Below is a copy of an, as yet unpublished, letter to the editor of The Australian submitted by my colleague Adam Cooper:
The Editor
The Australian - Review
23 June 2008
Dear Editor
Re:Eros part of our humanity - The Australian - Review (22 June 2008)
David Malouf argues that the law should not deny our collective entitlement to experience Bill Henson’s evocation of a 13 year old nude girl. He says that it is hypocritical for society to deny the entitlement simply because some of us may experience disgust or shame at the erotic possibilities of such a photograph. David Malouf, like Bill Henson, is wrong.
To begin with, Malouf argues that it is dangerous for the blunt instrument of the law wielded by those in government (and like me, practice it) to beat down the nuances and complexities of art. To that end, he cites the thick end of the argument’s wedge, claiming by inference that the last people you would want making laws about art were the allegedly art-loving Nazis of 1930s Germany. In that, Malouf may have a point. I am a lawyer. I confess that I saw more grace and beauty in Michael Holding’s run up and delivery stride than anything I saw Baryshnikov or Nureyev do, skilful and amazing that it was. And I admit to much greater pleasure experiencing the poetry of Robert Harvey, inexplicably emerging goal-wards from a pack of angry opponents with a lump of leather, than I ever did reading Shakespeare. Yet further, the monochromatic scratchings of my 8 year old daughter inspire far greater emotion in me than what I saw at the last Warhol exhibition at the GOMA in Brisbane. Perhaps that makes me a philistine. Perhaps just an “Aussie dad.” But if (a) being a lawyer and (b) preferring sport over what might homogenously be called “art” disentitles me to reflect critically on the latter, then I am happy to go to my grave agreeing with Malouf on this point.
On the flip side then, it is a bit rich for Malouf, prodigious and successful author he is, to then make comment on the law. He says he (we?) expect the law to be discriminating. With the greatest of respect, the law should be anything but. In fact, once the law starts to discriminate, once it is applied subjectively, then the law fails. Indeed, if I may borrow from Malouf’s own argument, a “discriminating law” is exactly what enabled the Nazis of 1930s Germany to inflict such horror upon the world.
The law should not discriminate. It should, perhaps as Malouf argues, be aware of complexity and nuance. But in that sense, perhaps it should be more aware of the nuance and complexity of the psycho-sexualisation of the subject 13 year old girl, potentially damaged by the photographs. Perhaps it should be more aware that pictures of nude 13 year old girls may well be erotic, but that the nuance and complexity of our society dictates that 13 year olds should not be made or encouraged to be erotic. Perhaps in such a complex and nuanced world, the law should make every effort to allow children to simply be children.
Malouf concludes that viewing these pictures leads us to discover what is most human in us. Indeed that is also true. It leads us to conclude that an artist’s right of expression is more valuable than a child’s right to innocence. Such a conclusion is wrong and the law should make it right.
Adam Cooper