The world debate over naked children in art that arose over Polixeni Papapetrou’s pictures in Art Monthly Australia is bigger than art and touches on civil liberties. This has been acknowledged obliquely in international media, with papers such as El Universal in Mexico expressing surprise that the debate had arisen in Australia and not an ultraconservative country like Iran (15 July 2008).… Continued
An ambivalent spectre hangs over the Australian landscape. It is a beautiful land, famous for its scale and dryness. But there is a special discomfort wherever white people tread. They do not altogether belong. Australia is a vast land, sparsely inhabited and relatively undifferentiated for thousands of hectares at a stretch. Before the European invasion, it must have been a dry but vibrant garden, each corner of which was known and accorded religious meaning by the Indigenous people.… Continued
Children have become a tabula rasa onto which the triumphs and failures of society are inscribed. When great projects are undertaken, the ostensible motivation is to make the world better for the next generation; when cracks appear in social systems supposedly established to facilitate better living, it is children who tend to fall through them. When things go terribly wrong for a child, his or her plight stands as a form of reckoning, not just for the individuals directly involved, but somehow for society as a whole.… Continued
By Adrian Martin
Surveying the already extensive photographic art of Polixeni Papapetrou, one cannot fail to recall Oscar Wilde’s famous witticism: ‘It is only shallow people who do not judge by appearances’. Or even better: ‘I love acting. It is so much more real than life’.
All of Papapetrou’s models are raised up to a realm far beyond mundane, everyday existence.… Continued
On a small lake under a small wooden bridge in Merry Creek in Melbourne, where for a decade I have taken a walk early in the morning, there was a white goose. It was the only white bird among a group of brown and grey ducks, which shared that particular environment. The white goose had a broken wing, and a single feather stuck out conspicuously.… Continued
By Adrian Martin
More than ever, contemporary photography in Australia (as in the rest of the world) is splitting starkly into two camps. On the one hand, there is documentary photography, bearing witness to the extremes of suburban grunge and the spontaneous effusions of daily life. And on the other hand, an extremely stylised type of photography which revels in artifice, in the constructed image.… Continued