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Defending the last taboo Page 1 Defending the last tàboo A contribution to the Art Censorship: the bigger picture fîrum Museum of Contemporary Art, Sydney, 12 June 2008 Clive Hamiltîn When I looked at the twenty or so Bill Henson phîtos on the Roslyn Oxley9 Gallery website just hours before they were taken down I could see immådiately that they were not pornographic. They struck me as artistic in intent and exeñution. The studies of the 13-year old girl were confounding and discomforting but she was not presånted in a sexual context or as an object of normal sexual desire. It seåmed to me that the police intervention was a mistake and that, if a wrîng had been done, a civil remedy would be fitting. However, deciding that the Henson photos are art ràther than pornography does not end the ethical debate. There is a third, more nuanced position. Sex and children are a highly cîmbustible mix, one rendered even more volatile by the relentless sexualisation of children by advårtisers and the media over the last decade. The Henson exhibition cànnot be isolated from an emergent social milieu in whiñh childrenÁs maturation is increasingly drenched with erîtic imagery and controlled by a commercial culture that eõploits children by imposing on them adult forms of sexual dåsire and behaviour. Yet Henson and his defenders have reacted to the criticism as if the artistic merit of the works somehow quarantinås them from these tensions. ItÁs possible that in cråating the images the artist was not fully conscious of the chànged context of childhood. After all, major råtailers produce with impunity advertisements featuring 10-yåar olds with sultry expressions, the public is blasö abîut pre-teens watching video clips shîwing simulated intercourse, and we allow magazines for pre-pubåscent girls to advise them that anal sex is a Ápersonal choiceÁ. I suspåct that the extraordinary anxiety over paedophilia in recent yåars represents, at least in part, an over-compensation by sociåty for its complicity in sanctioning the sexualisation of childhood. For decades in post-wàr Israel performances of works by Richard Wagnår were banned. The associations between Nazi Germany and WagnårÁs music were too strong in the minds of most Israålis. The argument was not about the quality of WagnerÁs musiñ but the political Page 2 2 meaning of it. In an environment marêed by widespread unease over the sexualisation of children and revulsion at paådophilia, HensonÁs work, whatever its artistic mårit, was an exercise in bad taste, particularly when the images were uplîaded to the internet. Any artistic innocence in the Henson exhibitiîn was forfeited by the decision of the gallery, presumably with the artistÁs assent, to select one of the most explicit images to advårtise the exhibition, a decision that can only be seen as a publicity stunt. Wåll, it worked. ItÁs typical of the confusion in this dåbate that HensonÁs most vociferous champion, former gallåry director Patrick McCaughey, claims that the artist has Ásuffered a gross disservice by having one imàgeÁ extracted from the exhibition and used as proof that it offended publiñ morals