Lecture on Forbidden Art and Censorship

Introduction

In 1865, George Witt donated his controversial collection to the British Museum, which included items considered inappropriate for public display.
The museum created a secret section (secretum) for such items, only accessible to male scholars.
The concept of forbidden art has evolved over time, influenced by cultural, religious, and societal norms.

1960s Censorship: Stas Paraskos faced obscenity charges for a painting in 1966, marking the last prosecution of an artist for obscenity in Britain.
Public perception of nudity and controversial art has changed; what once shocked is now seen as less provocative.

Ancient Roman art, such as sculptures of Pan with a goat, was considered forbidden due to its explicit nature.
Such artworks were hidden in secretums, emphasizing the ongoing tension between art and societal norms.

Roman Charity: Paintings depicting potentially incestuous scenes were numerous, yet many are hidden away due to their disturbing implications.
Modern uncomfortableness with death and decay represented in art, such as Daphne Todd’s painting of her deceased mother, highlights changing taboos.

Depictions of death and decomposition, such as Japanese Buddhist paintings, confront the viewer with the impermanence of life.
Western culture's medicalization and privatization of death contrasts with historical and cultural openness in art.

Historical pieces like the Laocoon sculpture highlight debates about the ethics of depicting suffering and pain.
Goya’s "Disasters of War" questioned the viewer's responsibility towards portrayal and witnessing of suffering.

Tracey Emin’s and Peter Housen’s works challenge views on rape, abortion, and war, questioning what should be permissible to depict.
Personal experiences in art, like Emin’s, highlight the importance of reflecting societal realities.

Islamic Art: Misunderstandings about image prohibitions in Islam; historical representations of Muhammad in Persian art contradict modern perceptions.
Religious imagery, like Christian iconoclasm, has historically faced censorship challenges.

Sensation Exhibit (1997): Marcus Harvey’s painting "Myra" faced backlash for its controversial subject matter.
Political Iconography: Works like Derek Jarman’s AIDS-related paintings highlighted social prejudices.

Contemporary debates, such as the toppling of Edward Colston’s statue, question how history should be represented through public monuments.
The Berlin Citadel’s approach to displaying contentious statues demonstrates an alternative to removal, encouraging public discourse.

The lecture emphasizes that censorship and what is considered "forbidden" in art have always been complex and context-dependent.
Artists play a crucial role in challenging societal boundaries and prompting reflection on cultural and moral values.
Continuous debate about art’s role in society reflects broader questions about our collective values and history.
The lecture ends with a reflection on the personal and societal challenges of engaging with controversial art.