via New York Times: A Left-Leaning College Didn’t Want to Offend, So It Closed Down Her Art Show
ST. PAUL, Minn. — The work of the Iranian American artist Taravat Talepasand is cheeky, erotic and defiantly anticlerical. One painting in her new midcareer survey, “Taravat,” incorporates Iranian bank notes whose images of Ayatollah Ruhollah Khomeini have been dosed with LSD. A graphite drawing, titled “Blasphemy X,” depicts a veiled woman giving the finger while lifting her robe to reveal high heels and a flash of underwear. There are sculptures of women in niqab face coverings with enormous exposed breasts. On a gallery wall, “Woman, Life, Freedom,” the slogan of Iran’s recent nationwide protests against the morality police, is written in neon in English and Persian.
When “Taravat” opened late last month at Macalester College, a left-leaning school in St. Paul, Minn., with a focus on internationalism, some Muslim students felt it made a mockery of modest Islamic dress, and thus of them. They expressed their outrage, and this month Macalester responded by temporarily closing Talepasand’s show, and then, apparently unaware of the irony, surrounding the gallery windows with black curtains.
Those curtains astonished Talepasand, an assistant professor of art practice at Portland State University. “To literally veil a ‘Woman, Life, Freedom’ exhibition?” she exclaimed to me.
The uproar over “Taravat” was directly connected to a recent controversy at Hamline University, a few minutes’ drive away from Macalester, where an adjunct art history professor named Erika López Prater was fired for showing a 14th-century painting of Muhammad in an art history class. In late January, Macalester — where, as it happens, Prater now teaches — hosted a discussion between faculty and students, most of them Muslim, to address issues raised by the Hamline incident. There, some students described being upset by “Taravat.”
“I invited them to share what emotions they were holding in their bodies,” one faculty member wrote in an email, part of which was shared with Talepasand. “They named ‘undervalued, frustrated, surprised, disrespected, ignored, and it felt like hit after hit.’”
Ultimately, Macalester handled the student complaints better than Hamline did. No one was fired, and after being closed for a few days, “Taravat” reopened. But the administration’s response was still distinctly apologetic, demonstrating the anxious philistinism that can result when bureaucratic cowardice meets maximalist ideas about safety.
In a message to campus, the provost, Lisa Anderson-Levy, said that Macalester understands “that pieces in the exhibition have caused harm to members of our Muslim community.” The black curtains came down, but they were replaced with purple construction paper on the gallery’s glass entrance and frosted glass panels on its mezzanine windows, protecting passers-by from “unintentional or nonconsensual viewing,” in the words of the administration. A content warning is affixed to the door. Next to it, some students put up a yellow sign asking potential visitors to show solidarity with them by not going in.
“There’s a lot of nuance and complexity in these kinds of situations,” Anderson-Levy said in a statement when I reached out to talk. “We believe that taking time to slow down and listen carefully to the diverse perspectives across our campus community allowed us to create space for conversation and learning.”
At least some students seemed to be learning to approach contentious art cautiously. A senior sociology major who’d visited the gallery with their sculpture class when Talepasand was still assembling the exhibition told me they were thinking of returning to see what had changed. But they worried that could be an act of entitlement, and felt the need to reflect “on my place as a white person” who is “not affected by the harms as much as others.”