenches structural injustice. To this end, “Depraved” does an excellent job of breaking down what can make art problematic by introducing us to “The Hydra.” According to Dixon, “Art can be depraved in five ways. First, many artworks explicitly show immoral states of affairs such as gratuitous violence or obscene scenarios. Second, an artwork may somehow cause a person to do something terrible. Third, an artwork may express dangerous messages in how it invites us to think and feel about something. Fourth, sometimes works of art are created by immoral artists. Lastly, the way an artwork has been created may be morally suspect.”
The Hydra analogy works magnificently as Dixon addresses each of its heads with intelligence and nuance. “Depraved”, and its Hydra, explore music, literature, video games, art, and even a bit of film. Within its pages you’ll find thoughtful discussion of Marquis de Sade, Brett Bailey’s “Exhibit B”, drill music, Pablo Picasso, Leni Riefenstahl’s “Triumph of the Will”, Norwegian black metal band Venom, the video game “Custer’s Revenge”, Paul Gauguin, Cardi B’ “WAP”, Damien Hirst’s “The Physical Impossibility of Death in the Mind of Someone Living”, Adolph Hitler, and much, much more.
To call “Depraved: The Story of Dangerous Art” by Daisy Dixon thought provoking is an understatement. This book challenged me to look at artists, and their art, in whole new ways. I find myself litigating and relitigating my thoughts and feelings about art. Dixon’s work stays with you in the best way possible.
“Depraved” is scheduled for an August release.
Review of advance copy received from NetGalley
Publishes August 11 from Penguin Random House.
Partly an introduction to some of history’s more insidious artworks and artists, but mostly a guidebook to the elements of what may—or may not—be depraved art.
Dixon guides the reader through a framework she proposes to engage with and evaluate art, artists, and their impact, including obscenity, criminality, oppression, malevolence, cruelty, iconoclasm and reparation. What makes one work “challenging” and another work “disgusting?” And how do we decide what to do about it?
Each section is thoughtfully presented with examples and thought experiments to inspire the readers’ own thinking and continues with a discussion on the questions brought up by those examples. Dixon also does an admirable job of addressing the counterpoint to her own views. The writing is clear, the voice is accessible to university students, arts aficionados, and adult readers curious about art and its cultural and political difficulties.
I particularly recommend this to those looking to create their own clear framework on what basis to evaluate art, problematic artists, and to decide how they can respond. They may not agree with all of her takeaways, but her examples provide some clear questions anyone can ask in the process.
Thank you to NetGalley and Penguin Random House for the PDF ARC in exchange for an honest review.
Partly an introduction to some of history’s more insidious artworks and artists, but mostly a guidebook to the elements of what may—or may not—be depraved art.
Dixon guides the reader through a framework she proposes to engage with and evaluate art, artists, and their impact, including obscenity, criminality, oppression, malevolence, cruelty, iconoclasm and reparation. What makes one work “challenging” and another work “disgusting?” And how do we decide what to do about it?
Each section is thoughtfully presented with examples and thought experiments to inspire the readers’ own thinking and continues with a discussion on the questions brought up by those examples. Dixon also does an admirable job of addressing the counterpoint to her own views. The writing is clear, the voice is accessible to university students, arts aficionados, and adult readers curious about art and its cultural and political difficulties.
I particularly recommend this to those looking to create their own clear framework on what basis to evaluate art, problematic artists, and to decide how they can respond. They may not agree with all of her takeaways, but her examples provide some clear questions anyone can ask in the process.
Thank you to NetGalley and Penguin Random House for the PDF ARC in exchange for an honest review.
Review of advance copy
I was surprised by just how much Depraved covers. I expected paintings and sculpture, but Daisy Dixon explores everything from music and literature to video games, pornography and performance art.
I loved the hydra analogy at the heart of the book: when art is considered "depraved", what exactly are we condemning? The artist, the artwork, the message, or something else entirely?
Some of my favourite sections explored feminism, racism and who gets to shape cultural narratives. I particularly enjoyed the discussions around racist art being challenged and reinterpreted rather than simply ignored or quietly removed from the foreground.
I also enjoyed discovering artworks and artists I had never encountered before, especially the performance pieces. Some were fascinating, some were genuinely upsetting, particularly those involving animal cruelty, but they certainly gave me plenty to think about.
What stayed with me most is Dixon's argument that difficult art should not be hidden away. Instead, we should engage with it, question it, challenge it and understand the context in which it was created.
I loved the hydra analogy at the heart of the book: when art is considered "depraved", what exactly are we condemning? The artist, the artwork, the message, or something else entirely?
Some of my favourite sections explored feminism, racism and who gets to shape cultural narratives. I particularly enjoyed the discussions around racist art being challenged and reinterpreted rather than simply ignored or quietly removed from the foreground.
I also enjoyed discovering artworks and artists I had never encountered before, especially the performance pieces. Some were fascinating, some were genuinely upsetting, particularly those involving animal cruelty, but they certainly gave me plenty to think about.
What stayed with me most is Dixon's argument that difficult art should not be hidden away. Instead, we should engage with it, question it, challenge it and understand the context in which it was created.
Review of advance copy received from NetGalley
4.75/5
PLEASE read this instead of Claire Dederer's Monsters!
I really liked that this is from the perspective of a philosopher, I think that made such a big difference in this conversation. This was more about the impact of art and the artist than the popularization of it. And I think that's where the artsy people get it wrong (just because a piece is famous or looks nice, doesn't erase the harm behind it).
This discusses the unsavory sides of art, artists, and how these pieces are interpreted.
This shows how we can't and shouldn't separate the art from the artists.
I do wish it had some pictures of the art it was referencing, but that's a personal reading experience thing. I like to see what we're talking about.
Thanks to NetGalley for the e-ARC of this book in exchange for my honest review!
PLEASE read this instead of Claire Dederer's Monsters!
I really liked that this is from the perspective of a philosopher, I think that made such a big difference in this conversation. This was more about the impact of art and the artist than the popularization of it. And I think that's where the artsy people get it wrong (just because a piece is famous or looks nice, doesn't erase the harm behind it).
This discusses the unsavory sides of art, artists, and how these pieces are interpreted.
This shows how we can't and shouldn't separate the art from the artists.
I do wish it had some pictures of the art it was referencing, but that's a personal reading experience thing. I like to see what we're talking about.
Thanks to NetGalley for the e-ARC of this book in exchange for my honest review!
Review of advance copy received from NetGalley
Daisy Dixon’s Depraved is on all accounts a fascinating and sustaining read that prompts much thought regarding obscenity in the arts. It goes beyond traditional art and pulls the reader into regarding mediums such as video games in such a fashion that neither feels overly convoluted or exceedingly basic. There is a wonderful equilibrium, and it felt as though I spent an extra semester in an undergraduate philosophy class. It would be very interesting to read an amendment to this book regarding the place of generative AI and how it permeates the discussion of art and obscenity.
Thank you to Viking Penguin and NetGalley for this ARC!
Thank you to Viking Penguin and NetGalley for this ARC!
Review of advance copy received from NetGalley
I don’t know anything about ART other than that it can look pretty sometimes, but I loved this book. It is so well-written and accessible to those of us who may not be super art-literate. This book is a reminder that art is always political and a reflection of society.
Thank you to netgalley and the publisher for the ARC.
Thank you to netgalley and the publisher for the ARC.
July 2, 2026
“The power of our speech is almost magical.”
Refreshing, rational, and vocabulary-enhancing.
(Not convinced that the series of books about the boy wizard count as “masterpieces which stand the test of time” though.)
Refreshing, rational, and vocabulary-enhancing.
(Not convinced that the series of books about the boy wizard count as “masterpieces which stand the test of time” though.)
This entire review has been hidden because of spoilers.
July 6, 2026
I find it hard to believe that any artist would somehow be depraved, but here we are. The more you know!
Displaying 1 - 11 of 11 reviews