Abstract Censorship became increasingly acute in South Africa during the 1960s. Influenced by Dutch Reformed Church leaders, the apartheid government sought to proscribe artistic works that expressed opposition to the politics and ideologies of the time. This article explores the Aidron Duckworth case of 1971 as part of an anti-censorship campaign organised by the Pasquino Society. Duckworth exhibited at the Durban Art Gallery in 1971, at which point eight paintings were banned by the Publications Control Board and deemed “undesirable” because of their “sexually suggestive” nature. In response, to appeal the board's decision, a fund to cover the artist's legal costs was established. Engaging with the Publications Control Board's reasoning, I consider how the government was in fact controlling the board and enforcing a specific kind of moral ideology that served the ends of those in power. Relying on archival materials, the law, and censorship literature on music, publications, film productions, and popular magazine circulations during apartheid in South Africa, my research addresses the literature gap regarding censorship of visual arts. I reflect on controversies surrounding the suppression of Duckworth's works and conclude by explaining why Duckworth's work was an obvious target for censorship.

中文翻译：

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审查视觉艺术：在南非种族隔离期间禁止艾德龙·达克沃斯 (Aidron Duckworth) 的作品

摘要 在 1960 年代，审查制度在南非变得越来越严重。受荷兰归正教会领袖的影响，种族隔离政府试图禁止表达反对当时政治和意识形态的艺术作品。本文探讨了 1971 年的 Aidron Duckworth 案，这是 Pasquino Society 组织的反审查运动的一部分。达克沃斯于 1971 年在德班美术馆展出，当时有八幅画被出版控制委员会禁止，并因其“性暗示”性质而被视为“不受欢迎”。作为回应，为了对委员会的决定提出上诉，成立了一个基金来支付艺术家的法律费用。参与出版物控制委员会的推理，我考虑了政府实际上如何控制董事会并执行一种特定的道德意识形态，以达到当权者的目的。依靠档案材料、法律和南非种族隔离期间音乐、出版物、电影制作和流行杂志发行量的审查文献，我的研究解决了有关视觉艺术审查的文献空白。我反思了围绕压制达克沃斯作品的争议，最后解释了为什么达克沃斯的作品是审查的明显目标。我的研究解决了有关视觉艺术审查的文献空白。我反思了围绕压制达克沃斯作品的争议，最后解释了为什么达克沃斯的作品是审查的明显目标。我的研究解决了有关视觉艺术审查的文献空白。我反思了围绕压制达克沃斯作品的争议，最后解释了为什么达克沃斯的作品是审查的明显目标。