Amitis Motevalli’s Golestan Revisited project, now in its exhibition phase, has several aims. One is to perform a revisionist botanical history to “decolonize the roses.” Motevalli explained to me that the flowers originated in an area of the world now described partly as Iraq, Syria, Pakistan and Iran, where she was born. Ancient Persia’s flowers could be described as successful plant emissaries of cultural exchange during a period of trading along the Silk Road. But Motevalli questions the way these plants were collected, specifically during the era of The Crusades, and the reasons they were cultivated. She sees the flowers as having been forcibly taken, because in their journeys to Europe and widespread adoption as symbols in art, literature and culture, they were hybridized and their offspring renamed, their cultural histories and their poetries erased. [Read more…]
Glenn Harcourt’s The Artist, The Censor, And The Nude
Excerpt published with permission of DoppelHouse Press, Los Angeles.
The Artist, The Censor, and The Nude: A Tale of Morality and Appropriation By Glenn Harcourt DoppelHouse Press. 190 pp. $34.95
by Glenn Harcourt
Of all the topographies that exist in the world, that of the human body is perhaps the one that has been the most relentlessly contested – both the actual body comprising flesh and blood, and the virtual body as it is written and visualized in representation. This is true of the body both male and female, and of the body both clothed and unclothed. Issues of personal and cultural identity; of sexual and theological politics; of religious and political ideology are all articulated in terms of the body and its represented image. The body as it is lived and pictured serves both to instantiate and to adjudicate cultural norms and to facilitate their transgression.
Thus it is that both the body and its image have come to be censored, at various places and times, and under many cultural regimes. That censorship has certainly been a fact in post-Revolutionary Iran, where laws governing the dressing, adornment, and deportment of the physical body, as well as the body’s image in cultural production have been continuously in place, if at times somewhat erratically enforced. [Read more…]