Must be so dofficult to have to self censor in that way if so, and, if so, doing the job you do do you often have difficulties realted to this? (ofc no need to reply if you think it is to sensitive, I imagine the cannery businiess is hard enough as it is
)
Okay, I will answer as far as I am able for those who are interested.
Yes, censorship can cause difficulty with my work. For example, there is no differentiation between nudity (e.g. a nude body in a work of art) and nakedness. So, a colleague's art book with a nude painting on the cover was confiscated at the airport. One might get away with getting an art book with some nude illustrations inside the book through customs. I sent a friend some postcards from Paris, which I placed in a prepaid envelope from the Rodin Museum. The envelope had a bronze écorché figure of a nude seated male on it (The Thinker), and I was concerned I'd get my friend into trouble, but that got through. I do have to be careful about what is displayed here and, therefore, what is purchased. For example, we have a beautiful series of 12 colour lithographs by Marc Chagall illustrating episodes from
One Thousand and One Nights, for which Chagall was awarded a prestigious prize at the Venice Biennale. Of the twelve, only four can be displayed owing to androgynous nude female figures on some of the sheets.
On a recreational level
Alcohol is invariably confiscated on re-entry, notwithstanding there's a fully stocked Duty-Free Shop within Hamad International Airport. Surprisingly, the business cabin of Qatar Airways offers the best wine, cocktail and spirit list I've ever seen. Other items can get one into trouble or cause embarrassment. I'd better be circumspect here, but a colleague at NMoQ was placed on a list for having something in her luggage and now gets searched every time she goes through customs. Another associate at the National Library brought back a similar object. She had the presence of mind to deconstruct it and reassemble it when she got home, and it passed through undetected. I will leave that one to your imagination.
Re. Kylie's romantic novel, when I tried to discover more about the plot, I hit a firewall here, another form of censorship. I remember trying to order a case of wine online for my mother for Christmas while working in the Museum of Islamic Art library and hit a firewall on that too. Movies can be 'spliced' too for adult content. There is a remarkable amount of horror/violence in films screened here, which is allowed, but no romantic love.
As to your question about my fish-canning sideline, I have been thwarted on several occasions. Most memorably, when I wanted to include a rather fetching image of a siren on a can of sardines!
Below is a sheet and something I wrote for Google Art for a sheet from Chagall's
Mille et Une Nuits
Marc Chagall (1887-1985) was born to a Jewish family in North East Belarus; he was a prodigy and started drawing from a young age despite his father’s reservations. In 1909 he entered the Zvantseva School of Drawing and Painting in St Petersburg where he was taught, amongst others, by Leon Bakst (1866-1924), who introduced him to the work of colourists such as Henri Matisse (1869-1954). Chagall achieved some early commercial success which enabled him to travel to Paris where he studied between 1911-1914. In 1923, he returned to settle in Paris and was granted French nationality in 1937, but was later forced to leave in 1941 during the Nazi occupation. He sought asylum in the United States where he lived, between 1941-1948, in a Jewish community in New York alongside other exiled artists. During this period Chagall was commissioned by Pantheon Books to produce a set of twelve colour lithographs illustrating
Four Tales from the Arabian Nights. It was Chagall’s first attempt at colour lithography, for which he was awarded a prestigious graphic prize at the Venice Biennale of 1948. The portfolio was released in a regular edition of 90 containing a suite of 12 plates; the Orientalist Museum’s impression is 62/90. The sheet featured here illustrates an episode from
The Ebony Horse wherein a King of Persia is visited by three wise men bearing gifts, one of which is an ebony horse possessed with the magical powers to fly anywhere. Kamar, the King’s son, mounts the horse which takes him to a faraway castle and the chamber of a Princess, with whom he instantly falls in love. After many vicissitudes, Kamar and the Princess marry and live happily ever after. This brilliant cobalt sheet shows the Persian Prince returning home with his bride to Persia on the Ebony Horse, which flies above a rising sun. The accompanying commentary on the print comes from a translation, originally published in 1885, by the famous Orientalist and explorer Sir Richard Burton (1821-1890):
“Mounting the ebony horse he took her up behind him and made her fast to himself, binding her with strong bonds; after which he turned the shoulder-pin of ascent, and the horse rose with him into the air”.