The Linden Post Card Show 2014 at the Linden Centre for Contemporary Art has hundreds of entries. There are so many entries because it is a long established open entry show. (Did it start in 1986 when the Linden Centre opened?) Open entry means that anyone paying the entry fee of $55 for one work, $66 for two works, $77 for three works is exhibited. All the work must measure 8” (20cm) x 10” (25.5cm) (landscape or portrait) including any frame.
Linden Centre for Contemporary Art
Looking at the entries and thinking why are there so few photographs, given that it is a popular media and the winner was a photograph. The winning entry was from WA artists and 2013 Archibald Prize finalist, Abdul Abdullah. His The Reintroduction of Australian Knighthood is a powerful, frightening and topical image of a masked thug draped in the Australian flag.
I was also thinking why are there so few artists that I recognise? With hundreds of artists on exhibition I started to wonder if I had missed an entry, forgotten a name (I don’t have a great memory for names). The mix of “professional, emerging, amateur or hobbiest” in the exhibition was not the problem because I regularly review that kind of mix of artists. But it did make me think that maybe there needs to be more short hand descriptions for artists, more words than: established emerging, professional, amateur … I mean what do you call an artist who has been around for a couple of decades but is not represented by any gallery and has not won any major prizes?
Not that a lack of such terms is the biggest problem, the problem of the term ‘art’ is enough of a problem. Sometime in the seventeenth century, as the Enlightenment took the epiphany and mystery out of religion, Art emerged: Art with a capital A, Literature with a capital L and Music with a capital M. Robert Dixon’s The Baumgarten Corruption – From Sense to Nonsense in Art and Philosophy (Pluto Press, 1995) identifies the start of this process with Alexander Baumgarten’s use of the word ‘aesthetics’ in the 1750s. Roberto Calasso in Literature and the Gods (Vintage, 2001) places that start of what he calls “absolute literature” in 1798.
For me, it obvious that there is Art and art and after a walk along the Sunday market at the Esplanade, or even, a look at some of the entries in the Post Card show, you might agree. Oh, look another version of the Redhead brand match box, this time it is made out of bits of tin nailed together.
You might not agree, many people at the both the Post Card show and the Sunday Market clearly did not. The word ‘Art’ is probably more divisive than the image of the ‘Australian Knight’ by Abdul Abdullah.
2 Comments | tags: Abdul Abdullah, art, Linden Centre, Linden Centre for Contemporary Art, Post Card Show, Robert Dixon, Roberto Calasso, St. Kilda | posted in Art Galleries & Exhibitions
Today opposite the Melbourne Magistrates Court, there was a demonstration out the front of the County Court drawing attention to the first day of the Melbourne hearings into Royal Commission into the Institutional Response to Allegations of Child Sexual Abuse. In court room 20 of the Magistrates Court, in front of Magistrate Amanda Chambers, there was the first day of an anticipated three day trial of Paul Yore.
The court decided that the best place to start was by viewing a video of Paul Yore’s installation, Everything is Fucked. This was the defence video because the police admitted that it was better than the one that they made. Alleged child pornography being shown in a public court, the magistrate felt that some kind of warning had to be made before the video was shown to the public, no one left. For about six minutes the magistrate attentively watched the psychedelic rainbows of colour, the ultra violet lighting, the collage of objects and images. The court also heard a pod-cast interview with Paul Yore describing the sickly sweet surface with more symbolic ideas beneath the surface of the spectacle of mass consumerism.
The police case consisted of Exhibit #10, seven pieces of cardboard, paper and tin foil that Detective Senior Constable Samantha Johnson of St. Kilda Police Station had cut out with a Stanley knife from Paul Yore’s installation. These bits were described as photos of children’s heads with or without Pokemon stickers over them, stuck onto the naked bodies of adults, again with or without Pokemon stickers on them.
There was a large members of the bar in court, not just Yore’s defence team but separate representation for members of the staff and board of directors of the Linden Centre who had all been called as prosecution witnesses. They were conceded about exposure to allegations of procession of child pornography arising from their testimony and were given certificate from the court that their evidence would not be used against them.
One of the crucial pieces of the defence argument came in the Linden’s Gallery Director, Melinda Martin’s testimony where it emerged that the documentation in the application to the Australian Classification Board consisted of images of Paul Yore’s installation before the police removed any images. Although the application did lack detail it appears that one of the parts removed by the police may be seen in the application for classification. The Australian Classification Board classified Yore’s work Classification 1, Restricted, suitable for people over the age of 18.
Yore’s defence team of Neil Clelland and Rowena Orr was focused on the statutory definition of child pornography. They were not contesting the police time line of events nor any of the police evidence. They wanted to know how the concept of production of child pornography was being proven.
The defence case consisted of expert witnesses, or “witnesses with specialist knowledge” in the current legal speak. Jason Smith, director of the Heide Museum of Modern Art, Antonia Syme, the director of the Australian Tapestry Workshop, and Max Delany, senior curator at the NGV. The defence of artistic merit was clearly made to which the prosecution was trying various arguments, the best of which the magistrate returned to putting the questions directly to Antonia Syme; what if Leonardo da Vinci made child porn does it follow that because he is an artist the work has artistic merit? To which Ms Syme replied: “Putti. Leonardo did lots of naked children.” Max Delany will give his evidence tomorrow morning.
Leave a comment | tags: Antonia Syne, art installation, Australian Classification Board, Australian Tapestry Workshop, child pornography, Linden Centre for Contemporary Art, Melbourne, Melbourne Magistrates Court, Paul Yore | posted in Censorship
This morning, 14th February 2014, a contest mention in the case of Paul Yore was heard in Court Room 12 of the Melbourne Magistrates Court.
Paul Yore was charged with producing and possessing child pornography on the 7th of September 2013 after a police raid on the Linden Centre for Contemporary Art on Saturday 1st of June 2013. Paul Yore was not in court today and the court was informed that he is currently working overseas.
The defence asked that the media have access to the charge sheet, minus Yore’s street address. This was agreed to by the prosecution and granted by the magistrate. Media interest in the case continues and three members of the media were in the court today.
No plea was entered and the case was adjourned until a contest hearing in the Country Court later this year.
For a background of this case see: Police Raid Art Gallery, Political Motivation Behind Police Raid, Follow Up Like Mike, Barry Keldoulis is Fucked, Paul Yore Justice Delayed and Justice Repeatedly Delayed.
1 Comment | tags: Linden Centre for Contemporary Art, Magistrates Court, Melbourne, Melbourne Magistrates Court, Paul Yore | posted in Censorship