[NetBehaviour] Police seek to censor painting from Brixton Riots exhibition
marc.garrett at furtherfield.org
Sun Nov 20 14:31:13 CET 2005
Police seek to censor painting from Brixton Riots exhibition
By Paul Bond
11 November 2005
Police officers have visited an art gallery in south London requesting the
removal of a painting from an exhibition. The Bettie Morton Gallery in
Brixton is hosting an exhibition, Fall/Uprising, which consists of seven
new paintings by artist Kimathi Donkor. These mark the twentieth
anniversary of riots in Brixton and Tottenham, when widespread alienation
and disaffection erupted in violence in predominantly black working class
Donkor specialises in paintings of historical scenes. His last major show,
which is currently on tour, consisted of paintings about Toussaint
l’Ouverture and the Haitian slave revolt.
The two officers, in plain clothes, arrived at the gallery at 5.30 p.m. on
November 4 while gallery owner Bettie Morton and volunteer Rab MacGibbon
were hanging the paintings for the opening of the show the next day. The
officers showed their badges and identified themselves as Sergeants Turner
and McGarry. They said they were responding to complaints from the public
about nudity in the painting Helping With Enquiries 1984, which shows a
naked man being beaten by police officers. They requested that the
painting be removed from display. Morton refused.
Bettie Morton told the World Socialist Web Site that Helping With
Enquiries 1984 was barely visible from the windows of the gallery. She
wanted to know how this painting had been drawn to the police’s attention,
pointing out that the exhibition had not even opened when the officers
visited. In fact, she said, Donkor had only just finished some of the
pictures and it was too late to photograph them for inclusion on the
gallery’s web site.
In a statement, the police said they had received a complaint on November
3 from a member of the public about a work on display in a glass-fronted
gallery that could be seen from the street. The officers were from the
Brixton Town Centre Team, which deals with community issues. During their
visit they talked a lot about responsibility to the community.
This encouragement of self-censorship in the guise of “responsibility” is
a line increasingly being pursued within the arts, as witness responses to
Behzti, Jerry Springer—the Opera, and the recent decision by Tate Modern
to withdraw John Latham’s God is Great. Morton, pointing out that she too
is part of that community, said, “I’ve done nothing wrong.”
The exhibition was promoted on the galley’s web site
http://www.bettiemortongallery.co.uk and on the artist’s web site
http://www.kimathidonkor.net, with details from other paintings, which
also depicted the police as well as the anger felt at the time. Madonna
Metropolitan shows a black woman surrounded by officers, one of whom is
gesticulating angrily at her, while in Under Fire an officer with a
handgun is firing at a woman at point-blank range. In Coldharbour Lane
1985, youths with their faces masked hurl stones at officers.
Immediately after the police visit, Morton put up a sign indicating that
some of the images in the exhibition may cause offence. However, during
the course of the discussion the officers had suggested that the artist
had “an agenda” about the police—indicating that the nudity was not their
main concern. They were keen to emphasise how different community policing
is now from 20 years ago. This is in the context of attempts to give the
British police unprecedented repressive powers.
Morton has refused to withdraw any paintings from the exhibition, saying
that it marks the twentieth anniversary of nationally important events,
represented by an artist committed to works representing historical events
accurately. “The true artist,” she said, “will have to depict events
Donkor himself has also expressed scepticism about the complaint against
the nudity, pointing to Marc Quinn’s huge female nude statue currently on
display in Trafalgar Square. Instead, he told the web site artdaily.com
that “underlying this encounter there is a more fundamental issue about
human rights and freedom of expression.”
The riots of 1985 were sparked by repressive policing, resulting in the
deaths of two elderly women in working class housing estates in London.
Donkor said he was “amazed” that the police were now prepared to engage in
“such a clear act of self parody.”
When Morton refused to withdraw any paintings, Sergeants Turner and
McGarry left the gallery. They said they expected to make a return visit.
If that is the case, both the gallery and the artist have said they will
seek legal advice. The police have not said whether they intend to pursue
the matter further.
At a period when the powers of the British police are being broadened, any
work of art that deals with such questions is likely to come under
official scrutiny and attempted censorship. It is vital that any such
attempt is opposed.
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