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Of Children and Art

VALERIE KABOV, art critic and director of educational art consultancy Renaissance aic picks up the Bill Henson story from a fresh angle. Let art be art. Let children be children. Let us hasten to think of beauty and ideas and positive emotions and tarry to think of shame and depravity. How else can we build a better world?

My father recalls the following story from the time I was about seven years old. An acquaintance was visiting our place, while dad was putting an art reproduction in a frame. The acquaintance looked at the image with dismay and asked my father "How can you hang THAT in your house with young daughters around." My father called me in and asked pointing at the work "What is this?" "That is Goya's The Nude Maja" I replied without hesitation. "And what is that?" my father asked now pointing to another reproduction on the study wall. "That is Degas' Morning Toilette," I responded. My father thanked me and sent me back to play.

Growing up I learnt my art history from books and visits to galleries and museums. The image of the human body of all ages and in all aspects was a constant: from Egyptian papyrus scrolls and Ancient Greek frescos and statues, to medieval illuminations and armies of Renaissance Madonnas; from the Roman Boy with the Goose to flocks of playful cupids on Baroque ceilings; from Michelangelo's David to Titian's Diana and Callisto and eventually Picasso's La Vie and Matisse's La Danse. This perception was completely aligned with my everyday experiences. After all, Rodin's The Thinker is part of our physical and cultural vernacular as is Myron's Discobolus. Chocolatiers and greeting card publishers use Raphael's cupids almost as frequently as bows and flowers and the image of Edvard Ericksen's Little Mermaid is ensconced with the biscuit-makers of the world.

I was also taught to ask what were the ideas and emotions that the artist was trying to communicate with his work, whether it was a tree, the sea, a woman, a goose, a building or simply a colour and a shape. An arch of a back or an inflexion of a wrist of statue or in a painting were underscored as intentions to communicate the beauty or ugliness or angst and suffering in the world around us. The colours, textures and shapes spheres, arches, cylinders and angles comprising the human shape were symbolic expressions used by the artists to communicate their ideas about the world across the Ages.

From the Parthenon Marbles to the Sistine Chapel and Picasso's Les Demoiselles D'Avignon, the fundamental questions of human and creative endeavour remain "What does it mean to be human?" "What is the purpose of Life?" "What makes life meaningful and worthwhile?" Instantly personal and emotional, the representation of the human body is a powerful way to communicate these questions to an audience. Fragility of existence contained by the mere millimetres of skin and uncertainty and apprehensions of future, fear and love become instantly tangible. These thoughts and feelings are eternal and are eternally re-appraised by art throughout history. The image of the human body transcends to become both the metaphor and the essences of the questions, which drive humanity.

To seek answers to these questions is the ethos and the implicit ambition of any artist from Michelangelo and Donatello to El Greco, Velazquez, Goya and Modigliani, from Picasso, Matisse, to Francis Bacon ,Lucian Freud and Bill Henson. This is true for every art medium from sculpture and painting, drawing, collage and the more contemporary mediums such as video installation and photography.

The illusion of veracity created by photography as a medium of creation may be more cogent than the illusion of life created by Michelangelo's life-size statues or Raphael's frescos in the Sistine Chapel - but only marginally so. Bill Henson's controversial work depicting children is no more and no less than part of that tradition and history. If anything I have always considered him to be more a painter than a photographer, so steeped in tradition and history of painting is his work. The symbolism and visual vocabulary of chiaroscuro that he employs owes everything to El Greco and very little to Kodak. Regardless of the medium, we must not forget that, what we are seeing and experiencing is the intention of the artist and his attempt to make us feel and think about the world we live in. When Matisse said, "I do not literally paint that table, but the emotion it produces upon me," he was stating a fundamental truth about the meaning and the purpose of art. To all his detractors, Bill Henson can reply "I am not photographing a child, I am making you think about the world."

We live in a world where the distinction between beautiful and sexually desirable has been maximally eroded. Depictions of the body in art recognise and address that distinction better than anything I know. Art gives us the option of seeing the body imbued with the whole scope of humanity and not just its sexual side that inundates all popular culture. I agree with Kevin Rudd when he says as reported that "Children should be allowed to be children". I would also add that humans should be allowed to be humans in the full sense of the word and be allowed to grow up with a conception of a complete humanity and their embodiment, spiritual and cultural, rather than being taught from infancy that being sexually desirable is the pinnacle of achievement in life.

When I was young my parents did keep several art books locked away, later I discovered that they were albums of Hieronymus Bosch's Last Judgement and Hell  and Francisco Goya's Disasters of War and the famously shocking Saturn Devouring His Son. Images that they thought were violent and could frighten.  As an adult I understand and agree with their decision but I could never imagine my parents not taking me to see any Bill Henson exhibition.

The issue of sexualisation and exploitation of children is real one. Giving people the gift of an art education could be the start of a solution.

To contact the author please write to Valerie@renaissanceaic.com.au or visit http://www.renaissanceaic.com.au/

Copyright May 2008 Valerie Kabov

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Re: Zeitgeist Addendum

Brilliant, mind-expanding stuff - even better than the original. The timing is perfect with the criminal U.S. financial system in a state of collapse and dragging the world down with it. These times of crisis lead to paradigm shifts - it is time for the Zeitgeist revolution.

1. Boycott Citibank, JP Morgan Chase & Bank of America and expose the corrupt Federal Reserve system

2. Boycott the mainstream media networks and protect the freedom of the internet

3. Boycott the military

4. Boycott energy companies - get off the grid, convert your car

5. Reject the current political system - the illusion of democracy in this corrupt monetary system is an insult to our intelligence

6. Spread the message, create critical mass 

All the natural resources on the planet are the common heritage of all people. We can all live in abundance if we focus on real change - J.P.

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Religious belief should itself be a disqualification for executive office as it displays a complete lack of critical thinking. Will church and state ever really be separate in America? - Jesus

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Thanx for supporting Sia. She is Australia's finest - Amy

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I'm ready to believe but why would highly advanced aliens transmit their messages through such kooks. And what do the aliens have to do with 9/11? - The Truth is Really Out There

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Re: U.S. Economic Collapse? - From Michael Lerner

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