On the second day of the contested hearing of the charges of production and possession of child pornography against Paul Yore. Magistrate Amanda Chambers will decide if the case at 9:30am on 1st of October.
Mark Newman Delany, commonly known as Max Delany, the senior curator at the NGV had prepared a report for the court on Paul Yore and his art including the his installation at Linden Gallery. It was labelled defence exhibit #4.
Max Delany explained to the court about collage and assemblage. He explained that the crucial factor in collage is that the cut is obvious, that it is evident that it has been taken from one source and placed in a different context. That the cut does violence to the image, it is unnatural; by removing the the image from its context the image no longer functions according to the context. That advertising images in a collage do not function as advertising.
Max Delany was asked by the police prosecutor, Acting Sargent Kirei Wall about the artistic merit of the pieces of cardboard that the police had cut out with a Stanley knife. Max Delany told the court that they were not now part of Paul Yore’s art work and were in the context of a court of law. He would only comment on Paul Yore’s work as a whole and went on further about the artistic merit of Yore’s work. When he was asked would it have artistic merit if the art was made by anyone else, Max Delany replied: “This art couldn’t be made by anyone else.”
The magistrate then asked the very difficult question of what factors constitute artistic merit. Max Delany’s list: professional discourse and recognition, technical and formal qualities, conceptual and historical qualities, poetic (creating new meaning in the everyday) and context.
Summing up the case for the defence barrister Neil Clelland asked the court if the material constitutes child pornography at the time that it was part of the installation, Everything is Fucked, between the 14th and 17th of May. Clelland made arguments about how images are produced and how they depict.
What is it to produce an image and how is this different from making art. That the artist does not produce the images in a collage but does make the collage.
What is it for an image to depict and that this does not depend on intent or that it is perceived as but that it is seen as depicting by a reasonable observer.
The police prosecutor, Acting Sargent Kirei Wall argued that Australian Classification Board only classified the submission on Paul Yore’s installation and not the whole installation. She also argued that the children were hurt because their images were included without their permission and that their photo was placed with a photo of adults in sexual poses or a sexual context without respect for their rights and reputation.
5 Comments | tags: assemblage, child pornography, collage, Max Delany, Melbourne, Melbourne Magistrates Court, Paul Yore | posted in Censorship
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
When Paul Yore mention hearing was scheduled for courtroom 1 of Melbourne Magistrates Court I had some hope that the case might progress. Courtroom 1 is the courtroom where they hold the mention hearings for the big cases; the murders, the baby killers and MP Craig Thomson’s corruption accusations.
Looking at the court lists on the ground floor of the Magistrates Court I was disappointed to see that it had been moved to Courtroom 11. Again there were a few journalists in Courtroom 11 from before 11 am and, again there was no sign of Paul Yore or the Informant, Snr. Cons. S. Johnson of Victoria Police. There was a notice on the door of courtroom 11 that impenetrably said that “SOL cases” had been moved to courtroom 12. By the time that the AAP journalist and myself found out what “SOL cases” meant the Paul Yore hearing had been adjourned again until the 14th of February.
Last year on the 25th of November there was meant to be a mention hearing for Paul Yore in the Melbourne Magistrates Court but the case was adjourned. See my post: Justice Delayed.
The whole absurd case is a waste of time and is just creating further delays in Victoria’s justice system, as if there isn’t enough delays in Victoria’s justice system already. Victoria’s Magistrates Courts have the largest backlog of cases of any jurisdiction in Australia; according the annual report of the Victorian Magistrates Court 8.7% of cases pending for more than 12 months. (Annual Report 2011-12 p.91)
Scroll down the page for the inevitable comment from the troll that started this legal waste of time, Adrian Jackson.
1 Comment | tags: justice, Magistrates Court, Melbourne, Melbourne Magistrates Court, Paul Yore, Victoria, Victoria Police | posted in Censorship, Culture Notes