Artist Makan (Max) Emadi

Islamic Erotica

2009-05-16T11:24:00.001-07:00

The “Islamic Erotica” series was begun in 2002, following the infamous events of September 11th. In the following weeks and months, I started to feel my “otherness” once again, recalling my feelings from 1979 when my family immigrated to the United States from Iran. The familiar sting reminded me of how I felt as a fourteen- year old entering high school in California without a mastery of the English language, and only days after my countrymen had found it necessary to take a number of hostages from my newly-adopted land’s U. S. embassy. These periods in history, I suspect, made many Iranians feel similarly complicated emotions in our new “western” homes. I was almost ready to address my cultural conflicts through my art then, but it was not until Bush declared war on Iraq that my feelings actually boiled over!

As an atheist, I had always been critical of the state of my home country and the other theocracies of the world. However, I was not entirely a western convert either. Just because I hated the Iranian government more, I was not blind to the hypocrisies and travesties carried out by imperialists in the name of democracy.

In this series, I wanted to examine gender issues from both sides of the aisle. By combining the seemingly contradictory images of Islamic dress and American pinup art, we see a nightmarish vision of a possible future in the Middle East, as globalization and American and European democracy attempt to dominate while fundamentalist traditions hold fast in the region.

Sexism exists in all societies. The sexism of the East is direct. It is most apparent in its mandated repressive female clothing and legal and cultural restrictions on women’s freedom. Here, the double-standard between men and women cannot be denied. Perhaps the West objectifies women more “lovingly”. The traditional art of this culture exalts the “weaker sex,” though with a constant emphasis on her sexuality and little else. Overexposure and the unnatural poses of the female models are most clearly evident in modern advertising, entertainment media, and in the traditional pinup art of the 1940s and 50s. My work juxtaposes these two very different, but related, representations of the female.

I have been criticized by feminists and Muslims alike, but I believe my work supports the positions of both of them! After all, isn’t it true that erotic art, as a tool of sexism in a culture that objectifies women sexually, should really empower women who live in a culture that strips them of their sexuality and the power it brings? A type of image that, in secular societies, has been reduced to a pedestrian tool of commerce, titillation, and subjugation, is anything but that in a theocratic region. It may very well be a tool of revolution!

Islamic Erotica picture gallery

Femme Fatale No.8

2009-01-12T21:32:00.000-08:00

"Femme Fatale No.8"

2008
Acrylic on Canvas
30"x24"

"Silhouette No.5"

2008-09-06T13:29:00.000-07:00

2008
Acrylic on Canvas
30'x 24'

"Silhouette No.6"

2008-09-06T13:26:00.001-07:00

2008
Acrylic by Canvas
36'x36'

"Sheltering Sky No. 6"

2008-08-10T16:13:00.001-07:00

2008
Oil on Canvas
48x48

"Femme Fatale No.7"

2008-07-10T18:44:00.001-07:00

2008
Charcoal & acrylic on paper
8'x10'

"Sheltering Sky No.5"

2008-07-09T20:41:00.001-07:00

2008
Oil on Canvas
30"x24"

"Ms. Freedom"

2008-06-29T09:23:00.001-07:00

2008
Oil on Canvas
40'x40'

'Sold'

"Miss Liberty"

2008-02-26T22:33:00.001-08:00

2008
Oil on Canvas
48"x36"

"Femme Fatale No. 6"

2008-02-21T18:38:00.001-08:00

2008
Charcoal & Ink on Paper
10'x 8'

Femme Fatale No. 5

2008-02-21T17:35:00.001-08:00

2008
Charcoal & Ink on Paper
10"x 8"

Femmme Fatale No.4

2008-02-09T13:31:00.001-08:00

2008
Charcoal & Ink on Paper
11"x8"

"Femme Fatale No.3"

2008-01-06T16:17:00.001-08:00

2007
Oil on Canvas
30"x 24"

"!" - An Oil Painting of 4 Skulls

2008-01-06T01:02:00.000-08:00

Oil on Canvas of four skulls on square backgrounds.

"Femme Fatale No.1"

2008-01-05T22:33:00.000-08:00

2007
Oil on Canvas
24"x 16"

"Femme Fatal No.2"

2008-01-05T22:20:00.001-08:00

2007
Oil on Canvas
24"x 16"

"Cloudbusting No.2"

2008-01-05T22:13:00.001-08:00

2007
Oil on anvas
48"x48"

"Before Serrano"

2008-01-05T22:07:00.001-08:00

2004
Acrylic on Canvas
40x30 inches

This painting represents Christ on the cross engulfed in an inferno, perhaps at the ninth hour when Matthew records the moment when Christ fears he has been abandoned by God. Emadi's title for the work, "Before Serrano", is a reference to controversial photographer Andres Serrano who became notorious for his 1987 exhibition of his controversial piece "Piss Christ", a red-tinged photograph of a crucifix submerged in the artist's own urine. One wonders exactly why Emadi titles this work "Before Serrano".

There are definite similarities between Serrano's and Emadi's work which both have Christ enveloped in a swirl of red, so we would understand had he entitled the work "After Serrano". By the use of "Before", we wonder at Emadi's message. He is obviously not indicating that his work predates that of Serrano's "Piss Christ" since Emadi's painting is dated 2004.

Perhaps he is drawing a comparison to the division of the Christian calendar into "Before Christ" and "After Christ" in that this signifies the end of one era and the beginning of another. Perhaps Emadi is suggesting by the title that Serrano cleaved the history of religious art when he unveiled his image of Christ in urine.

And about the ninth hour Jesus cried with a loud voice, saying, Eli, Eli, lama sabachthani? that is to say, My God, my God, why hast thou forsaken me? - Matthew 27:46, King James Version

Max Emadi Interview with Russian Magazine "Khooligan"

2007-12-08T11:16:00.000-08:00

Max Emadi recently completed an interview for “Khoolagan” a Russian art, fashion, trends and life-style magazine. The interview will be published in Russian in an upcoming edition. Here is the full text of the interview in English provided for publication on ArikiArt by Max Emadi.

K.M Tell us a few things about yourself and significant dates in your life. Have you got any art education? Can you tell us something about your latest relationship with art? Is your main education in psychotherapy, and does your job as a psychotherapist help or hinder your art?

My family immigrated to the United States in 1979, the year following the overthrow of the Shah's regime in Iran. I was introduced to art while in high school. Ceramics & photography were my favorite classes. After high school I received some private instruction in sculpting from Betty Davenport Ford but was soon overwhelmed, like so many art students, by my own sense of perfectionism. The desire for "greatness" got the better of me. I stopped making art in my twenties. I was doing too much comparing with others and felt insecure about my abilities. I wanted to "know" I would be a great artist if I continued. I stopped appreciating the process for what it was.

In my twenties, my focus shifted to pursuing my education in counseling and social work... I obtained a master’s degree in social work. I now work full-time as a psychotherapist and teach part-time at a local college. I sometimes wish I had more time for art but I also enjoy the variety my life affords me and the opportunity I have to help people.

Something happened on my thirtieth birthday. It is kind of silly, but also true. I think of it as my early “midlife crisis.” I was lying in the park looking up at the sky through the trees (a recent series of "skyscraper” paintings I have been working on recently is inspired by this experience) and I simply decided to embrace my mediocrity! In that one moment, I grew up. I realized that in a world of billions of people and millions of artists, it is simply ludicrous to expect to be the best, or to even be acknowledged...

After this realization, I decided to make art again, which was my favorite thing to do in my youth. I decided to approach it this time just as "play" for leisure only. This time, I had no expectation of success or praise. I took a pottery class again (where I met my wife). A couple of years later, ten years ago exactly, I started painting in my aunt’s art studio. Painting soon became my medium of choice. I became obsessed with it and started to feel the need to do it daily. My friend, the great artist Ain Cocke, became my teacher. I began to educate myself about art history. At first, I was most interested in the American Abstract Expressionists. Their idea of action painting was very freeing to me. It gave me permission to experiment without judgment. My interest shifted through the years and so did my style.

The irony of my epiphany was that art quickly became much important than just a hobby to me. My skills improve gradually, and even my grandiose expectations have returned! Now it's too late to stop.

K.M. There are strong influences from traditional Eastern art as well as Islamic motifs and symbolism in your paintings. How do you feel your paintings and portraits line up with Islamic beliefs in terms of representing the image of living beings? Are you fundamentalist, modernist or atheist?

I used to think of myself as a painter influenced by western traditions only. I was in denial about the influence of my heritage even though I lived the first fourteen years of my life in Iran. Looking back, I realize that I had internalized some shame over my roots due to the negative American attitude towards Iranians.

When I decided to pursue the Islamic Erotica series, I noticed that the style and motifs of Persian Miniatures were coming out in the pinup art motif that I was trying to replicate. The paradoxical nature of the two cultures that influence me has been a great point of interest to me. The favorite subject of western art after the shift from Christian subjects following the Renaissance has been the female nude. In strict Muslim tradition, on the other hand, any depiction of the human form is considered idolatry and, therefore, "Haram" or against the law.

Coming from a non-practicing Muslim background, I have felt no conflict in producing figurative art. I have had to go against strict Muslim tradition to create most of my work, but I believe you have to be a "believer" to be considered a blasphemer, and I am neither.

K.M. Do you take a stand for cross-cultural dialogue and globalization, or do you criticize these movements? In your opinion, what are the reasons for modern conflicts between Western and Eastern cultures?

I don’t oppose globalization, even though it is quite popular to do so. I grieve the loss of unique local charms when I travel, but I acknowledge this to be a trivial concern. The fact is that every country wants a higher quality of living, so it is inevitable that "First World" countries will have more influence, primarily through their corporations, than other countries. Like it or not, the world is becoming one big America. To oppose globalization, in my opinion, would be ignoring reality. Homogeny is simply the direction of culture and commerce in the world. As an artist, I feel compelled to comment on the effects of globalization, and I wish the world would be more mindful of some of its consequences.

The reasons for the recently inflamed conflicts between the East and the West are, of course, complex. I don't profess to have a complete understanding of it. I suspect that, as with most historic conflicts, ideological differences are presented by the government as the cause worth fighting for in an effort to mobilize the masses. In most cases, though, the root of the conflict is actually economic & about control of resources.

K.M. Let's talk about your "Islamic Erotica" series. What emboldened you to undertake this project? How serious were your intentions to combine such incompatible things as hejab and pin up aesthetics?

The Islamic Erotica series began for me in 2003 as a reaction to the U.S. Iraq war to which I was always opposed. I found myself thinking more about my own Middle-Eastern roots as my people were classified as "evil" by Bush. I disagreed with the Bush administration and its goal of exporting American-style democracy to the Middle East by force, which was, to me, globalization at its worst. On the other hand, I am opposed to any type of fascism, whether run under the banner of a theocracy or under a tyrant with no particular ideology. So, I had mixed feelings about the whole conflict.

The Islamic Erotica series is a vision of the of the two opposing cultures coming together in what I consider a perverse, but, at the same time, humorous way. Western style sexism objectifies women. Scantily-clad or nude models have been its main vehicles. The pinup art of Varga and, later, Ramos are iconic examples. In the Muslim tradition, control and subjugation of women takes a more direct approach by limiting women’s rights through law, including the ban on exposure of the body in public, which makes some variation of the burka mandatory in Muslim theocracies.

K.M. Can you comment on the significance of these paintings? Is it protest against sexual exploitation, a search of new transcultural art forms, or just an attempt to simply shock your viewers? How have Islamic viewers reacted to these paintings?

I think of this work as continuing in the feminist tradition. I think it was just an idea whose time had come. When I started, I was just interested in showing sexual magnetism coming through even the most restrictive of clothing from the most restrictive of cultures. If you look at the first three paintings of the series you will find that the subject was just the female face or figure fully covered in the traditional way.

The series I am working on now, "Femme Fatale," is actually a return to this simple idea. I am painting close-ups of women’s faces in burkas and models in full bodied poses with no overt exposure. I want there to be an alluring beauty that comes through from these women even though they are almost completely covered in the traditional way. They will hopefully be mysterious and maybe even a little threatening (perhaps due to the historical context in which we live), but nevertheless seductive.

The idea of showing subtle sexuality in restrictive cultures later developed further. I thought it would be interesting to combine the Eastern version of sexism with the so-called "democratic" and secular western countries’ version of sexism. Great parallels could not be denied. I just found it too intriguing not to try. After the first few paintings were completed, I decided to name them after the "Playboy Bunnies" with the name of a month for each girl. As a nod (or jab) at the feminists, I called them "Ms." instead of the traditional “Miss.”

I admit that I have a perverse sense of humor and maybe some "Punk Rock” sensibility still lingers from my youth. That said, the paintings had to be done. I was driven. I feel I was just the lucky (or unlucky) person for the job.

K.M. Many Moslems interpret art in strict compliance with their religious beliefs and customs. Aren't you afraid of their negative reactions and possible retaliation?

I have a great deal of respect and reverence for the power religion holds in society. I don't really believe people are free. I think our whole reality and the choices we make are almost entirely formed by tradition and cultural norms. Religion is one of the most powerful of these forces. I feel it is our duty to regularly question and re-examine the powers that inform us and our decisions.

When I first began working on the Islamic Erotica series there was some concern from my friends and family about my safety. I considered it to be paranoia and unnecessary drama. I suppose if I hadn't had this reaction, I would not have continued working on the series. I have no desire to be a martyr for a secular cause. I think it is important to note the huge disparity between the number of people who may dislike something and the small minority who would be willing to use violence to express their dislike. Maybe I am naive.

After the Los Angeles debut of the show, when I received some press in the local papers and the reaction was almost exclusively supportive, I felt vindicated in my belief that there was nothing to worry about.

However, in the past few weeks I have grown more concerned. Since Gazeta.ru ran a story about the paintings, I have received some protest emails. Radio Free Europe was going to air an interview they conducted with me, but decided against it due to possible protest and backlash.

Every religion has its fanatics, and fanatics by definition lack a sense of humor and an open mind. I hope the majority of people who see the work don't compare it with previous controversial materials, such as the Mohammad caricatures. Mine are works of fine art. The models are not Muslim (most paintings are of my American wife posing). There is no malice, direct criticism, or disrespect of the Prophet or His teachings in this work. I certainly realize that many will not appreciate what I do, but hopefully the protest will remain in words only.

K.M. You have another series of paintings called "Terrorists and Freedom Fighters". What principles did you use to determine the characters you chose to paint for this series? For example, why did you choose to paint the Dalai Lama, Che, George W. Bush, and children wearing Islamic bandanas? In your painting of Jesus Christ titled "Before Serrano", did you consider him to be a fighter for freedom or a terrorist?

The idea behind the "Terrorists & Freedom Fighters" series was a simple one: "One man's terrorist is another man’s Freedom Fighter." I am a pacifist. Even in the case of war as self-defense, I would be very suspicious and reluctant to justify any government-sanctioned killings.

Having said that, I also feel the word "terrorist" has been used by the U.S. Administration to demonize all disenfranchised people who attempt to combat a super power. We include in our “terrorist” label the Palestinians, Iraqis, Afghans, Iranians, Somalis, Filipinos, Chechnyans, Sandinistas, etc.

Most Americans simply don't understand that if suicide bombers had decent tanks, fighter planes, and a viable military, they would use them to blow things up and cause terror in the manner regularly used by America, Russia, Israel, and China. Terrorism is the only weapon of the weak.

For my “Terrorists and Freedom Fighters” show, all paintings came with captions that included a positive and a negative quote relating to the subject of the painting. I wanted the show to present a balanced view. I also wanted to include images of some individuals who, at first, did not seem to fit the theme of violence, so I picked Jesus Christ and the Dalai Lama. But even these men who preach peace have been accused of causing death and oppression, and my captions illustrated this point of view. I was pleasantly surprised that most Americans who saw the work appreciated my critique of their world view.

K.M. In your sculpture "Good and Evil: The Game", Einstein and Mother Teresa represent Good, while Hitler and (presumably) Michael Jackson represent Evil. Don't you think that modern physics is also responsible for some of the Evil of mankind, for example, such things as the nuclear bomb? What do you think about the question of good and evil? Does Good have any chance of winning nowadays?

Your question shows that you perfectly understood my point regarding the ambiguity inherent our thoughts about good and evil! In my painting, I wanted to feature two figures who were almost universally considered "good" or "evil." I decided on Hitler & Mother Teresa. I also wanted to show two individuals who had gone through a shift in how they are viewed by the public. Einstein (more subtly, as you point out, for being the father of nuclear energy) and Michael Jackson became my symbols of uncertainty.

I see good and evil as two sides of the same coin. I don't think there is a man or woman who is entirely one or the other. I think these concepts are man-made and ultimately the universe doesn't care. Morality is a slippery slope, and the words “good” and “evil” have been used all too often to serve their masters by actually representing the opposite of what they profess. For example, consider the evil that George Bush has unleashed on the world while labeling others the "Axis of Evil."

K.M. Here’s our last question. We saw (and enjoyed!) your self-portrait in a rabbit suit. You look like a character from the last David Lynch movie. What do you think about cinema as a painter, as a source of still images?

The painting in the rabbit suit was inspired by a concert by "The Flaming Lips," who had a number of costumed dancers onstage with them the whole time. It was almost surreal. The rabbit suit self-portrait was shown as a diptych with another self-portrait, this time in a military uniform. They were part of a show called "Doppleganger" which was about duality and variations from originals. The show featured a number of pieces which were my interpretations of the works of my favorite artists. The sculpture, “Good & Evil: the Game,” was included in this show and was my take on Jasper Johns. Another piece that stood out was a sculpture of George Bush called "Sleeping Soundly," which was a variation on Rauschenberg's "The Bed". Most works can be viewed on makangallery.com or here at arikiart.com.

I am quite envious of film makers. I believe that music, photography, and film are the most vital and influential art forms in the postmodern era. Like most of my generation, I see life as if it were observed through the camera lens. Cinema and the moving picture have had a profound impact on our perception of reality. As a painter and sculptor, I feel that I am doomed to practice archaic art forms that make little impact in the world today, but, alas, I can only create what I am driven to create.

Max Emadi's Paintings of Veiled Islamic Women as Pinup Girls Gaining Notoriety

2007-08-08T20:59:00.000-07:00

Max's series of paintings on the Islamic dress code has been attracting a fair amount of attention of late it seems. The Arab American News posted an article on August 4th titled Are drawing and painting haraam? in which they mention Max's series of Islamic Erotica in a discussion of nudity in art. As one would expect it seems to be a big "No! No!" for strict Moslems. Same goes for strict Christians, and no doubt strict Jews, strict Hindus...

Iran Politics Club also posted a piece about Max this past August 2nd titled Max Emadi's Islamo-Erotic Paintings!

And last but not least, Max was approached recently to exhibit in a London event called "The Erotic Awards". Prints of some of his works will be exhibited at an event called "Night of the Senses" taking place in Brixton, London on the evening of September 2nd! We aren't going to link to either of the associated websites because of the explicit nature of images on both sites but you can no doubt search them down if you must. Max and I believe his works will appear rather tame in the context of what we've seen.

Read Max Emadi's comments on his Islamic Erotica series

George Bush as the Naked Emperor

2007-07-24T20:19:00.000-07:00

Painting of President George W. Bush by Max Emadi as the Emperor in the Fable of "The Emperor's New Clothes"

Max Emadi's work "The Emperor's New Clothes" is just one painting in his Terrorists and Freedom Fighters series. This painting places President George W. Bush in the role of "leading man" in the fairy tale of the naked emperor ultimately exposed by a child. The President strides towards us from his desk in the Oval Office, grinning from ear to ear, looking for all the world like a Ken Barbie Doll. Despite his lack of clothes, it is easy to imagine President Bush in his jump-suit on the USS Abraham Lincoln on May 2, 2003 proclaiming "Mission Accomplished".

Max Emadi has other artworks featuring George W. Bush:

George Bush Sleeping Soundly and George W. Bush - Portrait After John Kennedy

Through The Trees Abstract Painting

2007-07-15T15:50:00.000-07:00

Through The Trees

2002
Abstract painting using mixed media
48"x 36"

Silhouette of a Tree Painting No.3

2007-07-15T15:18:00.000-07:00

This is a new series of acrylic paintings I have just started working on which are painted in a silhouette fashion...

Silhouette no.3

Acrylic on Canvas

2007

Islamic Marilyn Monroe

2007-07-04T23:39:00.001-07:00

After Marilyn Monroe

The photograph of Marilyn Monroe with skirt blown up from the movie "The Seven Year Itch" is one of the most well-known images of the movie goddess. In a painting after this image, Max Emadi captures an Islamic woman in traditional dress and veil in front of the mosque with her dress blown up exposing her legs.

God is Great
36 x 48 inches oil on canvas
Max Emadi 2006
(Sold)

Mirror Mirror

2007-07-04T23:33:00.001-07:00

Veiled Woman's Eye Makeup

Max Emadi makes reference to the story of "Snow White" in this painting of a veiled Islamic woman applying her mascara in a work title "Mirror, Mirror"

Mirror, Mirror
Oil on canvas
20x24 inches
Max Emadi 2006
$900