Explores the connection between art and totalitarianism, using Saddam Hussein's "Victory Arch" in Baghdad as a starting point for a discussion on how dictators use art to legitimize their regimes
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In April 1981 Iraqi President Saddam Hussein began constructing the Victory Arch in Baghdad. The design called for two cast arms (exact replicas of Hussein's arms from just above the elbow) holding crossed swords. At the point of each arm's eruption from the ground 5000 Iranian helmets (from Iraq-Iran battlefields) are scattered in equal measure. The author, an expatriate Iraqi intellectual and author of Republic of Fear: The Politics of Modern Iraq ( LJ 4/1/89), discusses this (and other aspects of Hussein's monument) in terms of the Iraqi psyche, Hussein's vision of himself and his society, and the relationship between art and cultural imperatives. His conclusions are penetrating and indicate critical areas for Iraqi social scientists to resolve in the post-Hussein era. The writing is complex and requires close attention--this is not for the casual reader. Recommended for libraries with collections in the area.
-David P. Snider, Casa Grande P.L., Ariz.
Copyright 1991 Reed Business Information, Inc.
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Hardcover. Condition: VG, dj has some wear. Pictorial dj; black covers, gilt lettering. (xv), 153 pages : illustrations. Includes bibliographical references (pages 136-146) and index. Contents as follows: The art of the monument -- The symbolism of the monument -- The monument and the city -- Politics as art -- Andy Warhol and Saddam Husain -- Vulgarity and art -- The kitsch of Baghdad -- Turath as art -- Singling out the monument -- Ethical ambiguities. Seller Inventory # 180076
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25.5 x 19.0cms, 154pp, b/w Illusts, very good+ hardback & dustwrapper This book analyses the victory arches which Saddam Husain had built as his Ba'thi answer to France's Arc de Triomphe in the late 1980s, celebrating his 'victory' over Iran. Seller Inventory # 197797
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Numerous black and white photographic and line illustrations, xv +153pp, index, notes, dustjacket, large octavo. Samir al-Khalil uses artefacts such as 'The Victory Arch' in Baghdad "to illuminate the nature of dictatorship, the relation between developed and developing countries, and the uses and true value of art. He demonstrates brilliantly how the [Saddam] regime has twisted both local and Western tradition to produce a highly emotive cocktail - citing Andy Warhol and Robert Venturi as foremost among the unwitting culprits." Publisher's description. Seller Inventory # 74099
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