Police Point “pornographic” Protest Stripped publicly
By Kaleigh McArthur, Investigative Journalist
In an unexpected turn of events, the “Roots & Resilience Exhibit” at Police Point Park has become a flashpoint in the ongoing debate over artistic expression and community standards. Scheduled from September 14 to October 13, 2024, this outdoor photographic exhibition, which celebrates the intricate relationships between humans and nature, has been thrown into turmoil following the removal of certain artworks deemed inappropriate by city officials. A local resident told Community TV on September 14th that her family had seen the artwork and complained that she thought it was “Appalling... pornographic and whomever is responsible should be held liable!” The source of the official complaint is unknown, but Community TV did not find the tip newsworthy, as there were no other complainants.
Curated by Elly Heise, the exhibit features a set of thought-provoking images from international photographers, Bonnie Portelance and Cameron J Laing; intended to enrich the local dialogue about humans and nature. However, it appears that some of these images, particularly those featuring nudity, have drawn controversy, resulting in their sudden censorship. In a surprising act of defiance, Heise organized a peaceful protest during the guided tour on September 15, where she held up the censored artworks to articulate the importance of their presence within the exhibition.
“The audience response was lovely, and they all thought it was pretty ridiculous that these images were ordered to be taken down,” Heise shared with Community TV. Heises actions aimed to provide context to the viewers and spark discussions about the necessity of artistic expression in all its forms. The backlash from the community has been notable, with several attendees writing letters to Ann Mitchell, calling for the artworks to be reinstated.
In an email to Mitchell, Hiese expressed her discontent with the censorship, drawing a striking analogy: “Removing artworks is similar to ripping out the last chapters of a book without the author's consent and publishing it anyways.” The impact of this decision reaches beyond the immediate implications for the exhibit; Heise warns that it threatens the artistic reputation of Medicine Hat itself.
“Are we to become known as the city that banned artists who have previously exhibited in some of the strictest areas of the world? Are we to become the art-hating city of Alberta?” Heise questioned. “This censorship is being practised, and we are bowing down to a few people who are unable to conduct themselves in a respectful manner towards others."
The local art community, previously teeming with optimism for vibrant showcases of expression, is now seemingly in a state of disarray and disappointment. Community sentiment appears to lean towards support for Heise’s assertive stance against censorship, which they see as a threat to both artistic integrity and individual freedoms.
Despite hopes for a resolution, Heise noted that a meeting with a city official offered little in terms of results. “I was excited about the suggestion of a resolution... Unfortunately, there was no compromise.” Her attempts to negotiate a solution, including the insertion of trigger warnings alongside the artworks, were met with firm refusal.
As this controversy unfolds, it poses critical existential questions about the relationship between art, societal norms, and governance in Medicine Hat. Heise remains undeterred in her quest to raise awareness about censorship. “In making public that these artworks were censored, I see myself as speaking up about censorship and viewing rights, not just nude art,” she states firmly.
The “Roots & Resilience” exhibit becomes more than a display of photographs; it transforms into a battleground for ideas—between the ideals of unfettered expression and the constraints imposed by community complaints. As the days progress, the citizens of Medicine Hat must grapple not only with the fate of the exhibit but also with the future of their cultural identity in a landscape increasingly influenced by the voices of the few over the rights of the many.
As the exhibit continues until October 13, the question remains: Will the community stand in solidarity with artists, advocating for the very essence of creative expression, or will the whispers of dissent grow louder, overshadowing the essential role of art in their shared cultural narrative? Time, it seems, will tell.
Elly’s Statement
-“On Sunday, September 15th as an act of peaceful protest I held up the censored artworks on a guided tour I gave of the show "Roots & Resilience". I held them up in the places where they should be displayed and gave context to the viewers about the artwork, artist, and why the images needed to be nude. The audience response was lovely, and they all thought it was pretty ridiculous that these images were ordered to be taken down. Many people have kindly written letters to Ann Mitchell commenting on this and requesting the artworks be put back up. I should mention that this show was funded by a city vibrancy grant, so I was very nervous to protest but felt like it was the right thing to do. I believe the community has the right to decide for themselves what they can and can't look at.” -Elly Heise
Email sent to Ann Mitchell by Elly Heise
“Dear Ann,
I hope this message finds you well. My name is Elly Heise and I am the founder and curator of Hat Photo Fest. I am a practicing artist and teacher at Medicine Hat College. Through my work I am eager to bring art accessibility to the local community and connect people. I am writing in regards to the controversy that occured over the weekend regarding two nude artworks (by artists Bonnie Portelance and Cameron J Laing) that are a part of the humans and nature themed group exhibition called “Roots & Resilience” (located at Police Point Park).
I made the theme for this show based on humanity and its connection to nature. I thought to myself “what could be a safer theme that could potentially bring people from diverse backgrounds together? What a great way to bring people to Police Point park and better connect them with our urban prairie forest.” I never thought a human-nature theme would raise any controversy or negativity. I was proved wrong on Saturday.
My understanding is that on Saturday morning a small group of citizens decided to be offended by some of the exhibited art and were angry at the wonderful park staff at the Nature Centre. My understanding is that rather than gathering all the facts and having a respectful discussion with me (who selected the images and organised this event) they verbally abused park staff, who had nothing to do with selecting these artworks. My understanding is that they connected with Andy Macgrogan to administer their complaints to you, and you passed the matter onto Brian Stouth. South ordered the artworks to be taken down immediately. Please correct me if I am wrong on any of this, but I have been left in the dark on quite a lot here and have gathered my information through hearsay.
I am shocked that I was given absolutely no say in this matter. I would have loved to have had a peaceful discussion with the complainants. Myself and staff at the Nature Centre suggested adding signs regarding image content (which I do not think is necessary for these images) at each trailhead entrance as a compromise. This was in fact, one staff member's idea and they suggested I pass it on. I have had ongoing discussions with them and they are all very fond of the artworks and believe they should still be up.
I am more than willing to find a middle-ground for everyone to meet on, where we could potentially all learn something. I was told on Saturday that was not an option and I was instructed to take them down immediately. It was also suggested to me to “not make a fuss about this”. I think it a shame that a few cowardly bullies are allowed to tell the people of the City of Medicine Hat what kind of art they are allowed to look at. Last time I checked we live in a democracy, not a totalitarian state.
These images are not provocative or challenging in any way. If they were interpreted as such, I believe that it reflects more on the complainants' personal views than anything else. How would this group of people feel if they were to visit, say, any city in Europe and encounter the public art there? Western art has been exhibiting the nude figure since its inception. These artworks were up for several days during installation and the community had nothing but positive feedback for them. Why is the positive side of the community not allowed a say in this matter?
“Due to the removal of these artworks, this curated exhibition is now incomplete. I am not sure if you are familiar with the curation process, but this is not a random grouping of individual artworks. It is a selection I carefully made based on individual visual and contextual components put together to form a cohesive theme. Removing artworks is similar to ripping out the last chapters of a book without the author's consent and publishing it anyways.” I have been wanting to run this exhibition in Medicine Hat for years. Outdoor photo festivals are rising in popularity around the world and I wanted to make Medicine Hat a hub for a unique art event in Alberta.
I am extremely concerned about the reputation the City of Medicine Hat will get from this. Are we to become known as the city that banned artists who have previously exhibited in some of the strictest areas of the world? Please note this is the first time Portelance and Laing have ever been censored. Are we to become known as the art-hating city of Alberta who censors viewership and allows bullies to oppress ideas? I find it concerning that censorship of artwork is being practiced and we are bowing down to a few people who are unable to conduct themselves in a respectful manner towards others. The local art community is also appalled and embarrassed that this censorship is being allowed.
I had hoped to seek provincial funding from AFFTA (Alberta Foundation for the Arts) in order to expand the show next year and make this an annual exhibition. However, if I run the risk of ongoing censorship from the city I will have to take it to other communities who are allowed to view whatever art they choose. This is the last thing I want to do but if the artworks will not be exhibited here, I see no other option. If we cannot re-install, I am already considering showing these artworks in Calgary for “Exposurefest”, an internationally famed annual art event, showing the world “the two artworks that Medicine Hat banned”.
I hope you will consider putting these artworks back in their rightful place in this exhibition as soon as possible. I encourage you to look at these images on the website and see them for what they are: art that is intended to re-connect people with nature and themselves. I am including the website address below my signature in this letter. I am happy to provide context as to why the nudity in this imagery is absolutely necessary to communicate the intent of each image.
I hope that you will respond to me promptly in case I need to make any amendment regarding the City of Medicine Hat’s standing on this important issue. I hope that you have good news and that I will be able to use my online platform to share that these artworks will be reinstated in the show. I also hope that these citizens who emotionally reacted rather than deciding to objectively research first will issue an apology for their despicable treatment of staff at the Nature Centre. I do not personally expect an apology, but am very upset as an emerging curator that these people have thoughtlessly ruined my first independently curated exhibit in Alberta before it even had a chance to properly run. I worked extremely hard to make this show happen for the community and worked many extra hours for free to make it happen. I stand by the represented artworks in question and the communities rights to arts accessibility. I stand by my belief that a select few bullies should not be allowed to dictate the viewing rights of an entire community. I hope you do too.”
*letter ends here*
The matter was passed on to a city official who asked to meet with me for a compromise and resolution last Monday, September 23. Note I have decided to keep their name anonymous because they were simply a messenger (I believe they were sent by Brian Stauth and Ann Mitchell). I was excited about the suggestion of a resolution and the prospect of the artworks being potentially put back, perhaps with a trigger warning to make everyone happy. Unfortunately, there was no compromise. I don't even fully understand why I was asked to the meeting. I asked if there was any possible way the artworks could be returned to their rightful place. I even offered to include an email on the trigger warning signs (this email) for any potential complainants to write to. I was told there was no possible way the art would be put back up for this show.
I asked why I was asked to come to a meeting about compromise since there clearly isn't one, and was invited to offer my free time to provide input on a potential public forum on nude public art in January. I expressed that while I think the public forum is a great idea and I would be happy to attend as a panellist, I was not in a position to provide more free work by helping the city navigate the nuances of setting up a public forum for this issue. I also mentioned it should be more about censorship and viewing rights, not just nude art.
There was no mention of an apology to nature park staff either. There was no comment on my peaceful protest that I engaged on during the guided tour I gave except the city official said it is "too bad that you are choosing to speak badly about your city but that is your right". In making public that these artworks were censored, I see myself as speaking up for the local community's rights. Bringing down the reputation of Medicine Hat is by no means my intention, as you can see in the above letter.
Photo sent in by concerned citizen (September 14th, 2024)
“Two Urinals”
Bonnie Portelance
This image was taken 25 km from the DMZ (De-militarized Zone)
between North and South Korea. The location is an abandoned U.S.
military base. Be it the borderline between north and south; nature and
man; indoor and outdoor; appropriate and inappropriate; decay and
growth, black and white, this photograph captures borderlines, or lack
thereof, in abundance.
The location was stumbled across while hiking the hills of Pochon.This
image was shot on film and developed on a nearby hillside in the
darkroom of Daejin University. It is a selenium toned silver print.
Art being held up at September 15th Demonstration against City's decision to strip the art from the park.
“Interconnected Lines 2”
Cameron J Laing:
Our symbiotic relationship with nature is crucial for humanity's survival,
highlighting the danger of losing this connection as technological
advancements deplete natural resources and distance us from reality. The
ongoing series that this image forms part of explores the profound
interconnectedness between humans and the environment, underscoring
nature's essential role in our well-being.
It poses a philosophical reflection akin to the question: “If a tree falls in a forest and no one is around to hear it, does it make a sound?”
My practice focuses on sustainability and environmental concerns. These
silver gelatin-based works are meticulously developed by hand using a
unique technique of my own devising. The developer is made from
household, biodegradable ingredients, reinforcing my commitment to
eco-friendly processes in my work. By shedding light on the fragile
balance between humanity and nature, I aim to inspire a deeper awareness
of our responsibility to protect and preserve the environment for future
generations.
QUOTES
“I made the theme for this show based on humanity and its connection to nature. I thought to myself “what could be a safer theme that could potentially bring people from diverse backgrounds together? What a great way to bring people to Police Point Park and better connect them with our urban prairie forest.” I never thought a human-nature theme would raise any controversy or negativity. I was proved wrong on Saturday.”
“I was excited about the suggestion of a resolution and the prospect of the artworks being potentially put back, perhaps with a trigger warning to make everyone happy. Unfortunately, there was no compromise. I don't even fully understand why I was asked to the meeting. I asked if there was any possible way the artworks could be returned to their rightful place. I even offered to include an email on the trigger warning signs (this email) for any potential complainants to write to. I was told there was no possible way the art would be put back up for this show.”
“Due to the removal of these artworks, this curated exhibition is now incomplete. I am not sure if you are familiar with the curation process, but this is not a random grouping of individual artworks. It is a selection I carefully made based on individual visual and contextual components put together to form a cohesive theme. Removing artworks is similar to ripping out the last chapters of a book without the author's consent and publishing it anyways.”
- Elly Heise
