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Showcases the visual dynamics of Arab photography in all its fascinating beauty, revealing a rich new aesthetic. Readers are introduced to portraits and landscapes by 36 photographers creating works of great political and cultural relevance. Their visual imagery constitutes an exciting and instructive journey for the reader. Each of the contributing photographers was asked to supply a statement on his or her life and experience as an artist, providing an insight into Arab culture and the under-documented yet vibrant art world in the Middle East.
In the last century, photography was always novel. Now, it feels like our world is over-saturated with images. In the 21st century, what can photography do that is new? This extensively illustrated survey answers that question, presenting fifty photographers from around the world who are defining photography today. Their styles, formats, and interpretations of the medium vary widely, but in each case, the work featured in this book represents photography doing what it has always done best: finding new ways to tell stories, and new stories to tell. Artists featured include Nan Goldin, Wolfgang Tillmans, Hassan Hajjaj, Andreas Gursky, Juno Calypso, Ryan McGinley, Zanele Muholi, Shirin Neshat, Catherine Opie, Martin Parr, Cindy Sherman, Hiroshi Sugimoto and Juergen Teller.
She Who Tells a Story introduces the pioneering work of twelve leading women photographers from Iran and the Arab world: Jananne Al-Ani, Boushra Almutawakel, Gohar Dashti, Rana El Nemr, Lalla Essaydi, Shadi Ghadirian, Tanya Habjouqa, Rula Halawani, Nermine Hammam, Rania Matar, Shirin Neshat and Newsha Tavakolian. As the Middle East has undergone unparalleled change over the past twenty years, and national and personal identities have been dismantled and rebuilt, these artists have tackled the very notion of representation with passion and power. Their provocative images, which range in style from photojournalism to staged and manipulated visions, explore themes of gender stereotypes, war and peace and personal life, all the while confronting nostalgic Western notions about women of the Orient and exploring the complex political and social landscapes of their home regions. Enhanced with biographical and interpretive essays, and including more than 100 reproductions of photographs and film and video stills, this book challenges us to set aside preconceptions about this part of the world and share in the vision of a group of vibrant artists as they claim the right to tell their own stories in images of great sophistication, expressiveness and beauty.
View From Inside is an expansive presentation of contemporary Arab photography, video, and mixed media art from the Middle East and North Africa. The book shows the works of 49 leading Arab artists from 13 different countries. The works reflect the emergence of photographic, video and digital art as important forms of creative visual expression in the Arab world since the 1990s. The artworks address a broad range of issues that the artists themselves have defined as important to the modern Arab experience. Four texts cover the early appearance of photography in the Middle East and North Africa in the mid-nineteenth century through photography's evolution as an integral part of the contemporary Arab art world: The author of the lead essay on contemporary photographic art is the pioneering curator and expert on classical Islamic art and contemporary Arab art, Karin Adrian von Roques. Ms. von Roques has worked in the Middle East for more than twenty years, bringing important contemporary Arab art to museum audiences in Europe, Asia and the United States. Essays on the history of Arab photographic expression have been written by Samer Mohdad, a well-known Lebanese photographer, writer and co-founder of the Fondation Arabe pour l'Image in Beirut. Dr. Claude W. Sui, Senior Curator of the Forum International of Photography at the Reiss-Engelhorn Museum in Mannheim, Germany and curator of exhibitions on nineteenth century photography in Arabia including To the Holy Lands: Mecca and Medina to Jerusalem. Mona Khazindar, Director General of the Institut du Monde Arabe in Paris looks at the development on the history of modern Arab photography and its relationship to contemporary art. Wendy Watriss, Senior Curator and Artistic Director for FotoFest International provides the philosophical overview of the book in her introduction.
The birth of photography coincided with the expansion of European imperialism in the Middle East, and some of the medium's earliest images are Orientalist pictures taken by Europeans in such places as Cairo and Jerusalem—photographs that have long shaped and distorted the Western visual imagination of the region. But the Middle East had many of its own photographers, collectors, and patrons. In this book, Stephen Sheehi presents a groundbreaking new account of early photography in the Arab world. The Arab Imago concentrates primarily on studio portraits by Arab and Armenian photographers in the late Ottoman Empire. Examining previously known studios such as Abdullah Frères, Pascal Sébah, Garabed Krikorian, and Khalil Raad, the book also provides the first account of other pioneers such as Georges and Louis Saboungi, the Kova Brothers, Muhammad Sadiq Bey, and Ibrahim Rif'at Pasha—as well as the first detailed look at early photographs of the annual pilgrimage to Mecca. In addition, the book explores indigenous photography manuals and albums, newspapers, scientific journals, and fiction. Featuring extensive previously unpublished images, The Arab Imago shows how native photography played an essential role in the creation of modern Arab societies in Egypt, Palestine, Syria, and Lebanon before the First World War. At the same time, the book overturns Eurocentric and Orientalist understandings of indigenous photography and challenges previous histories of the medium.
"Artistic expression in the Middle East is experiencing something of a renaissance. This book provides an overview of modern and contemporary art of the Middle East and Arab world from 1945 to the present, with an emphasis on artists active today"-OCLC
Academy Award–winning director Errol Morris turns his eye to the nature of truth in photography In his inimitable style, Errol Morris untangles the mysteries behind an eclectic range of documentary photographs. With his keen sense of irony, skepticism, and humor, Morris shows how photographs can obscure as much as they reveal, and how what we see is often determined by our beliefs. Each essay in this book is part detective story, part philosophical meditation, presenting readers with a conundrum, and investigates the relationship between photographs and the real world they supposedly record. Believing Is Seeing is a highly original exploration of photography and perception, from one of America’s most provocative observers.
The first history of indigenous photography in the Middle East The birth of photography coincided with the expansion of European imperialism in the Middle East, and some of the medium's earliest images are Orientalist pictures taken by Europeans in such places as Cairo and Jerusalem—photographs that have long shaped and distorted the Western visual imagination of the region. But the Middle East had many of its own photographers, collectors, and patrons. In this book, Stephen Sheehi presents a groundbreaking new account of early photography in the Arab world. The Arab Imago concentrates primarily on studio portraits by Arab and Armenian photographers in the late Ottoman Empire. Examining previously known studios such as Abdullah Frères, Pascal Sébah, Garabed Krikorian, and Khalil Raad, the book also provides the first account of other pioneers such as Georges and Louis Saboungi, the Kova Brothers, Muhammad Sadiq Bey, and Ibrahim Rif'at Pasha—as well as the first detailed look at early photographs of the annual pilgrimage to Mecca. In addition, the book explores indigenous photography manuals and albums, newspapers, scientific journals, and fiction. Featuring extensive previously unpublished images, The Arab Imago shows how native photography played an essential role in the creation of modern Arab societies in Egypt, Palestine, Syria, and Lebanon before the First World War. At the same time, the book overturns Eurocentric and Orientalist understandings of indigenous photography and challenges previous histories of the medium.
This book offers a unique opportunity to explore contemporary Arab art by women. The volume collects 18 Arab women artists from around the world to challenge western stereotyping of women's role in Arab society. The contributors and artists illustrate how women experience and question their lives as integral to the Arab diaspora. Their cross-cultural dialogue reflects the diversity of today's Arab art, and the fresh perspective that each artist brings to the genre.
Picturing the Maghreb critiques photographic and verbal representations, with a focus on four of the most prominent French-language writers of recent years: Michel Tournier, J.M.G. Le Cl-zio, Tahar Ben Jelloun and Le=la Sebbar. Their activist writing reframes a picture of Maghreb produced by two centuries of Orientalist misrepresentation. The book explores photography as a metaphor for other sorts of representation and examines the cultural impact of actual photographs.