{"id":1187,"date":"2021-06-01T03:07:15","date_gmt":"2021-06-01T03:07:15","guid":{"rendered":"https:\/\/ghadaamer.com\/?p=1187"},"modified":"2021-11-11T17:41:20","modified_gmt":"2021-11-11T17:41:20","slug":"women-art-and-politics-in-the-sensory-garden","status":"publish","type":"post","link":"https:\/\/ghadaamer.com\/gardens\/women-art-and-politics-in-the-sensory-garden\/","title":{"rendered":"Women, Art, and Politics in the Sensory Garden"},"content":{"rendered":"\n

Gardens in History and Art<\/h2>\n\n\n\n

From the Gardens of Babylon allegedly created by Nabuchodonosor  (605-562 BC) to those of Pharaonic Egypt, Persia, Greece and Rome, gardens have been an integral part of all civilizations. Often associated with a Paradise Lost, a place of seduction, pleasure, and lust, gardens have also been omnipresent throughout the history of painting and of visual arts. They are deeply embedded in our cultural heritage and collective memory.<\/p>\n\n\n\n

Despite the well-known gardens of Monet in Giverny and those of minimalist Land Art from the 1960s, the garden, understood as a site of artistic creation, still remains inadequately defined.  Words and categories are lacking to address the nature of gardens as a public space of contemporary creation which is both ephemeral and hybrid, sitting at the crossroads between art, architecture, and landscaping. Women artists especially have been overlooked in this artistic domain. <\/p>\n\n\n\n

Innovating the Genre of the Artistic Garden<\/h2>\n\n\n\n

Resonant with Le N\u00f4tre\u2019s geometrical garden parterres<\/em> exemplified in the tradition of the baroque French garden (notably Versailles<\/em> or Vaux le Vicomte<\/em>) which subordinate nature to symmetrical patterns, Ghada Amer\u2019s gardens subtly set the garden and its traditions on a new and original path.  <\/p>\n\n\n\n

\"Le
Fig. 1: Example of an embroidery parterre design<\/figcaption><\/figure>\n\n\n\n

Ever since she built and designed her first garden  entitled \u201cL\u2019Espace \u00e0 effeuiller les marguerites\u201d  in 1997, Ghada Amer has introduced the concept of the garden as a space of artistic creation. And over the last twenty-five years, she has conceptualized, drawn, built, and planted gardens, placing her visitors centerstage in her creation, inviting them to play an active role in this innovative artistic space. As a pioneer, she interrogates the boundaries between genres as well as their definitions. Walking through Ghada Amer\u2019s gardens is tantamount to redefining our relationship to a public and artistic space, to language, words, and nature.<\/p>\n\n\n\n

Between Politics and Aesthetics<\/h2>\n\n\n\n

Ghada Amer\u2019s approach to the garden as an artistic site situates her production at the intersection between politics and aesthetics. In \u201cWomen\u2019s Qualities\u201d (2021), the words used to construct the garden beds and the plants that inhabit them are not selected at random. Each word with its visual form and grammatical structure is in dialogue with the symbolism of the flowers. Together they innovate a new visual artistic language.<\/p>\n\n\n\n

The Grammar of Women\u2019s Qualities<\/h2>\n\n\n\n

Adjectives<\/h3>\n\n\n\n

In this new visual lexicon, we encounter several adjectives: Strong<\/em>, Resilient<\/em>, Beautiful<\/em>. From a grammatical standpoint, adjectives modify or change the meaning of words. The adjectives used in \u201cWomen\u2019s Qualities\u201d (2021) are thus by definition active, as much as they are descriptive.<\/p>\n\n\n\n

Present Participles<\/h3>\n\n\n\n

Moreover, Ghada Amer\u2019s decision to use present participles  (Loving<\/em>, Caring<\/em>, Nurturing<\/em>) in that same garden subtly suggests the persistence of the present moment. These verb tenses also highlight the ongoing supportive dimension of women\u2019s qualities.<\/p>\n\n\n\n

One Past Participle<\/h3>\n\n\n\n

The only past participle used in the Women\u2019s Qualities<\/em> garden is Determined<\/em>. Grammatically, past participles refer simultaneously to past, present, and future. Thus, to be \u201cdetermined\u201d implies to be determined throughout these time periods:  past,  present, and future.  From this unique standpoint, Ghada Amer\u2019s Women\u2019s Qualities<\/em> consecrates a timeless memorial for women\u2019s determination and resilience. In this novel conceptual frame of the artistic garden, women are centrally positioned in language, and their enduring qualities etched in hardy, drought-resistant plants.<\/p>\n\n\n\n

Symbolism of Plants and Flowers<\/h3>\n\n\n\n

The words that compose this garden take on a new dimension as they interact with the native American and South African plants that adorn the seven flower beds. Each of the plants flower at different times, constructing a palette of colors and mapping a new sensory cartography.<\/p>\n\n\n\n

LOVING<\/em><\/strong>  — Chuparosa (Justicia californica<\/em>) is a plant whose name is derived from the Spanish verb chupar<\/em>, to suck<\/em>. It attracts Hummingbirds, symbols of love and happiness but birds that can also be ferocious fighters. Likewise, loving can be double edged, making women both tender and fierce.<\/p>\n\n\n\n

\"\"\/
Fig. 2: Chuparosa plants in Ghada Amer\u2019s flowerbeds, Sunnylands [close up]<\/figcaption><\/figure>\n\n\n\n

BEAUTIFUL<\/em><\/strong>  <\/em>\u2013- Angelita Daisy (Tetraneuris acaulis<\/em>) is a bright yellow indigeneous wild flower that grows in deserts. It requires us to redefine beauty which exists everywhere even where nothing else lives.<\/p>\n\n\n\n

\"\"\/
Fig. 3: Close up of Angelita Daisies in one of Ghada Amer\u2019s flowerbeds, Sunnylands, 2021
DX Ghada Amer 3 Lance Gerber<\/figcaption><\/figure>\n\n\n\n

CARING<\/em><\/strong>  <\/strong>\u2013  Dwarf Morning Glory (Evolvulus x. \u2018<\/em>Blue Daze\u2019) is a flower that is native of South Africa and that symbolizes unrequited love in several traditions including Japanese and Chinese mythology. This flower renders caring a universal quality of women.<\/p>\n\n\n\n

\"\"\/
Fig. 4: Ghada Amer, \u201cCaring\u201d Flowerbed, Sunnylands, 2021<\/figcaption><\/figure>\n\n\n\n

STRONG<\/em><\/strong> \u2013 Blackfoot Daisy (Melampodium leucanthum<\/em>) attracts bees and butterflies because of its pollen and medicinal attributes.  This flower emphasizes the healing dimension of women.<\/p>\n\n\n\n

\"\"\/
Fig. 5: Ghada Amer, \u201cStrong\u201d flowerbed, Sunnylands, 2021<\/figcaption><\/figure>\n\n\n\n

RESILIENT<\/em><\/strong> <\/strong>\u2013 Golden<\/em><\/a> Barrel<\/em> (Echinocactus grusonii<\/em>)  is a spherical shaped cactus recognized for its curative properties that help recenter energies. As a symbol of  resilience, this plant draws attention to women\u2019s power, healing, and mediating capacities.<\/p>\n\n\n\n

\"\"\/
Fig. 6: Golden Barrel in one of Ghada Amer\u2019s flowerbeds, Sunnylands [close up]<\/figcaption><\/figure>\n\n\n\n

NURTURING <\/em><\/strong> <\/em>\u2013 Mexican Bush Sage (Salvia leucantha<\/em>) is a well known medicinal plant which is regularly used in a number of rituals of indigeneous cultures. Similarly, women\u2019s nurturing qualities reconnects us with indigeneous medicine, forgotten practices, and healing traditions.<\/p>\n\n\n\n

\"\"\/
Fig. 7: Close up on word “Nutriting”<\/figcaption><\/figure>\n\n\n\n

Women\u2019s Qualities or A Monument to Women <\/h2>\n\n\n\n

This meditative flanerie<\/em> through Ghada Amer\u2019s artistic garden is evocative of mandala gardens.\u00a0And indeed, Ghada Amer\u2019s circular shaped garden, use of medicinal plant species ,and indigeneous desert flora invite a meditation on women\u2019s qualities and urge us to ask hard questions about stereotypes, assumptions, and women\u2019s potential. Ultimately, this flanerie<\/em> leads us to the only two nouns used in Amer\u2019s entire garden, those that make up the very title of her \u0153uvre<\/em>, Women\u2019s Q<\/em>ualities. Though central to the artistic production, these two nouns are the only ones that are absent from the composition. Yet,\u00a0 they are the ones that orchestrate the whole installation and that guide us through its sensory pathway, ultimately inscribing women\u2019s qualities into the register of proper nouns. <\/em>With Women\u2019s Qualities, <\/em>Ghada Amer constructs an eternal monument in homage to women\u2019s unrecognized resilience, strength, resourcefulness, and healing capabilities.<\/p>\n","protected":false},"excerpt":{"rendered":"

Gardens in History and Art From the Gardens of Babylon allegedly created by Nabuchodonosor  (605-562 BC) to those of Pharaonic Egypt, Persia, Greece and Rome, gardens have been an integral part of all civilizations. Often associated with a Paradise Lost, a place of seduction, pleasure, and lust, gardens have also been omnipresent throughout the history […]<\/p>\n","protected":false},"author":6,"featured_media":1188,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7],"tags":[29,27,28,26,22,14,37],"yoast_head":"\nWomen, Art, and Politics in the Sensory Garden - Ghada Amer<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/ghadaamer.com\/gardens\/women-art-and-politics-in-the-sensory-garden\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Women, Art, and Politics in the Sensory Garden - Ghada Amer\" \/>\n<meta property=\"og:description\" content=\"Gardens in History and Art From the Gardens of Babylon allegedly created by Nabuchodonosor  (605-562 BC) to those of Pharaonic Egypt, Persia, Greece and Rome, gardens have been an integral part of all civilizations. 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As a comparatist and europeanist, she is now working on east-west dialogues, women\u2019s modes of resistance in Franco\/Arab art, veiling and unveiling practices in Franco\/Arab Art, sexual identities in contemporary transnational art and film of the Franco\/Asian,Franco\/Arab and Middle Eastern diasporas.","url":"https:\/\/ghadaamer.com\/author\/martineantle\/"}]}},"_links":{"self":[{"href":"https:\/\/ghadaamer.com\/wp-json\/wp\/v2\/posts\/1187"}],"collection":[{"href":"https:\/\/ghadaamer.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ghadaamer.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ghadaamer.com\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/ghadaamer.com\/wp-json\/wp\/v2\/comments?post=1187"}],"version-history":[{"count":1,"href":"https:\/\/ghadaamer.com\/wp-json\/wp\/v2\/posts\/1187\/revisions"}],"predecessor-version":[{"id":1270,"href":"https:\/\/ghadaamer.com\/wp-json\/wp\/v2\/posts\/1187\/revisions\/1270"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ghadaamer.com\/wp-json\/wp\/v2\/media\/1188"}],"wp:attachment":[{"href":"https:\/\/ghadaamer.com\/wp-json\/wp\/v2\/media?parent=1187"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ghadaamer.com\/wp-json\/wp\/v2\/categories?post=1187"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ghadaamer.com\/wp-json\/wp\/v2\/tags?post=1187"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}