{"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
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
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