Through the Prism of Victim and Abuser

In an editorial, Maurice O'Riordan defends his magazine's choice to use the image of a nude child on the cover.

The choice of Papapetrou’s Olympia as Lewis Carroll’s Beatrice Hatch before White Cliffs (2003) for our cover may be seen as controversial but is made in the hope of restoring some dignity to the debate; to validate nudity and childhood as subjects for art; to surrender to the power of the imagination (in children and adults) and dialogue without crippling them through fear-mongering and repression...as Denise Ferris and Martyn Jolly phrase it in their opening article: ‘every photographic act is now more readily viewable through the prism of victim and abuser, rather than artist and subject.’

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