Bill Henson, 'Untitled #25', 2008/2009
Back in 2008, Sydney columnist Miranda Devine was intrumental in igniting the media frenzy that surrounded Bill Henson’s now infamous exhibition at Roslyn Oxley9 Gallery. Her inflammatory article published in the Sydney Morning Herald the day the show was due to open used Henson’s new work as an introduction to a general discussion about pedophilia and the sexualisation of children. The rest, of course, is history.
Now, Devine’s accusing the artist of ‘losing his mojo’. In her snide article regarding his current exhibition at Roslyn Oxley9 Gallery (his first since the 2008 fiasco), Devine complains about the presence of body guards – necessary in light of the previous threats made to the gallery - and insinuates that there aren’t enough nude photographs in the show.
Obviously Devine hasn’t bothered to do much research. Henson’s work consists of a complementary mix of figures and landscapes. This is the case with his current exhibition and the 2008 hang that sadly very few people saw. Given that the columnist is capable of describing Henson’s work as ‘kiddie porn’ and ‘exquisitely moody’ in the same breath, it’s probably best to just ignore her completely.
Bill Henson, Roslyn Oxley9 Gallery, 8 Soudan Lane, Sydney, until June 5.
