Anger At Henson’s School Patrols

Sunday, October 5th, 2008

Four months after NSW police seized Henson’s work from a Sydney gallery, the photographer has sparked renewed debate after making his first public defence of his work.

In a book by journalist David Marr, Henson says he finds models in several different ways. Most often, he is introduced to them by a friend or relative, but sometimes he sees a child in public and gives a business card to their parents.

He said he was once invited to a Melbourne primary school by a principal and “had a look around at lunchtime” before the principal offered to contact the parents of two children he had seen. It was not the first time he had been invited into schools to search for models, the book says.

Leonie Trimper, president of the Australian Primary Principals Association, said parents should have been told in advance about Henson’s visit. “Primary schools are not showcases for the public to come in and choose students for their own personal projects.”

Gail McHardy, the executive officer of Parents Victoria, said anyone wanting to enter schools for “external purposes” had to seek appropriate permission in advance, not after the event.

Ms McHardy asked whether Henson had been accompanied by staff on the visits and whether he had approached the children.

She said model agencies and other agencies had to follow protocols when approaching children in schools.

But Oscar-winning actor Geoffrey Rush came to Henson’s defence yesterday amid the latest controversy over the photographer’s work, saying public discussion of the furore had been “shrill”. “We’re not a very arts-attuned society,” Rush told The Weekend Australian. “So people start to see only the sexual politics of it.”

At the time of the raid on the Sydney gallery, police threatened to charge both Henson and the gallery, but the NSW Director of Public Prosecutions later found there was insufficient evidence to proceed. In Marr’s book, Henson concedes some of his models may have looked back with regret about working with him but says there has never been any negative reactions at the end of a session.

Liberal senator Bill Heffernan yesterday said it was an unforgivable betrayal of the trust placed by the parents in the schools that had allowed a photographer to commercialise children in the playground. “It’s absolutely outrageous someone ought to be sacked,” he said.

“The thing that shocked me most of all about the debate was the perception that artists were above the law or were asking for special exemptions, but that was never the case,” she said. “There is a responsibility in the artistic community to address that.”

In the book, Henson says he takes photographs only with the “willing participation and full control” of the family.

The child then makes the final decision. He also points out that children have an ability to detect unsavoury people. “Kids can smell a rat, you know, and we just don’t give them credit for it.

“If there is a dodgy teacher in the school, kids will know about it … It’s all part of the way in which they are naturally equipped to be resilient. Babies are tough.”

While Henson has been well-known to art collectors and gallerists for more than 20 years, most Australians hadn’t heard of him or seen his photographs until May, when police raided the Sydney gallery following a complaint from child protection advocate Hetty Johnston.

“He has a tendency to depict children naked and that is porn,” Ms Johnston said at the time.

The raid triggered furious debate, with everyone from Cate Blanchett to Kevin Rudd offering an opinion on what they saw as the differences between art and pornography.

The Prime Minister said he found the photographs “absolutely revolting” a sentiment echoed by then Opposition leader Brendan Nelson and former NSW premier Morris Iemma.

“Kids deserve to have the innocence of their childhood protected,” Mr Rudd said at the time. “Whatever the artistic view of the merits of that sort of stuff frankly I don’t think there are any just allow kids to be kids.”

In contrast to Mr Rudd’s comments, current Opposition Leader Malcolm Turnbull publicly denounced the raids, claiming artists should be allowed to express themselves within the bounds of the law.

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Cate Simpson takes a look at the current state

Wednesday, May 7th, 2008

Televised gay kisses may have come a long way since Beth Jordache on Brookside but mainstream programming still lacks fair representation (for the supposed 10% of us) with only the occasional out and proud offering, mainly The L Word and Queer as Folk.

In the US there are now a few gay oriented TV channels like here! and Logo while Prowler TV in the UK seems to provide nothing more than men in pants. Luckily, the geography spanning power of the internet means their spoils are available on our virtual shores.

‘Loving life, hating girls, they’re the happiest gay couple in all the world!’ concludes the theme song for Rick & Steve: The Happiest Gay Couple in All the World. This stop–motion cartoon is a bizarre cross between Bob the Builder visuals and Team America: World Police crassness that aired a first series on Logo in 2007 and is now available online and on DVD.

The show, which was created by Q Allan Brocka, the writer of gay rom-com Eating Out, and which features the voices of our own mischievous king of camp, Alan Cumming, and seasoned gay actor Wilson Cruz, manages to cram in almost every gay stereotype and play them for laughs. In spite of this, it’s hard not to chuckle at the outright silliness of the Playmobil–like characters’ misadventures.

At the opposite end of the production values spectrum lies the low budget, enthusiasm and sticky-tape Aussie charms of Buck House. Touting itself as the world’s first gay and lesbian sitcom it features a cast of amateur actors whose characters are presided over by a pair of talking paintings depicting two deceased elderly lesbians, while they comically struggle with coming out, making babies and all the usual gay conundrums. A prime example of the democratic principle of the internet and DIY programming, episodes are only available online.

Low production costs mean that smaller audiences can be catered to, like the LGB&T ones. But what guides the artistic content when all that is known about the intended audience is whom they wish to sleep with.

Successful mainstream shows like Will & Grace and Queer Eye for the Straight Guy have prevailed by camping it up to meet traditional expectations about what makes gay men fun to watch, which leads to accusations of internalised homophobia. However, news of China’s first gay talk show Tongxing Xinglian, with an interactive online forum, points to the positive uses for a global online community.

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Cate Blanchett’s green theatre

Saturday, May 3rd, 2008

The 38-year-old actress and her husband, playwright Andrew Upton - who are both artistic co-directors of the Sydney Theatre Company - want to make the business the first green building on Sydney Harbour.

She said: “We would have greened the internal offices anyway, but then Andrew said, ‘This place is perfect to put solar panels in and take it off the grid completely.’

“If theatre is not engaged in its time and place, and connecting itself to the immediate and current concerns of society, then it very quickly becomes irrelevant.”

Australian-born Blanchett, who has been a green activist since her schooldays, also lives in an eco-friendly home.

She added to Britain’s Marie Claire magazine: “I can’t believe how uncommon greening practices for the home are. We’ve had solar panels installed, but they’re still seen as a left field idea. We’ve also got rain water tanks and we’re using a natural air-flow to cool the house.”

English musician KT Tunstall also owns her own eco-home, while actress Daryl Hannah lives in a solar powered house and drives a car fuelled by recycled cooking oil.

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The Upton factor

Friday, February 22nd, 2008

A creative renaissance is in the wind, and like Lewis
Carroll before him, Andrew Upton is seeing sunny times through the
looking glass, writes Russell Skelton.
Andrew Upton is a sunny optimist. With the Howard era consigned
to history he believes there will be a freeing up of ideas and a
healthy engagement of contentious issues.
“The culture wars reduced issues to black and white. People were
lionised or demonised. Ambiguity became the enemy,” he says.
“What I hope we will get now is a re-engagement of ideas that
were off the agenda. The most important thing for the arts is not
money, (that is the second most important thing), but the community
in which they take place.”
At 42, Upton appears relaxed and confident about his place in
the world. He was apologetic about turning up late for the
interview, a victim of Sydney’s gridlocked CBD. Dressed stylishly
for an official function he had just attended, he had all the
appearance of what Paul Keating might describe as the “boy next
door”.
Upton, the accomplished playwright, and Cate Blanchett, his much
acclaimed actor wife, stand at the heart of what many in the arts
industry hope will be a creative renaissance under the Rudd
Government. As artistic co-directors and CEOs of the Sydney Theatre
Company, they are powerfully placed to shape and nurture a fresh
arts agenda.
The couple have never viewed the worlds of politics and the arts
as unconnected spheres. On taking up the directorship in
controversial circumstances - amid resentful mutterings that they
had no managerial experience and the position should have been
advertised - they wasted no time in connecting the dots between
theatre and politics. The theatre complex, located at the Wharf in
the Rocks, should be environmentally relevant with a minuscule
global warming footprint, they said.
The forthright declaration was made at a time when the Howard
government was still in the grip of the coal lobby and climate
change denial. Upton and Blanchett later signed a petition calling
on former environment minister Malcolm Turnbull to dump Gunns’
Tasmanian pulp mill or be dumped. The couple are reported to be
spending more than $1 million on making their 1926 Hunters Hill
mansion self-sustaining.
Upton does not believe the culture wars are over or that the
election of the Rudd Government will result in a wave of dreary
politically correct theatre. He says there is an inevitable healthy
tension between the creative arts and the publicly elected.
“Artists will always produce works that make politicians feel
uncomfortable and inevitably there will be the response: ‘For God’s
sake, why don’t you shut up’.”
I interviewed Upton at the Wharf soon after the opening of
Blackbird, a play directed by Blanchett. It was a
sparkling day and the playwright was in an expansive mood, clearly
enjoying the critical success of his wife’s directing, the
impending management challenge and birth of their third child in
April. The conversation ranged way beyond the agreed subject of the
interview: Upton’s libretto for Alice Through the Looking
Glass.
Blanchett’s directing of Blackbird preoccupied the
critics who read the production as a sign of perhaps the risky,
even confronting, artistic direction the Upton-Blanchett management
would bring. Written by David Harrower, the play explores the
sexual and emotional relationship between a 12-year-old girl and
her 40-year-old male neighbour. The script covers the taboo terrain
negotiated so brilliantly by Vladimir Nabokov in Lolita,
although without the insight, subtlety and originality. It was
Blanchett’s second outing as a director.
Upton was open to all questions, engaging and enthusiastic about
his current work and plans for the STC. He sees the Wharf as a
creative centre where the best of Australian theatre - playwriting,
acting, directing and set design - can be shown for national and
international audiences. He aspires to create a milieu that will
attract talent from overseas. “I know Phil Hoffman (the Oscar-
winning actor directed Upton’s play Riflemind) is going to
want to come back, he just loved the way Australian actors approach
their work.
“Sydney really needs to pull its socks up, it’s been too reliant
on excellent wine and spectacular sunsets. We are a society, not an
economy. The arts gives a city international appeal, we want people
to come to Sydney because of what it offers apart from a glorious
harbour. That philosophy has worked for Melbourne, which is in
great shape; the rich arts culture makes it a real
destination.”
As for suggestions that he and Blanchett have no management
experience, Upton says that this was fully taken into account by
the board.
The company had been set up in such a way by former artistic
director and CEO Robyn Nevin that internal structures made
management less of an issue.
“The bad side of politicking comes about from bad management.
When we are all on a par and contributing together there is less
need for intrigue, lobbying (because) the pockets of creativity are
involved.”
Apart from shaping the STC, Upton’s creative side has been
preoccupied writing Carroll’s libretto for the Victorian Opera. His
fascination with words and the way the mind recasts memory drew him
to Lewis Carroll and the children’s story Alice Through the
Looking Glass.
“When Carroll wrote Through the Looking Glass he
described (in letters to friends) how the weather that week was
sunny, but the weather patterns and records from that time, and the
Victorians kept accurate records, suggest it was overcast and
raining.
“I found that fascinating, how memory converts something grey
into a perfect day. It was wonderfully sunny in Carroll’s mind when
it was actually raining.”
Carroll’s ambiguity holds a special challenge. Alice on her
journey (which is also a series of moves on a chess board) is
constantly faced with puzzles about time, space and numbers. The
White Queen talks to Alice about having jam “tomorrow and . . .
yesterday - but never jam today”. Then there is the constant
dilemma for Alice of “living backwards” and “remembering things
before they happen”.
Upton, widely respected for his adaptations of such works as
Don Juan, Hedda Gabler and Cyrano de Bergerac,
found there were many levels to interpret the surreal world of
Carroll, the master storyteller who specialised in word play.
“Carroll’s word games are very English and, in a sense, undermining
of authority. If you compare Through the Looking Glass
with Alice in Wonderland there is a sense of decay of the
adult world and of authority. Alice is on a journey to become Queen
but there is also a darkness.”
For Upton it has been an extraordinary exercise, composing
blocks of words and sending them off to Alan John - best known for
his opera The Eighth Wonder - who then composes the music.
At each stage the opera is sung, workshopped, refined and
rewritten. Director Michael Kantor is also involved in the process.
Upton believes his words, whether for opera or theatre, are
inhabited by a rhythm, which he believes assists the composer.
So why does Lewis Carroll need to be sung if it is the subtle
word play and ambiguity that most characterises the tale for
children built around chess moves and barely disguised worldly
themes? “For me it became about singing because the story is
happening in a dream state, an enhanced state. Assuming the story
is happening to the characters rather than implied, the world
becomes heightened (by the music).
“It also fascinates me what the meaning of words are in the
context of an opera.”
As a writer Upton says his own work comes slowly: “It takes me
about three years to write something from scratch, for some people
it takes a year.”
He has resigned himself to the fact that during his
co-directorship he will write what he can. “I comfort myself,” he
says laughing, “in the knowledge that most writers like Shakespeare
and Pinter were heavily involved in the theatre.”
Upton, like the White Queen in Alice, knows or hopes he
knows what the future looks like for him.
He has been occupied for years with Oedipus, the King in Greek
mythology who unwittingly killed his father and married his mother.
The story appeals because it is about one deeply complex character.
“I am not saying I will do this but there are elements of that
story that appeal to me.”
Upton believes in the Australian theatrical identity, which he
sees in all sorts of forms including TV programs such as The
Chaser and The Norman Gunston Show.
It’s a tradition that reaches back to La Mama, the Pram Factory
and the Nimrod Theatre. “It often comes through a conjunction of
writers, actors and the production of a whole event. It’s raw and
astute.”
As for the future direction of the STC, he says that change
(after Robyn Nevin’s nine years at the helm) is inevitable and was
after all the fundamental reason why he and Blanchett were
hired.
“Changing things should not be seen as criticism of the way
things were done; it should be seen as evolution.
“Australia produces world-class interesting work; it is part of
why Cate and I came back. What we want to do is establish a flow so
that work goes out (to the world) and Australia is seen as an
incredible pool of talent and ideas.”
That, on reflection, seems a modest ambition given that over the
years the STC has launched and nurtured the careers of such actors
as Mel Gibson, Judy Davis, Hugo Weaving and two Oscar winners
Geoffrey Rush and one Ms Cate Blanchett.
Through the Looking Glass will be performed at
the Malthouse in May.
www.malthousetheatre.com.au

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The Upton factor

Saturday, February 16th, 2008

A creative renaissance is in the wind, and like Lewis
Carroll before him, Andrew Upton is seeing sunny times through the
looking glass, writes Russell Skelton.
Andrew Upton is a sunny optimist. With the Howard era consigned
to history he believes there will be a freeing up of ideas and a
healthy engagement of contentious issues.
“The culture wars reduced issues to black and white. People were
lionised or demonised. Ambiguity became the enemy,” he says.
“What I hope we will get now is a re-engagement of ideas that
were off the agenda. The most important thing for the arts is not
money, (that is the second most important thing), but the community
in which they take place.”
At 42, Upton appears relaxed and confident about his place in
the world. He was apologetic about turning up late for the
interview, a victim of Sydney’s gridlocked CBD. Dressed stylishly
for an official function he had just attended, he had all the
appearance of what Paul Keating might describe as the “boy next
door”.
Upton, the accomplished playwright, and Cate Blanchett, his much
acclaimed actor wife, stand at the heart of what many in the arts
industry hope will be a creative renaissance under the Rudd
Government. As artistic co-directors and CEOs of the Sydney Theatre
Company, they are powerfully placed to shape and nurture a fresh
arts agenda.
The couple have never viewed the worlds of politics and the arts
as unconnected spheres. On taking up the directorship in
controversial circumstances - amid resentful mutterings that they
had no managerial experience and the position should have been
advertised - they wasted no time in connecting the dots between
theatre and politics. The theatre complex, located at the Wharf in
the Rocks, should be environmentally relevant with a minuscule
global warming footprint, they said.
The forthright declaration was made at a time when the Howard
government was still in the grip of the coal lobby and climate
change denial. Upton and Blanchett later signed a petition calling
on former environment minister Malcolm Turnbull to dump Gunns’
Tasmanian pulp mill or be dumped. The couple are reported to be
spending more than $1 million on making their 1926 Hunters Hill
mansion self-sustaining.
Upton does not believe the culture wars are over or that the
election of the Rudd Government will result in a wave of dreary
politically correct theatre. He says there is an inevitable healthy
tension between the creative arts and the publicly elected.
“Artists will always produce works that make politicians feel
uncomfortable and inevitably there will be the response: ‘For God’s
sake, why don’t you shut up’.”
I interviewed Upton at the Wharf soon after the opening of
Blackbird, a play directed by Blanchett. It was a
sparkling day and the playwright was in an expansive mood, clearly
enjoying the critical success of his wife’s directing, the
impending management challenge and birth of their third child in
April. The conversation ranged way beyond the agreed subject of the
interview: Upton’s libretto for Alice Through the Looking
Glass.
Blanchett’s directing of Blackbird preoccupied the
critics who read the production as a sign of perhaps the risky,
even confronting, artistic direction the Upton-Blanchett management
would bring. Written by David Harrower, the play explores the
sexual and emotional relationship between a 12-year-old girl and
her 40-year-old male neighbour. The script covers the taboo terrain
negotiated so brilliantly by Vladimir Nabokov in Lolita,
although without the insight, subtlety and originality. It was
Blanchett’s second outing as a director.
Upton was open to all questions, engaging and enthusiastic about
his current work and plans for the STC. He sees the Wharf as a
creative centre where the best of Australian theatre - playwriting,
acting, directing and set design - can be shown for national and
international audiences. He aspires to create a milieu that will
attract talent from overseas. “I know Phil Hoffman (the Oscar-
winning actor directed Upton’s play Riflemind) is going to
want to come back, he just loved the way Australian actors approach
their work.
“Sydney really needs to pull its socks up, it’s been too reliant
on excellent wine and spectacular sunsets. We are a society, not an
economy. The arts gives a city international appeal, we want people
to come to Sydney because of what it offers apart from a glorious
harbour. That philosophy has worked for Melbourne, which is in
great shape; the rich arts culture makes it a real
destination.”
As for suggestions that he and Blanchett have no management
experience, Upton says that this was fully taken into account by
the board.
The company had been set up in such a way by former artistic
director and CEO Robyn Nevin that internal structures made
management less of an issue.
“The bad side of politicking comes about from bad management.
When we are all on a par and contributing together there is less
need for intrigue, lobbying (because) the pockets of creativity are
involved.”
Apart from shaping the STC, Upton’s creative side has been
preoccupied writing Carroll’s libretto for the Victorian Opera. His
fascination with words and the way the mind recasts memory drew him
to Lewis Carroll and the children’s story Alice Through the
Looking Glass.
“When Carroll wrote Through the Looking Glass he
described (in letters to friends) how the weather that week was
sunny, but the weather patterns and records from that time, and the
Victorians kept accurate records, suggest it was overcast and
raining.
“I found that fascinating, how memory converts something grey
into a perfect day. It was wonderfully sunny in Carroll’s mind when
it was actually raining.”
Carroll’s ambiguity holds a special challenge. Alice on her
journey (which is also a series of moves on a chess board) is
constantly faced with puzzles about time, space and numbers. The
White Queen talks to Alice about having jam “tomorrow and . . .
yesterday - but never jam today”. Then there is the constant
dilemma for Alice of “living backwards” and “remembering things
before they happen”.
Upton, widely respected for his adaptations of such works as
Don Juan, Hedda Gabler and Cyrano de Bergerac,
found there were many levels to interpret the surreal world of
Carroll, the master storyteller who specialised in word play.
“Carroll’s word games are very English and, in a sense, undermining
of authority. If you compare Through the Looking Glass
with Alice in Wonderland there is a sense of decay of the
adult world and of authority. Alice is on a journey to become Queen
but there is also a darkness.”
For Upton it has been an extraordinary exercise, composing
blocks of words and sending them off to Alan John - best known for
his opera The Eighth Wonder - who then composes the music.
At each stage the opera is sung, workshopped, refined and
rewritten. Director Michael Kantor is also involved in the process.
Upton believes his words, whether for opera or theatre, are
inhabited by a rhythm, which he believes assists the composer.
So why does Lewis Carroll need to be sung if it is the subtle
word play and ambiguity that most characterises the tale for
children built around chess moves and barely disguised worldly
themes? “For me it became about singing because the story is
happening in a dream state, an enhanced state. Assuming the story
is happening to the characters rather than implied, the world
becomes heightened (by the music).
“It also fascinates me what the meaning of words are in the
context of an opera.”
As a writer Upton says his own work comes slowly: “It takes me
about three years to write something from scratch, for some people
it takes a year.”
He has resigned himself to the fact that during his
co-directorship he will write what he can. “I comfort myself,” he
says laughing, “in the knowledge that most writers like Shakespeare
and Pinter were heavily involved in the theatre.”
Upton, like the White Queen in Alice, knows or hopes he
knows what the future looks like for him.
He has been occupied for years with Oedipus, the King in Greek
mythology who unwittingly killed his father and married his mother.
The story appeals because it is about one deeply complex character.
“I am not saying I will do this but there are elements of that
story that appeal to me.”
Upton believes in the Australian theatrical identity, which he
sees in all sorts of forms including TV programs such as The
Chaser and The Norman Gunston Show.
It’s a tradition that reaches back to La Mama, the Pram Factory
and the Nimrod Theatre. “It often comes through a conjunction of
writers, actors and the production of a whole event. It’s raw and
astute.”
As for the future direction of the STC, he says that change
(after Robyn Nevin’s nine years at the helm) is inevitable and was
after all the fundamental reason why he and Blanchett were
hired.
“Changing things should not be seen as criticism of the way
things were done; it should be seen as evolution.
“Australia produces world-class interesting work; it is part of
why Cate and I came back. What we want to do is establish a flow so
that work goes out (to the world) and Australia is seen as an
incredible pool of talent and ideas.”
That, on reflection, seems a modest ambition given that over the
years the STC has launched and nurtured the careers of such actors
as Mel Gibson, Judy Davis, Hugo Weaving and two Oscar winners
Geoffrey Rush and one Ms Cate Blanchett.
Through the Looking Glass will be performed at
the Malthouse in May.
www.malthousetheatre.com.au

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