Category Archives: Ovenden, Graham

Maiden Voyages: June 2019

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It is once again time to visit my friend Graham. Pip and Christian will be holding down the fort in the mean time. I will return on June 21st. Be advised that any comments for Ron or “Administrator” will not be approved or answered until I return.

The Garage Press Site at Long Last: When I first heard about Graham Ovenden’s recent publishing efforts, I searched in earnest for any sign on the internet—all to no avail. I am pleased to announce that the official Garage Press website is now in place. Although the purpose of the publishing enterprise is to provide high end museum-quality books, now serious collectors willing to pay for quality will have a chance to order these books as well. Please note that these books cover a range of artistic and academic subjects and do not just focus on young girls. Also, serious postcard collectors will have the opportunity to contribute in an upcoming project about the multitude of wonderful Victorian and Edwardian postcards. You can visit the site here.

Father-Daughter Bonding: Pip found this charming video of a father who learned to do his daughter’s hair.

The Flying Squirrel: I got this lead a while ago and, for some reason, did not get around to publishing it. This one is about a kind of prodigy surfer. You can get started with this video, but there is plenty more on this amazing athlete.

More Medical Contrivances? Ever since I brought up this concept, Moko has been digging around for more examples. He found an interesting photo of a school medical exam in the Soviet Union in 1932. At first he was not sure if it was a medical contrivance. But a little research revealed that the girls did not actually need to be naked for the procedures shown. However, it is possible that having children disrobe for exams was customary for Russia at the time (perhaps to spot other conditions). It seems that students normally wore underwear for the exams except for during a brief and private session with the doctor. Here’s a link to the Russian exam board that references the photo (Note the post dated 15.08.15 01:27). And here’s an example of the boys’ exam.

The Challenges of Lists: I feel we got a good start on the Pigtails films archive, but I am beginning to realize the challenge of deciding whether or not the girl is a substantive part of a film. Even films centered around a little girl may simply be following a Hollywood formula and hardly worthy of note (unless you just happen to be a fan of that particular actress). In the next year, I am planning to add some small comment to each entry, giving readers a better idea of whether a film is worth watching. I would also like to thank those who have so far offered leads that I have missed.

That God May Be Approached Through Beauty

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Those title words were spoken by Kenneth Clark in the landmark BBC series Civilisation (1969). It was meant to refer to the principles of art during the Counter Reformation. I have heard them many times but, last summer, they had a special resonance as I watched and listened this time in the company of Graham Ovenden. Only a few trusted associates knew that Graham and I have become good friends, much to my own surprise. Like my late friend Poli before, it seems disingenuous to refer to him any longer in my usual detached professionalism as merely “Ovenden”. Graham says it is brave of me to admit my association with this currently notorious man. And if I had been a career politician, I may have seen fit to steer clear as a few of his fair-weather friends have done.

Graham at His Computer (Summer 2018)

My first sense of Graham’s vision, attitude and sincerity came a few years ago while reading the introduction to States of Grace which included a testimonial from one of his models:

One of the things that’s very important, I feel, is that the work is very honest. However erotic the pictures are, however they are provocative, they are honest pictures. We were there. We did those things. It’s not like someone’s faked it. I know that Graham’s an artist, and not to take anything away from him, of course, but the thing is, the people are there. So, it exists and you can’t pretend it doesn’t exist and sexuality doesn’t exist. So the honesty, I think, is really important and I think people are just stuffy and have a lot of fears about what’s okay and get confused about what’s okay … It was a very safe environment. -Model quote from the Introduction to States of Grace by Graham Ovenden, 1992.

The text did not say it in so many words, but the essential thing I gleaned from it was that Graham respected each model as a complete person. Sure, many of the images may be deemed erotic but one’s sexuality is only one integral component of every human being. And if these girls happen to be expressing a kind of sexuality, after a fashion, it would offend the dignity of their personhood to see only that one aspect and ignore the beautiful whole. This philosophy has strongly informed how I manage Pigtails in Paint which is why readers will always observe us upholding the legitimacy of the child nude while at the same time censuring those that would only look upon these girls as mere sex objects, brazenly and ignorantly flaunting their own sexual pathologies.

Graham Ovenden – Sophie (1970)

One of Graham’s many expressions of his friendship was gifting me this POP print of Sophie. This is a somewhat iconic image because it is the one that appears on the cover of States of Grace. The magenta and purple tinge one sees in many of the images in that book are the result of a special method called the Printing-Out Process (POP). Specially treated paper is overlaid with a negative and the sun’s energy is used to develop the image. This is one of many experimental processes invented by Graham earning him the nickname, “The Mad Alchemist of Bodmin”. Lamentably, this kind of paper is no longer available so those few images that were made using this kind of POP are quite rare.

The things that bind us go well beyond the mere reverence for the young girl—Graham’s having a strong spiritual resonance and mine a more scientific fascination. We are both Renaissance Men in the modern sense of the word with a mutual love of music (mostly Classical and Jazz), film, history, politics and art. I have opened my mind to his instruction about poetry, painting, printmaking, literature, engineering and the principles of design. I have often thought how some of our conversations resemble a Bill Moyers interview. Since he has never made a habit of watching television, I was delighted to enrich his world by introducing him to some of the finer documentaries produced in the past few decades.

Precious Volumes (2018)

And now for a tour of his home. A reflection of Graham’s interest in the arts, is his ardent collecting of rare books. He is not often satisfied with just any copy but prefers to own first editions of the highest quality. He has been fortunate to find things before their value is fully realized and they become overpriced. He has often lent parts of his collection to museums and libraries. Given the feast-or-famine lifestyle of artists, he sometimes had to sell off one of his valuable items to raise funds—always with regret. Many of these rare volumes are housed in this antique bookcase. Last year, Graham celebrated his 75th birthday. To commemorate, Brian Partridge produced the color version of ‘Domino’ you see on top as a birthday card.

The Corner with the Good Light (2018)

One of the things I find most remarkable about our friendship is how much we get along in closed quarters. Graham now lives in a one-bedroom flat in East Cornwall which is comfortable for one person, but not really two. I have always found the company of most people tiresome after only a short time, so being comfortable staying there is rather astounding. Whenever I stay with Graham, my cot lies just below this work station in a corner which gets good light from the south and east. I must be careful not to jostle things when I retire at night or rise the next morning.

Painting in Progress (2018)

Graham adores his painting and has been quite productive of late. I do feel a bit guilty that during my visits, he has to temporarily refrain from painting to make a little space for me. And yet, he does not seem to resent that fact and enjoys it all the more when he can return to his routine. The rough sketch you see above was just completed as a painting a couple of weeks ago.

Graham Ovenden – Jane (1976/2018) [oil on paper]

Graham’s Favorite Painting et al (2018)

This is a shot of the west wall. Every wall in the place is covered with fine collectibles with, unfortunately, many others mouldering away in storage because of this flat’s modest size. Graham’s favorite painting is the large one by MacGilvary reviewed earlier. Also, being an artist who wants to make the world a more beautiful place, he has had a long-time interest in fine design. We often take for granted the decor—both mundane and elegant—we find in our domestic spaces and forget that the forms they take today have a history. It is all too easy to make light of these things because they are not “fine art”, but Graham reminds us that it is a mistake to disregard the serious aesthetic and engineering efforts of past designers. You will note the presence of framed tiles on most of the walls from designers like Christopher Dresser, Augustus Pugin, Lewis F. Day and J.P. Seddon.

Unfinished Paintings Concealing Graham’s Phonograph Collection (2018)

Space is at a premium, so Graham has devised a system where his paintings can dry out as they undergo each stage of painting. Each painting takes several months to complete but the work is spread out over a number of canvasses that he works on concurrently. This layering of paint in stages creates a subtle effect which cannot be captured well in photographs or scans. Most remarkable is the effect of translucency observed in his landscapes and figures. As mentioned before, Graham is generous is giving prints or paintings to friends. The one shown below (also seen in the previous photo) was given to me and I regard as a sort of credential that I am indeed one of his dear friends.

Graham Ovenden – (Untitled) (2018)

There was some drama in the early days of our relationship which I would like to share, not only because of the human interest value but the circumstances make the fact of our current friendship all-the-more remarkable.

I never dreamed after examining States of Grace that I would ever have the privilege of meeting Graham. I did have a sense that we were kindred spirits, even though saying so certainly seems presumptuous. In 2012, I had begun working with Pip on this website and was actively doing research and trying to dig out facts that I found interesting and wanted to share with readers. I cannot now remember what the specifics were, but I had a conundrum: the only person who would know the answer to one particular question was Graham Ovenden. I had no idea how easy or difficult it would be to reach him and I was not even aware of his impending trial. Out of the blue, an artist’s agent wrote to me, giving me Graham’s home phone number! I was both exhilarated and petrified. Was it OK to just cold-call him? After all, he did not know me from Adam! Finally in November, I screwed up the courage and called. At the time, he was living in ‘The Garage’ of Barley Splatt in Bodmin. I was amazed how personable he was and certainly no one would accuse him of being a primadonna. We talked for 45 minutes during that first call! He was at a certain disadvantage because although he was well-known, he did not know the first thing about me. At the end of the conversation, he instructed me to do two things before calling him again: 1) I was to contact one of his best friends who lived in the U.S. so he could “size me up” and 2) I was to write him a letter sharing my personal details so he could get a better idea what I was about. This seemed a promising development; after all, I was a sincere and honest person myself and we had hit it off so well, but circumstances were conspiring against us.

Reaching out to his American friend seemed to go well, but the fact that I was working on Pigtails was a point of concern and, unbeknownst to me, the friend actually advised Graham to cut off communication and not risk having a loose cannon about during his impending trial. Also unbeknownst to me, Graham did not receive my letter; at the time, Graham’s son had taken to intercepting his mail which included mine. So after a reasonable period when I called again, Graham had to tell me the bad news and yet, we still had an engaging hour-long conversation. Despite the problems, he could sense that I was “the real deal” and that some kind of relationship ought to be maintained. After a half dozen phone conversations, he informed me that we would have to cut off contact indefinitely because of his trial. I reluctantly complied but could at least show my appreciation by making sure his side of the story would appear on Pigtails. After that, I did not have direct contact with Graham for the next few months, but a few of his friends came out of the woodwork and graciously shared valuable inside information making the post ‘Fall from Grace?’ possible.

Entrance Hallway (2018)

Because of the stresses of the trial and Graham’s uncertain disposition, I had no idea if I would ever speak with him again. There was some solace in the fact that a few of his friends were able to stay in touch and provide updates (thus the 10 revisions of ‘Fall from Grace?’). I had not realized that I had made any impression on Graham and it certainly helped that he was pleased with Pigtails’ coverage of his case. One day, seemingly out of the nowhere, I received a letter from him saying his prison term was completed and that he had settled down in a small flat in East Cornwall. And thus the phone calls resumed. It became clear that there was a strong collaboration developing between Graham and me and it made sense that working out certain details would be easier when conducted in person and so in 2016, I paid my first visit despite my vision problems and having little experience with international travel.

The Garage Press Library et al (2018)

Graham had an excellent criminal defense team, but the deceptions and manipulations of the prosecution made a equitable trial impossible. However, his legal counsel did have the presence of mind to take two key actions: 1) Request that the police release documents pertaining to the Ovenden case and 2) File an appeal to the Criminal Cases Review Commission (CCRC). Roughly analogous to the US Supreme Court, the CCRC can review cases and make a final ruling upholding the verdict, ordering a retrial or overruling the conviction and having the defendant’s record cleared. The fact that solicitors and QCs have taken this case pro bono shows how much confidence they have in the outcome. The police records are quite damning and show a clear conspiracy to frame Graham for misconduct. Given the scope of Graham’s reputation—and if everything goes as planned—a fair settlement is bound to be substantial. Graham has long wanted to have an outlet to tell his side of things on the internet and, thanks to Rainbow Digital Media, he recently established a personal website. Some of his time is spent examining the police records in detail and publishing their implications in the Afterword.

If it feels like I am taking the attacks on Graham somewhat personally, it is only because in spending time with this man, I realize we are alike both in our temperament and our aesthetic. Neither Graham nor I have it in our makeup to do the kinds of things he has been accused of and so there is always an implicit trust underlying our relationship. Some might ask if I am too close to the subject to be objective. It is conceivable of course but—and I have told him this—if Graham Ovenden is really the monster the police and media have made him out to be, then he would have to be the greatest confidence artist I have ever heard of! And incidentally, I might add that despite his limited fixed income as a pensioner, he makes £10 monthly donations to The National Society for the Prevention of Cruelty to Children (NSPCC).

This post has been a personal account focusing on the evolution of a new friendship but there are many details to ferret out about our future collaboration so my next post will be a kind of sequel explaining Garage Press (and Pigtails’ role in all this) and how serious collectors might get access to the finest reproductions of fine art and relevant historical documentation.

Maiden Voyages: August 2018

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Graham Ovenden’s Official Website: Now that the hype about the Ovenden case has receded somewhat, the artist felt it was time to show that he has not simply retreated into the background. The lack of internet presence in the past turned out to be something of a blessing because it meant that the prosecution could not make a case for the trafficking of pornography over the internet. Even today, Ovenden rarely communicates by email and only to a small circle of friends and trusted associates. However, he has been keen on establishing his own website the past few years and perhaps a forum for telling his side of the story. A couple of weeks ago, the official website (designed by Rainbow Digital Media and the artist himself) was launched. Viewers will discover that, far from being idle the past few years, Ovenden has finished a number of very new paintings (landscapes and portraits) and digital graphics projects. Also present is a sample of his photography (both documentary and model studies), architecture and literature (largely inspired by his recent experiences with the legal system). There is also a page for an Afterword which will offer updates about the latest legal actions, issues and comments by the artist when such information will not compromise his position on pending countersuits. Because of all the negative press, there will be no comments section or a place to send a message to the artist. Instead, Pigtails in Paint has been asked to serve in a public relations capacity and help field inquiries and orders for Garage Press materials (more on this later). In other words, the target audience for this new site are museums, libraries and serious collectors. Take a look!

More on Balthus: In the hype about the recent exhibition of the Balthus paintings at the Metropolitan Museum of Art in New York, there is often the assumption that the only issue is what voyeurs should legally be able to get away with. Often overlooked, is the experiences of the model and why such girls might be interested in participating in the work. Lauren Elkin wrote an interesting piece that offers a rare perspective. I think the author does needlessly equivocate but it is important, particularly for male readers, to understand the young girl’s attitude and motivations.

The Happiest Two Kids on Earth: Pip shared an interesting item: video footage of a special tour Walt Disney gave two children (a boy and a girl) of Disneyland just before its grand opening in 1955. The interesting thing is how much more attention Disney seems to have given the little girl. If memory serves, Disney himself had two daughters so perhaps these interactions were simply more natural for him.

Thought Police? On a peripheral subject, a man serving time for the possession and distribution of child pornography had his term extended when sexually-explicit images and stories produced by the prisoner were found by authorities. The circumstances of this case does offer some fodder for debate about the limits of personal thought.

Backlash from a Starving Spirit

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Now that I have returned from my trip to the UK, it is time to get back to work. In the next month, I intend to share many details regarding my visits and what that means for the future of Pigtails in Paint. As an appetizer, I begin with this short post: a painting by Graham Ovenden. Ovenden has always had an impish love of satire recently enhanced by his experiences in prison. His stories, poems and paintings are peppered with such references. Unlike some artists who may have gone over the line in their enthusiasm for capturing the spirit of the young girl, Ovenden is truly a victim of unfortunate circumstances making him a needless object of persecution. Although he is now a free man, he understands the need to fight injustice and is determined to have his criminal record expunged. It is a much overdue warning to authorities about the hazards of overzealous prosecution and the media’s lazy and thoughtless propagation of unfounded rumors. The painting below targets the media.

Graham Ovenden – The Media Play Thing (2000)

The girl is holding an amulet bearing the insignia of two of the offending media outlets: The Sun and The Daily Mail. The symbolism of the white feather is taken from the 1955 film White Feather about intrigue during a treaty negotiation between Native Americans and U.S. soldiers. In the course of the story, one of the natives throws down a knife with a white feather attached signifying the declaration of hostilities. It was also meant to imply that the soldiers have conducted themselves with cowardice. Ovenden is making a similar accusation and if he were making this painting today, the amulet would certainly have included a few more charms. Although the offending media have been formally notified of a pending lawsuit, so far none have responded or attempted to remedy their journalistic sloth. In an age where the police, prosecutors, judges and now the media increasingly work together, there is little chance of justice for those falsely accused. This sort of corruption needs to be mitigated and measures taken to keep these respective institutions’ activities separate to prevent unjust conflicts of interest. Since healthy little girls often do have very thin features, it may not be clear to the viewer that the girl pictured here is emaciated by her interaction with the media. And thus, her life-giving spirit has been and is being starved.

This nature of the media is illustrated beautifully in a BBC political comedy from the 1980s called Yes, Prime Minister. Its rather cynical but astute observations about the operations of government is quite revealing and demonstrates the producers’ expertise. This excerpt comes from ‘A Conflict of Interest’ which first aired in 1986:

Cabinet Secretary Abbleby: … the only way to understand the press is to remember that they pander to their readers’ prejudices.
Prime Minister Hacker: Don’t tell me about the press. I know exactly who reads the papers.
The Daily Mirror is read by people who think they run the country.
The Guardian is read by people who think they ought to run the country.
The Times is read by people who actually do run the country.
The Daily Mail is read by the wives of the people who run the country.
Financial Times is read by people who own the country.
The Morning Star is read by people who think the country ought to be run by another country.
And The Daily Telegraph is read by people who think it is.
Appleby: And Prime Minister, what about the people who read The Sun?
Bernard (Private Secretary to the PM): Sun readers don’t care who runs the country as long as she’s got big tits!

Ode to a Special 7-Year-Old

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Today, Pigtails in Paint is 7 years old.  And thanks to a multitude of guardian angels, it has managed to survive this long bringing attention to a most valuable part of our society, a part that is all too often taken for granted.  Seven is not generally regarded as an important milestone in an enterprise, but given our subject matter, it is an age when a girl is arguably at the height of her charm: she still has the youthful animal spirits that conveys an intoxicating zest for life and yet, has developed sufficient language and intellectual capacity to be an engaging companion.  Below are a few original and historical pieces commemorating this very special anniversary.  -Ron

The first is an original work in the form of an acrostic by Pip Starr who also composed the image for this occasion.

Heaven above opened one wintry night
And birthed an infant on a beam of light,
Presented us with girlish genius,
Placed in our hands the key that would spare us
Years hence from mediocrity and shame,
Bestowing on the world a righteous flame
Invested with the power of her kind–
Revealed to all, she could not be confined!
Today we celebrate her seventh year,
How, counter to the odds, she still is here
Displaying for the world her many charms
And talents: welcome her with open arms!
Yet even now she giggles as she stands,
Pigtails and all, before her doting fans.
It cannot be denied this child has strength,
Given enemies go to great length
To silence her, to make her go away,
And still she’s here to taunt them to this day.
If any man should doubt her bravery;
Lest any view her as unsavory,
She has the answer to all disbelief
In moments such as these, so scrap your grief.
Now picture, if you will, this simple scene:
Present before us is a stage serene.
A spotlight shines down, and she enters there
Into the light, our angel sweet and fair;
Not seconds in, with impish grin, does she
Take off her dress and cry aloud, “I’m free!”

And how about a couple of songs about girls of the celebrated age to mark the occasion? First, Seven Years by Norah Jones. Then, Childhood Dreams by Trans-Siberian Orchestra.

As many readers may already know, Graham Ovenden was pleased with Pigtails’ coverage of his recent trial.  He learned of our impending anniversary and generously contributed this original poem, fresh off the presses.

Graham Ovenden – Lily age Seven Years (2010)

A FATHER TO HIS SEVEN YEAR OLD DAUGHTER

I look on you and marvel at your gift
so grateful given through our love.

You grow, the image of our dearest care,
a child both gentle as an angel fair
but equal, strong, determined as the fancy take
to fight all foes invention make.

Like flowers dancing in the air
or tree tip tops; their rhythms share
your gift of childhood’s grace …
Then turn the wild winds to a solemn pace.
Yes, follow on in Pan’s domain
cloaked by a cloth of leafy train.

A child of nature you have grown—
as yet no Earthly strife or passions shown
that turns your mind to Mammon’s lies …
Cloud Castles where the skylark flies
is your domain.

(Let ranting prophets keep their shame).
For innocence is held by you;
a sacred trust, both loving, true.

—Graham Ovenden

The accompanying image is from an original painting in oil on paper.

The next contribution is from Christian, whom you can thank for even having this commemorative post at all.

Mac Harshberger – illustration for “The Birthday” in The Singing Crow (1926)

THE BIRTHDAY
To Julie Bridwell

JULIE had a birthday,
Mother made acclaim;
Seven soulful candles
Waved their flags of flame.

Ferryboats were tooting,
Trying to be sweet;
Sets of verses scooted
Down from Henry Street.

Ev’ry place was happy—
Even New York Bay;
Sea Gulls flew in sevens,
Honoring the day.

—Nathalia Crane

This poem was printed in The Singing Crow and Other Poems published by Albert & Charles Boni, New York (1926) and illustrated by Mac Harshberger.

Graham Ovenden being an avid purveyor of literature also had a couple of suggestions for poems that fit the sevens theme.

THE SEVEN AGES OF GIRLHOOD

I.

At Two, she is a tiny lass,

And Joy she scarcer knows from sorrow;

She scarce consults her looking-glass;

She has no thought of sad to-morrow!

II.

At Four she is a merry maid,

And looks on aught but play as folly;

She can’t believe bright flowers fade—

That only sawdust is her dolly.

III.

At Eight, her troubles come in scores,

For oft she is perverse and haughty;

A pouting puss in pinafores—

Who’s sometimes whipped when she is naughty!

IV.

At Twelve, she is a saucy teaze,

Who knows full well her glances rankle;

Her petticoats scarce veil her knees,

And fairy frills scarce kiss her ankle.

V.

At Fifteen, she’s the pearl of pets,

And feels assured her pow’r is strengthened;

Her snowy school-girl trouserettes

Are hidden when her skirt is lengthened.

VI.

At Sixteen, she’s the sweetest sweet,

And dresses in the height of fashion;

She feels her heart ’neath bodice beat,

In earnest for the tender passion.

VII.

At Eighteen, p’r’aps she may be sold

Her lot to share, for worse or better;

She’ll either sell her heart for gold—

Or give it for a golden fetter!

—Joseph Ashby-Sterry

This poem was published in a collection called Boudoir Ballads (1876).  Although many poets have written about young girls, Ashby-Sterry distinguished himself by dealing almost exclusively with them.

Arthur Boyd Houghton – Poems by Jean Ingelow Illustrated (1867)

SONGS OF SEVEN

SEVEN TIMES ONE. EXULTATION.

THERE ‘S no dew left on the daisies and clover,

There’s no rain left in heaven;

I’ve said my ‘seven times’ over and over,

Seven times one are seven.

I am old, so old, I can write a letter;

My birthday lessons are done;

The lambs play always, they know no better;

They are only one times one.

O moon! in the night I have seen you sailing

And shining so round and low;

You were bright! ah, bright! but your light is failing—

You are nothing now but a bow.

You moon, have you done something wrong in heaven

That God has hidden your face?

I hope if you have you will soon be forgiven,

And shine again in your place.

O velvet bee, you’re a dusty fellow,

You’ve powdered your legs with gold!

O brave marsh marybuds, rich and yellow,

Give me your money to hold!

O columbine, open your folded wrapper,

Where two twin turtle-doves dwell!

O cuckoopint, toll me the purple clapper

That hangs in your clear green bell!

And show me your nest with the young ones in it;

I will not steal them away;

I am old! you may trust me, linnet, linnet—

I am seven times one to-day.

—Jean Ingelow

This poem is the first Canto in a much longer poem appearing in Poems by Jean Ingelow Illustrated published by Longmans, Green, Reader & Dyer (1867) and illustrated by Arthur Boyd Houghton.

Acrostics: A Double Collaboration

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For a Renaissance Man, an acrostic is an irresistible pastime. It combines the qualities of a puzzle with poetry and so draws on one’s intellectual and creative faculties.

To me and, I expect, many other readers it must have appeared that Graham Ovenden disappeared from the face of the Earth after publishing his last well-known books in the 1990s. I was intrigued by a title I had not seen before owned by a serious collector who was liquidating his collection. It was Acrostics: Pictured in rhyme & colour (2003) published by Artists’ Choice Editions in Oxford. Over the years, I had met only a handful of people who knew of this work and its contents. I later learned that was because the commercial edition consisted of only 240 signed copies augmented with 24 specials and 5 “Exemplaries”.

Graham Ovenden and Brian Partridge – Acrostics (2003) (1a)

Graham Ovenden and Brian Partridge – Acrostics (2003) (1b)

Except for ‘Anouchka’ in the Artists’ Choice Edition version, images were printed in diptych form.  I am showing most of them as individual panels to make them more legible and to show off the detail of Partridge’s work.

In the course of researching this mysterious volume and background information on the artist for his original post, I learned that Ovenden is fond of collaborating with and encouraging other artists. Accompanying the images and poetry is the excellent decorative artwork of Brian Partridge. Partridge is an astounding artist and will be featured in a dedicated post to be published soon. He met Ovenden for the first time in 1982 while visiting him at Barley Splatt for a long weekend in the company of Keith Spencer, who published a magazine called The Green Book where his drawings first appeared in print.

The first acrostics to be published were in Ovenden’s monograph published by Academy Editions in 1987 featuring Daisy and Tilly. These particular examples were destroyed in a motorcycle accident near London while being carried by a courier.

Graham Ovenden and Brian Partridge – ‘Daisy’ from Graham Ovenden (monograph, 1987)

The next publication to include an acrostic from the proposed book was in ‘The Ruralists’ issue of Art & Design magazine (profile no. 23, Volume 6, 9/10 1990). This was a colored pencil portrait by Ovenden.

Graham Ovenden and Brian Partridge – Art & Design, Volume 6, (9/10 1990)

No other acrostics appeared in print until the finished Artists’ Choice Editions version in 2003. The book contains only 12 designs and accompanying text but was intended to have a half dozen more. Due to some mixup, those did not end up getting printed. The missing images did appear in the specials and exemplaries as those were hand-printed and assembled. ‘Amy’, ‘Eve’ and ‘Anna’ shown below were among the omitted items.

Graham Ovenden and Brian Partridge – Acrostics (2003) (2a)

Graham Ovenden and Brian Partridge – Acrostics (2003) (2b)

Renowned novelist Joanne Harris wrote the introduction for this book and others for Ovenden and, conversely, he illustrated one of her novels as well. Along with a brief history of this art form, she recounts a visit to Barley Splatt along with her husband and daughter.

I have been an admirer of Graham Ovenden for nearly twenty years, although we only met face-to-face in 2002, when I contacted him to commission a portrait of my daughter, Anouchka. Arriving (rather nervously) at Graham’s home, the legendary Barley Splatt, on a glorious summer’s day, my husband, my daughter and I were greeted by a serene and genial gentleman with a mischievous smile who immediately invited us to join him for a walk up the river. We accepted, little suspecting that up the river meant precisely that; a mile-long walk along the bed of a clear and fast-moving little river, while Graham, in boots, gaiters and floppy hat, glided ahead of us, impervious to rocks, brambles or the occasional stretches of deep water which soaked him to the waist. We took off our shoes and joined him; my daughter with the immediate, unquestioning glee of a puppy off the leash, my husband and I with a hesitancy that quickly—and rather to our surprise turned to pleasure.

I suspect it was a test; a means of determining if we had the spirit, the humour and the joie-de-vivre to cherish a work of art by Graham Ovenden. I suppose we passed; in any case, a few days later he presented us with an acrostic poem dedicated to our daughter, with a handwritten postscript, river-walking will never be the same again. -Joanne Harris, July 2003

Graham Ovenden and Brian Partridge – Acrostics (2003) (3a)

Graham Ovenden and Brian Partridge – Acrostics (2003) (3b)

Of course, the most famous examples of acrostics familiar to Pigtails readers are those of Charles Dodgson (aka Lewis Carroll).

A boat, beneath a sunny sky
Lingering onward dreamily
In an evening of July—
Children three that nestle near;
Eager eye and willing ear;
Pleased a simple tale to hear—
Long has paled that sunny sky:
Echoes fade and memories die:
Autumn frosts have slain July.
Still she haunts me, phantomwise,
Alice moving under skies
Never seen lo waking eyes.
Children yet, the tale to hear,
Eager eye and willing ear,
Lovingly shall nestle near
In at Wonderland they lie,
Dreaming as the days go by,
Dreaming as the summers die:
Ever drifting down the stream—
Lingering in the golden gleam—
Life, what is it but a dream?

I must concur with Harris that Ovenden seems a logical and worthy successor to Carroll in many ways.

For me, it is with Lewis Carroll—and his natural successor, Graham Ovenden—that acrostic verse has the most resonance and style. Both are artists who combine a strong visual aesthetic with a deceptive, childlike simplicity. Both are unashamedly eccentric, taking pleasure in the whimsical and the grotesque. Both are chroniclers of the photographic image, with a particular sensitivity to the transience of youth and beauty.

Both have a special, almost pagan reverence for children and Nature. Both share a deep nostalgia for a golden past that has never quite existed beyond the mystic state of grace represented by childhood. -Joanne Harris, July 2003

It is hard to account for all the variations in the images. Once Partridge submited his drawings, Ovenden might trim them to better show off the particular portrait. If, in hindsight, he was still not pleased with the final result, he would make further revisions for the special editions. For example, his original concept for Eve was fairly simple. But pleased with the results of one of his paintings of this model, Tess, he decided to use that instead.

Graham Ovenden and Brian Partridge – ‘Eve’ (original, 1985)

Graham Ovenden and Brian Partridge – Acrostics (2003) (4a)

Graham Ovenden and Brian Partridge – Acrostics (2003) (4b)

Ovenden’s original intent was to produce special drawings for each of the portraits, but this plan never materialized. Therefore, the images have a raw on-the-fly quality that reflects the creative impulse of the artist. These works were not planned from beginning to end, but were composed as the muse struck him. Thus an image could be based on almost any medium: photograph, painting, drawing or one of these modified on computer.

Graham Ovenden and Brian Partridge – Acrostics (2003) (5a)

Graham Ovenden and Brian Partridge – Acrostics (2003) (5b)

Juliette Liberty (what a wonderful name!) is Peter Blakes’ daughter. You will recognize this image from the ‘Fall from Grace?’ post.

Graham Ovenden and Brian Partridge – Acrostics (2003) (6a)

Graham Ovenden and Brian Partridge – Acrostics (2003) (6b)

In reviewing the history of this project, Partridge got motivated to better document the details. Although an enjoyable process, he did have an odd feeling of “curating my own past”. There are still a few examples that have yet to be used in any final pieces.

Brian Partridge – original drawing for prospective acrostic ‘M’ (1986)

The story does not end in 2003. Since this is a work of inspirational impulse, new pieces have been added. Although Ovenden’s original books were well-sourced and researched, he was not pleased with the production value of the images themselves. So he took it upon himself to learn the craft of printmaking and began publishing hand-printed books with museum-quality paper and bindings. These are fairly expensive volumes for a select clientele which created the impression that Ovenden was no longer productive. He began publishing under the name Garage Press, mostly expensive tomes with a few commercial productions thrown in such as Robin Hanbury-Tenison’s Echos of a Vanished World (2012). So since about 2015, there has been an updated hand-produced version of Acrostics available. Below is one of the new additions to the volume that now contains more than 20 diptychs.

Graham Ovenden and Brian Partridge – Acrostics (2015)

There is a lot more to the Garage Press story and efforts are underway to print more commercial productions that would be accessible to the general public. My next major post will be about this story and give an overview of the titles currently available and what arrangements can be made for the more serious collectors among you to purchase them. And as mentioned above, Brian Partridge’s long overdue post will follow shortly thereafter.

Maiden Voyages: January 2018

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This is looking to be a banner year for Pigtails.  So many things are really coming together and I am refreshed and ready to get back on track.

Ode to a Special 7-Year-Old: Pip and I have often referred to Pigtails in Paint as a work of art in its own right with a kind of life of its own.  Christian recently suggested that we do a special post for the 7th anniversary.  This idea did not appeal to me at first since “seven” is not usually a landmark year.  However, given the subject matter of this site, it is apropos that we do something to commemorate our little girl reaching—what many of you will agree—is a particularly delightful age.  We will be featuring relevant poetry contributed by Christian and original poems written by Graham Ovenden and Pip Starr.  Since I like this site to be a communal effort, I would like to solicit suggestions from our readers and contributors.  Don’t forget: the anniversary date is February 15th.

The New Doomsday Book: For those who are unfamiliar, when William the Conqueror took over England, he had a detailed accounting of all assets in the country so he would know what property fell under his domain.  It got its name because of its thoroughness: that no thing of value could escape its accounting.  While Graham Ovenden was serving prison time, he was not just passing the time.  He did a lot of reading, writing and even got to do some painting.  Most notable though is his diary which is a meticulous accounting of the malpractices and injustices of the police, the media and Her Majesty’s courts and officials.  After Ovenden’s release, a barrister came forward to offer his services in suing the police, the media (excepting two companies) and the courts.  The full documentation of the details has actually been beautifully bound together in a book, complete with high-quality images.  Once this case begins to get public traction, it may be one of the most revealing exposés on the corruption rampant in these organizations.

The Latest Victim of the Censorship Police: Facebook does it once again.  After being blocked for one day for posting an Ilona Szwarc image, now Christian has been blocked for 3 days for posting a while back a painting by William Sargeant Kendall, Narcissa (1907). Christian says he will go on posting art until they throw him out.  The most disturbing twist is that Facebook wants to know who he really is.  When they learned that he was using an alias—not allowed according to the Facebook ToS—they suspended his account.  Account holders are required to give their real first and last name which is a real blow to freedom of speech, particularly in countries where people are subject to dictatorial repression.  So if Christian wishes to continue on Facebook, he will have to share information that would make it possible for various trolls and fascists to harass him at his home for expressing his unconventional views.  Christian says he prefers VK which has not censored him so far but it is used mostly by Russians.

Coming to the Defense: It is nice, for a change, to see a museum not kowtow to the lowest common denominator and refusing to take down one of Balthus’ paintings entitled Thérèse Dreaming (1938), depicting a young girl in a pose that leaves her underwear showing—quite usual for this artist..  The Metropolitan Museum of Art received an online petition with over 8,000 signatures urging the museum to reconsider its decision to include this painting.

Liberation and Pigtails’ New-Old Look:  Readers may have noticed a change in the appearance of the site. These new changes are actually old.  I liked the look of the posts in the original incarnation of this site first established by Pip.  When we were kicked off of WordPress, we had to start over.  I did not realize that selecting a new ‘Theme’ meant that we had to accept the accompanying typestyle and paragraph style.  For a while, I was at a loss on how to make this adjustment without a major overhaul until recently.  The heading font is called ‘Liberation’ which I think is quite appropriate.  I hope you will all agree with me that this look is much more suitable and reflects the proper artistic sensibility expressed in this site.  Also, the obstacle of including categories to the reference pages has been overcome as well and, in the next few months, readers will see a major expansion to ‘The Pipeline’, especially the list of artists and films.  This will make it easier to know which items we are aware of and what materials are still needed to do proper posts.

Domains and Extortion on the Web: When we switched to pigtailsinpaint.org, I thought it made sense to retire the old .com domain.  This seemed a good idea at first, but there was the problem of forwarding all the ‘legacy’ links from posts that were popular in the past.  Also, we had no way of controlling what a new owner might do with the domain.  Bad luck and naivete has now put us in a position of losing the domain.  Unbeknownst to us, the company who registered the domain for us went out of business and we were not informed.  When the domain expired, it was not renewed/updated as expected.  By the time we realized we had to deal with a new company, it was too late and the domain was sold to someone else.  We are still making an appeal to ICANN since we were not given a fair opportunity to renew and I do have a receipt showing that I attempted to renew in good faith.  A few days ago, I received an email from someone who claimed to be the new owner asking us for $1200 to get our old domain back!  I am told this is a common practice these days.  I will keep readers apprised as more details become available.

The Most Beautiful Little Girl?  The media’s incessant need for sensationalism continues.  This time, they insist on stirring things up by perpetuating the notion of six-year-old Anastasia Knyazeva as the “most beautiful girl in the world”.  This is a completely subjective moniker once given to Thylane Blondeau when she was the same age.  In particular, it seems this girl has been singled out because of her unusual doll-like appearance.

Adorable Braiding Video: A colleague forwarded a link to this French video called Tuto coiffure facile by Tape à l’oeil – La couronne tressée.  It is an instructional video demonstrating a particular braiding technique.  The especially lovely girl featured also narrates the video.

… and on a personal note: I know even my colleagues did not know this, but I have had more difficulty seeing due to rapid-onset cataracts.  I am pleased to announce that my surgery was successful and my vision is clear again.  As a result, it should be easier to review new material and produce posts from now on.  So this year, my sincerity in wishing you all a Happy New Year is especially heartfelt.  -Ron

Maiden Voyages: August-September 2017

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The Trouble with Renaissance Men: Many readers have observed that I have been rather inactive of late.  Pigtails in Paint is not only a project run by volunteers, but is an expression of creativity in its own right and requires a certain amount of creative impulse.  Summer should have been a productive time for publishing an incredible backlog of fascinating material, but some other things have captured my interest lately and I felt compelled to pursue them.  Please rest assured that I have not lost interest in Pigtails and recognize its importance in the shaping of public attitudes and political progress.  I would like to thank Pip, Arizona and other associates for keeping the home fires burning.  To demonstrate the seriousness of my commitment, you should know that one of my projects this summer was the commissioning of a set of custom shelves to house the various girl-related materials that have accumulated over the years.  This has drastically reduced the clutter and will help with the assembly of future material for eventual publication.

These shelves now house the on-topic books, magazines, original artwork and prints, figurines, hardcopy leads, unsorted postcards and digitized materials to be used for Pigtails in Paint.

How Much Punishment Is Enough?  As described in an earlier post, Chris Madaio served a prison term for possessing child pornography.  He then had to serve more time for a so-called parole violation that, in an equitable court of law, should have been regarded as double jeopardy.  He has been released but has been put in a frustrating position because of the fact that he was arrested and charged in Alabama instead of his home state of New York.  There are two problems outstanding at this point.  Because of the sex offense, the New York probation office is resisting his efforts to officially relocate there and live with his sister.  Also, the Federal Courts saw fit to return his legitimate photographs, but the State of Alabama seems to have no regard for Constitutional procedure and has not done the same.  Since he is essentially living off of his Social Security checks, he does not have the means to hire skilled lawyers to handle this.  If anyone is willing to help in either or both of these matters, please contact me.  Madaio is a paralegal but does not have the specialty knowledge to compel the courts to assist him.

Blowback: Graham Ovenden really sets the standard when it comes to fighting against persecution from the police, the courts and unsubstantiated libel from the media.  Not only is he preparing to countersue the appropriate government institutions and media companies, but has, in the process, produced hundreds of pages of carefully-documented details demonstrating the extent of the misconduct and a blow by blow account of each image that has been under scrutiny.  I am informed that when available, a digitized form will be made available to Pigtails.  I am sure this will lead to many interesting posts about police overreaching and the arbitrary decisions of judicial system.

New Video Feature: Very often, because particular films contain child nudity, YouTube finds it necessary to remove certain films from public view.  Because of this, one of the most requested films has been The Spy Who Caught a Cold.  I am pleased to announce that readers can now watch this (and others in the future) that are habitually removed from mainstream video sites which tend to overreact to child nudity.  As other films are added, a ‘Video Page’ will be created so readers will know which titles can be viewed.  So if you finally want to see this short film in its entirety, scroll to the bottom of this page. [This video was deleted for some reason.  I am pleased to announce that it is working again.  Please remember to only download items that are clearly identified as there are advertisers on the MediaFire site as well.  Enjoy,  -Ron]

Source Material Identified: A little while ago, Christian informed me of the identity of the original art used by Pip in one of our past banners.  The painting is called The Kiss by Lawrence Alma-Tadema.  You can review all former Pigtails banners on our revised Third Anniversary post.

Double Standard: An interesting issue occurred at the recent San Diego Comic-Con. Of particular interest was a cosplay by Kai, the youngest son of actor Liev Schreiber, who dressed up as Harley Quinn, the Joker’s girlfriend, as she appeared in the film Suicide Squad. Most people seemed to be delighted by Schreiber’s decision to let his son dress as a girl character, but this raises the question that if this had been an actual girl, wouldn’t there have been a huge backlash from critics complaining about the inappropriateness of the costume?  And although a hypocritical media would revel in such a controversy, they seem content to show how tolerant they are about the trans aspect. That aside, Pip found it an admirable choice on Schreiber’s part and, frankly, Kai does seem to have suitably girlish features accentuated by the makeup and long hair.  There is a lot of coverage of this story but here are a few links that Pip sent me: here, here, here, here and here.

Liev Schreiber with son Kai dressed as Harley Quinn at Comic-Con 2017

Modeling Article Installment: As promised, I am sharing a backlog of links to articles about the conditions and lives of child models.  This one is about nine-year-old Kristina Pimenova, a Russian child model considered to be one of the most beautiful girls in the world. Written by Jennifer Gardiner, it discusses the issue of how much and what kind of exposure is acceptable.  Who is legally responsible for the well-being of the model in cases like this? [I am informed that the site owner has restricted access to the site in questions. Please see details in the comments. -Ron]

Other Leads: I often get tidbits mentioning the existence of on-topic sites.  This one is a Spanish site featuring somewhat pastoral images of children.

Maiden Voyages: June 2016

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There has been a lot of drama this past month.

A Disturbing Precedent: On May 11th, an organization called FSM-Hotline, sent a request to Pigtails in Paint’s service provider to have two pages removed from the site: ‘Stolen Dreams and the Japanese School’ and the ‘Dream Girls’ companion page. Since service providers tend to err on the side of caution and give themselves liberal discretion in interpreting the Terms of Service (TOS), they have directed us to clause prohibiting, “child pornography or content perceived to be child pornography”. The problem is that Pigtails’ mission is to work to alter those very misperceptions and yet we must somehow operate under these arbitrary standards. Nonetheless, to prevent being summarily shut down, we have complied with the request.

The Charge: According to the complaint, the pages contain material that are “potentially criminal” under German Criminal Code. FSM claims that German law enforcement concurs with their assessment, but the statement is ambiguous. It is also unfortunate that the service provider decided to respect a request from a watchdog organization rather than an appropriate law enforcement agency. Even law enforcement agencies have a tendency of misjudging situations (out of ignorance) and take actions that are later thrown out in court. The proper authority for making a removal request ought to be an agency belonging to the court system. Additionally, the request should be made from a U.S. agency, under whose law we are supposed to be operating. It is impractical to have to comply with the myriad laws that may vary from country to county. Issues of jurisdiction aside, an article quoting a real law expert in Germany seems to confirm that the ‘Stolen Dreams’ post is actually legal in that country and would not have precipitated legal proceedings.

The Organization: FSM-Hotline and its parent organization INHOPE are private charities and are being deceptive when they make such strongly-worded requests. Like many such organizations, they probably do submit reports to law enforcement but do not have any special standing with them. It is disconcerting that such a vigilante group should have this kind of sway on what is presented on the internet, given their highly-prejudiced standard that demonstrates less expertise than Pigtails in Paint itself. Any readers who want to protest FSM’s actions—accusing this site of hosting Child sexual abuse material (Child Pornography)—should do so by email and refer to unique report number 54892: [email protected]

Our Action: Ideally, we want visual materials to be available to the public so it can judged on an individual basis and not filtered by the biases of those who purport to represent the average person or a moral code. When time allows, a text-only version of the ‘Stolen Dreams’ post will be published with a paragraph explaining the situation. We will also be shopping for a new service provider who can be counted on not to cave in to such insubstantial and ill-informed pressure. Ideally, Pigtails should be formally sponsored by an established art or academic institution that would help allay any questions of legitimacy. If successful, we hope to republish the post intact at a later date. A PDF version of the post will be made available to prospective service providers and/or sponsors as needed.

Please help us resist these efforts to suppress legitimate material that allows our detractors to diminish our effectiveness bit by bit.

An Impending Conflagration: On May 23rd and 24th, a final hearing was held in the Isleworth Crown Court between Graham Ovenden‭ ‬and the Commissioner of Police of the Metropolis. The hearing was dedicated to making a final determination regarding the destruction of historical and art photographs and a number of graphic works created by the artist. The hearing was conducted by senior Judge McGregor-Johnson who was flanked by two others, Ms. S. McGregor and Mrs. A. Newmark.‭ ‬Barrister Robert Linford and Solicitor T.J. O’Callighan‭ ‬represented the appellant, graciously offering their services free of charge. The biggest objection at the proceedings was the simple fact that there is no legal grounds for judging artistic merit in a court of law. The judges also used common colloquialisms to describe images instead of using the more proper language of the “visually literate”. The issue of the relationship between words and pictures was also brought up and how they together create the context for judging a work. However, the lead judge’s verdict was to ignore such connections, regardless of historical or political relevance. As a result, many of the poetry broadsheets, ‭which lent voice to children—expressing both their positive and negative experiences—are now to have their words posthumously obliterated from history. Surely the fact that this imagery might be considered distasteful by the tender-minded or sexually neurotic does not justify the indignity of these children being silenced. The decision to deem some pieces indecent and some not reached a point of absurdity. In some cases, one would have been hard-pressed to notice the difference between two examples when placed side by side. Nevertheless, the fact that the court should save any of the images slated for destruction is at least a partial triumph. Of the pieces deemed not indecent—none of which were created after 1987—were three from the Pierre Louÿs collection (27 are to be destroyed) and the bulk of the drawings and paintings produced by Ovenden himself.

Alabama is a Third-World Country: After a number of postponements, Chris Madaio’s trial to determine if he violated his parole conditions took place in Morgan County, Alabama.  Unable to afford his own attorney, a public defender was assigned to him.  The problem with public defenders is that they are usually overworked or have an understanding with the judge to just process people through the system, regardless of the merits of the case.  Madaio discovered his lawyer was incompetent and decided to accept a plea bargain, getting a sentence of 14 months.  The disturbing thing about the case was how obvious questions were not even asked like why the prosecution assumed he had access to the illegal materials in the storage unit, why others who clearly had access are not being charged and when those materials were placed there.  The third question suggests the possibility that the defendant has been subjected to double jeopardy in this case.  Madaio believes the court is going out of its way to make an example of him because he was a published photographer and wants to remind Americans that, “Freedom isn’t a right, it must be earned.”

Contact Form: For those of you wishing to reach the editorial staff by email, there is a new contact form on the ‘Contact Us’ page.  You can reach us using that form or just leave a private message in the comments section of the appropriate post.  If any readers find out-of-date email addresses printed on the site, please inform us so they can be updated.

RSS Feeds and Site Design: As we continue to experience growing pains, it has been necessary to add features that enhance our security and professionalism.  Until the site is fully updated, there might be some rough edges here and there.  For example, information on RSS Feeds had to be returned to one of the tabs at the top of the page.  For the time being, this information can be found under the ‘About This Site’ page.

Context is Everything: Facebook is at it again.  Images of nudity are being shared on social media, but because it is taken out of context, Facebook finds itself removing the images then replacing them when it learns the actual intent or backstory.  Learn more in this BBC Trending article.

‭I Must Plead Ignorance: Although I pride myself on being well-read and knowledgeable, life is an ongoing learning process. One of the complaints about the final Ovenden hearing was the judges’ failure to use proper terminology in their descriptions. I find it annoying when the term vagina is used to refer to a woman’s external genitalia when anyone versed in anatomy knows it to be internal. I usually resort to more clinical or scientific terms in my descriptions, but I was surprised to learn of the word pudendum (more commonly used in the plural, pudenda), which can be used to refer to the superficial genital organs of a girl or woman.

Maiden Voyages: March 2016

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Comments Guidelines: Of late, Pigtails has rejected a number of comments that do not fit the tone of this site and so this is an opportune time to clarify our editorial standards. First and foremost, the ultimate responsibility for the image and reputation of Pigtails in Paint lies with Ron, the Editor-in-Chief.  Therefore every single approval or rejection is a judgment call and cannot be expected to be perfectly consistent—if such a thing is ever possible.  Generally speaking, we try to encourage new voices, but draw the line at superficial comments that do not add substance to a post or provoke thoughtful debate.  It goes without saying that a number of the girls covered on this site are, in some way, alluring and simple testimonials to that effect do not contribute to a respectful and thoughtful attitude about the artists and models involved.  This site is also not a forum for racial or religious bigotry nor is it a venue for “outing” one’s sexual preferences or intimate life.  It is understandable that a wide range of people will be attracted to this site and no one’s contribution will be rejected, on principle, except if they fail to offer something of substance.   Unsophisticated attempts to bait us into associations with illegal behavior or hate mongering will be strongly resisted.  This policy has been necessary to ensure that Pigtails in Paint may continue to serve its noble purpose.  Sincere objections to editorial decisions should be directed to Ron in a private email.

Translation Breakthroughs: I am pleased to announce some progress on finding volunteers to assist in transcribing and translating foreign texts.  Nevertheless, in the interest of consistency and timeliness, it is best to spread out the burden and not to rely too heavily on only a few individuals.  Of particular need are those who can transcribe and/or translate Japanese.  Such work will be instrumental in finally producing posts on Lolicon photographers published in Japan (Shizuki Obuchi, Yoji Ishikawa, Hiromi Saimon et al).  But translators are still needed for many other languages in which material relevant to this site may have been published.

Pushing Back (Ovenden): On May 19–20, a hearing will be held regarding Graham Ovenden’s appeal to reconsider the disposition of materials slated for destruction by the British courts.  It should be understood that this appeal is not merely about saving artifacts of historical and artistic significance, but an indictment of police behavior—and to a lesser extent, the courts—in their overzealous attempts to make an example of this artist and antiquarian to the public.  A political reality that persecuted artists seem to neglect is that wrongful prosecution needs to be fought and resisted—even at great cost—or authorities will get the mistaken impression that their methods are acceptable and have served the greater good of society.  Ovenden is demonstrating leadership by his actions.

Self-Taught Dubstepper: One of our readers shared this item about 12-year-old Adilyn Malcolm who taught herself the dance by watching and rewatching videos.