For more than a century, Edvard Eriksen’s bronze statue of “The Little Mermaid” has perched quietly on a waterside rock in Copenhagen, offending virtually no one. It’s the country’s most photographed statue, snapped some 5 million times every year. According to Facebook, though, photos of this bronze rendering of a fairy tale character are too obscene to post on the social media site, as one Danish politician recently learned.
This past week, Facebook prohibited social democrat MP Mette Gjerskov from posting an image of “The Little Mermaid” on her page because it featured “too much bare skin or sexual undertones.” This, despite Facebook’s community standards policies explicitly stating the site “allows photographs of paintings, sculptures, and other art that depicts nude figures.” Apparently bronze mermaid boobs are an exception.
When Gjerskov appealed to Facebook, the site reversed its decision and agreed to free the mermaid nipple. (It’s worth noting that Eriksen’s statue is arguably less risque than Disney’s hypersexualized but Facebook-condoned rendering of the Little Mermaid character as “a sexy little honey-bunch with a double-scallop-shell bra and a mane of red hair tossed in tumble-out-of-bed Southern California salon style,” as Michael Wilmington described the cartoon in the Los Angeles Times.)
Once clear of Facebook’s overzealous censors, the Danish politician ran into another hurdle when she tried to post an image of the sculpture on her blog, which she writes for the Danish public news station TV2 — it became a potential copyright violation. Eriksen’s family is notoriously aggressive about enforcing the statue’s copyright and has been known to sue media outlets for displaying or broadcasting images of it.
“It turns out that you can’t take photos [of the artwork] … without generous payment to the artist’s heirs. It’s the law — which Parliament adopted,” Gjerskov wrote.
This is only the latest in a slew of Facebook censorship cases that have sparked outrage among the social media site’s users. In 2011, for example, a French teacher had his Facebook account suspended after posting a photo of Gustave Courbet’s painting “L’Origine du Monde” (1866), which the site’s moderators took for pornography. This sparked a four-year (and counting) legal battle.
And back in 2013, Hyperallergic itself was Facebook censored for posting an article that included artist Kate Durbin’s photo of a woman’s exposed butt. Despite this and other brushes with Facebook law, we opted against censor-barring the nipples of “The Little Mermaid” in this article, because we’re just that transgressive.
h/t CPH Post
A new study details the creation of a hyper-flexible material inspired by an unexpected source: the humble sea cucumber.
The extensive exhibition confronts the Netherlands’s often-forgotten colonialist legacy.
The 1,600-year-old fragment was part of a dodecahedron, a mysterious object that experts believe may have been linked to the occult.
The Renaissance work by Francesco Salviati is the museum’s first painting on marble.
The 1969 exhibition 5 + 1, and now Revisiting 5 + 1, are reminders that the history of Black Art in the United States is diverse rather than monolithic.
The artist’s solo US museum debut at the Baltimore Museum of Art is a contemptuous, at times satirical, take on oppression that gives way to a new history.
Ten artists will receive studio space and access to faculty, staff, students, workshops, and programming at an arts institution in the heart of Philadelphia.
Who tells a tale adds a tail: Latin America and contemporary art explores contemporary Latin American art without conforming to external expectations.
Simulation Sketchbook takes as its starting point the reality that digital artists, like all artists, sketch out their work as well.
Twitter’s curbing of free API access could affect accounts posting from museum collections or the archives of long-gone artists.
How does a selective competition fit with the contemporary art world’s aspirations toward greater inclusivity?