The Null Device
More dispatches from Australia's culture war, where a raid on an art gallery, and pending charges of child pornography production against one of the artists, signal a new climate of rising censorship and a the return of a narrow-minded, provincial prudishness, now riding within the mainstream of the Liberal Party:
The opposition to Yore's work has been spearheaded by a group of local figures. Minutes from a City of Port Phillip council meeting on 28 May show that Chris Spillane, a Liberal party candidate for the council, "stated that while he hasn't seen the exhibition himself, from what he has heard about the exhibition it is offensive and pornographic in nature".
Spillane has previously claimed the council "wastes considerable sums of money" on projects that promote "socialism and multiculturalism". He has been supported in his stance against the Linden centre by councilor Andrew Bond, who called Yore's exhibition "complete smut", and by resident Adrian Jackson.As Australian historian Manning Clark (who himself has fallen posthumously out of favour in the new age of muscular conservatism, partly thanks to the Murdoch press's attempts to paint him as a Soviet agent of influence) said, Australian history has been a battle between the “enlargers” and the “straighteners” (a somewhat more nuanced paradigm than the “larrikin/wowser” nexus; after all, Australia has no shortage of rowdy, flag-draped xenophobes vigorously defending their freedom from the rules of decorum whilst attacking anything outside of their narrow view of what belongs in Australia). The straighteners were the wowsers, the provincial prudes and authoritarians, drawing the boundaries and punishing those who dare cross them, whereas the enlargers, the liberal-minded cosmopolitans, were those who aspired to push the boundaries back.
The enlargers were initially a minority but have had a home in the artistic and intellectual world of Australia's bohemian enclaves (as described by Tony Moore in Dancing with Empty Pockets) since the mid-19th century, gradually extended their influence as the nation's culture matured; this reached its peak during the great thaw, which began when the boundaries of the old conservatism, inherited from imperial administrators and shored up by the great patriarch of the Right, Menzies, broke, culminating in the sweeping in of the Whitlam government and a quarter-century of progressive change, creating the illusion of a forward-looking, broad-minded country. Now, after eleven years under the stern paternal gaze of arch-conservative John Howard and five more in an interregnum, governed by a Labor government keen to avoid breaking from the conservatism of the day and keeping the seat warm for the triumphant return of Howard's successor (Tony Abbott, a spiritual and cultural heir of Catholic ultraconservative Bob Santamaria), it becomes more apparent that that was an illusion; mere window-dressing over the small-minded authoritarianism of the penal colony and the military outpost of Empire. Leading the charge is a reinvigorated Liberal Party, having shed the ambiguity that its name suggests, sidelined progressive elements (such as deputy leader Malcolm Turnbull, who once led the push for Australia to abandon the monarchy) and firmly, unapologetically carrying the banner of a specifically Australian conservatism at all levels of government. Their Australia is a nation of God-fearing muscular soldier-sportsmen, standing proudly in the glow of imperial glories and singing in unison from the same hymn sheet, a nation in which there is no room for anything that is un-Australian, be it black-armband history, black-armband climatology, Godless Communism, uppity sheilas, uppity poofters or immoral or indecent art.