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Society's lenience belongs with Graham Ovenden's child portraits – in the past Society's lenience belongs with Graham Ovenden's child portraits – in the past
(2 months later)
When the broadcaster Julia Somerville and her partner Jeremy Dixon were arrested in 1995 because a photographic processor at Boots had misinterpreted innocent snaps of a child in the bath, campaigners were outraged on their behalf. Sue Amphlett, then director of Parents Against Injustice, said: "The problem is that there are now so many investigations into various forms of child abuse and neglect that the system is being overloaded." Likewise a police raid on London's Saatchi Gallery in 2001, after members of the press and public had complained about photographs of naked children playing, reportedly prompted human rights lawyer Geoffrey Robertson to advise the venue it was facing "censorship by police threat".When the broadcaster Julia Somerville and her partner Jeremy Dixon were arrested in 1995 because a photographic processor at Boots had misinterpreted innocent snaps of a child in the bath, campaigners were outraged on their behalf. Sue Amphlett, then director of Parents Against Injustice, said: "The problem is that there are now so many investigations into various forms of child abuse and neglect that the system is being overloaded." Likewise a police raid on London's Saatchi Gallery in 2001, after members of the press and public had complained about photographs of naked children playing, reportedly prompted human rights lawyer Geoffrey Robertson to advise the venue it was facing "censorship by police threat".
Post Savile, so many allegations of historic abuse have been revealed that the idea the law has in the past been too eager to investigate allegations of child abuse seems laughable. Or it would be laughable, had so many abusers not taken advantage of a climate that fretted more about the damage done by accusing people of abuse than the damage done by abuse.Post Savile, so many allegations of historic abuse have been revealed that the idea the law has in the past been too eager to investigate allegations of child abuse seems laughable. Or it would be laughable, had so many abusers not taken advantage of a climate that fretted more about the damage done by accusing people of abuse than the damage done by abuse.
The paedophile formerly known as artist Graham Ovenden has taken advantage of that unfortunate climate for many decades. Ovenden's photographs and paintings of children hung resplendent in public and private art collections for much of his career. His work was revered, any suggestion that there was something creepy or dodgy about it rebuffed by its many defenders. Those who looked at Ovenden's work and saw not lovely representations of the unselfconscious bodies of children but sexually suggestive and inappropriate images – they were the perverts: repressed crypto-Victorians with minds like sinks, imagining filth when all there was to see was beauty. Our culture is only now waking up – startled and disorientated – to the malevolent intent that sheltered behind the liberal impulse to give the benefit of the doubt to the creative or famous.The paedophile formerly known as artist Graham Ovenden has taken advantage of that unfortunate climate for many decades. Ovenden's photographs and paintings of children hung resplendent in public and private art collections for much of his career. His work was revered, any suggestion that there was something creepy or dodgy about it rebuffed by its many defenders. Those who looked at Ovenden's work and saw not lovely representations of the unselfconscious bodies of children but sexually suggestive and inappropriate images – they were the perverts: repressed crypto-Victorians with minds like sinks, imagining filth when all there was to see was beauty. Our culture is only now waking up – startled and disorientated – to the malevolent intent that sheltered behind the liberal impulse to give the benefit of the doubt to the creative or famous.
At the age of 70, Ovenden awaits a decision from the appeal court as to whether his suspended jail sentence for six charges of indecency with a child and one of indecent assault relating to three girls was too lenient. It seems wrong that this man should gain advantage from the fact that his crimes went undetected for such a long time. It adds societal insult to injury that he hid them in such plain sight. It seems barely believable too that just 20 years ago, Channel 4 broadcast a documentary featuring Ovenden entitled Lolita Unclothed. In fact it's hard to believe that the eponymous title of Vladimir Nabokov's novel has been used for so long in western culture to signify an underage sexual temptress rather than a vulnerable, sexually abused child.At the age of 70, Ovenden awaits a decision from the appeal court as to whether his suspended jail sentence for six charges of indecency with a child and one of indecent assault relating to three girls was too lenient. It seems wrong that this man should gain advantage from the fact that his crimes went undetected for such a long time. It adds societal insult to injury that he hid them in such plain sight. It seems barely believable too that just 20 years ago, Channel 4 broadcast a documentary featuring Ovenden entitled Lolita Unclothed. In fact it's hard to believe that the eponymous title of Vladimir Nabokov's novel has been used for so long in western culture to signify an underage sexual temptress rather than a vulnerable, sexually abused child.
Ovenden made significant reference to Nabokov, who wrote two other novels featuring paedophiles, in his own work. He also alluded regularly to the Reverend Charles Dodgson, better known as Lewis Carroll, who wrote Alice in Wonderland for Alice Liddell, but also took naked photographs of her. Ovenden celebrated Victorian child portraits more generally, and had a huge soft spot for the era. No surprise there.Ovenden made significant reference to Nabokov, who wrote two other novels featuring paedophiles, in his own work. He also alluded regularly to the Reverend Charles Dodgson, better known as Lewis Carroll, who wrote Alice in Wonderland for Alice Liddell, but also took naked photographs of her. Ovenden celebrated Victorian child portraits more generally, and had a huge soft spot for the era. No surprise there.
The thing about the Victorians is that they did indeed have minds like sinks. This mentality, however, was quite justified. Child prostitution was rife at that time. The pioneering but sensationalist investigative journalist WT Stead exposed the extent of the abuse for his newspaper, the Pall Mall Gazette, and successfully campaigned for the age of consent to be raised from 13 to 16. He also went to prison, as the methods he used to make his point included buying 13-year-old Eliza Armstrong from her mother and placing her in a brothel. Nevertheless, demand for the editions of the paper carrying his stories was so great that they changed hands at up to 20 times their original value.The thing about the Victorians is that they did indeed have minds like sinks. This mentality, however, was quite justified. Child prostitution was rife at that time. The pioneering but sensationalist investigative journalist WT Stead exposed the extent of the abuse for his newspaper, the Pall Mall Gazette, and successfully campaigned for the age of consent to be raised from 13 to 16. He also went to prison, as the methods he used to make his point included buying 13-year-old Eliza Armstrong from her mother and placing her in a brothel. Nevertheless, demand for the editions of the paper carrying his stories was so great that they changed hands at up to 20 times their original value.
All this happened in 1885, but one can't help comparing it to the News of the World's campaign more than 100 years on that "named and shamed" paedophiles and prompted a riot in Portsmouth, besmirching a righteous campaign by using dangerous and distasteful methods. More recently, Newsnight broadcast a highly sensationalist and deeply flawed item on historic abuse in care homes, seemingly out of shame that they had failed to show an item naming Savile as an abuser previously.All this happened in 1885, but one can't help comparing it to the News of the World's campaign more than 100 years on that "named and shamed" paedophiles and prompted a riot in Portsmouth, besmirching a righteous campaign by using dangerous and distasteful methods. More recently, Newsnight broadcast a highly sensationalist and deeply flawed item on historic abuse in care homes, seemingly out of shame that they had failed to show an item naming Savile as an abuser previously.
The fact remains, however, that there is simply too much material within our mainstream culture that offers succour to paedophiles, and allows them to justify to themselves what they think and do. This is apparent in Ovenden's own body of work – the obsession with Alice in Wonderland and with Lolita. Less esoterically, the very newspapers that claim to stand against child sexual abuse also foster a culture in which it continues to thrive. The sexualisation of a teenaged Charlotte Church in the tabloids, the shots of young girls reproduced from their social networking sites, the pubescent fashion models, the Page 3 girls still in their teens – all these assist in blurring what should be very definite and bright red lines.The fact remains, however, that there is simply too much material within our mainstream culture that offers succour to paedophiles, and allows them to justify to themselves what they think and do. This is apparent in Ovenden's own body of work – the obsession with Alice in Wonderland and with Lolita. Less esoterically, the very newspapers that claim to stand against child sexual abuse also foster a culture in which it continues to thrive. The sexualisation of a teenaged Charlotte Church in the tabloids, the shots of young girls reproduced from their social networking sites, the pubescent fashion models, the Page 3 girls still in their teens – all these assist in blurring what should be very definite and bright red lines.
In Ovenden's case, there is also the spurious defence of art. Roman Polanski's films are no less great because he fled charges of underage sex with a minor. Eric Gill's perfect modernist typeface is no less of an achievement because he sexually abused two of his daughters. Klaus Kinski's performances as an actor are no less impressive because of his daughter Pola's claims that he raped her from the age of five. Jimmy Savile's broadcasts are no less fatuous and patronising because he conducted abuse on an industrial scale. Graham Ovenden's pictures of girls are no less lovely because he abused some of his models.In Ovenden's case, there is also the spurious defence of art. Roman Polanski's films are no less great because he fled charges of underage sex with a minor. Eric Gill's perfect modernist typeface is no less of an achievement because he sexually abused two of his daughters. Klaus Kinski's performances as an actor are no less impressive because of his daughter Pola's claims that he raped her from the age of five. Jimmy Savile's broadcasts are no less fatuous and patronising because he conducted abuse on an industrial scale. Graham Ovenden's pictures of girls are no less lovely because he abused some of his models.
Likewise, the crimes of these men are no less appalling because they are talented or creative. These are separate issues and neither justifies the other. Ovenden still insists that he did nothing wrong. It's unsettling that there's quite so much in the way of material out there to assist him, and others like him, in maintaining their repulsive delusions.Likewise, the crimes of these men are no less appalling because they are talented or creative. These are separate issues and neither justifies the other. Ovenden still insists that he did nothing wrong. It's unsettling that there's quite so much in the way of material out there to assist him, and others like him, in maintaining their repulsive delusions.
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