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Modern Art in the Arab World: Primary Documents offers an unprecedented resource for the study of modernism: a compendium of critical art writings by twentieth-century Arab intellectuals and artists. The selection of texts--many of which appear here for the first time in English--includes manifestos, essays, transcripts of roundtable discussions, diary entries, exhibition guest-book comments, letters, and more. Traversing empires and nation-states, diasporas and speculative cultural and political federations, these documents bring light to the formation of a global modernism, through debates on originality, public space, spiritualism and art, postcolonial exhibition politics, and Arab nationalism, among many other topics. The collection is framed chronologically, and includes contextualizing commentaries to assist readers in navigating its broad geographic and historical scope. Interspersed throughout the volume are sixteen contemporary essays: writings by scholars on key terms and events as well as personal reflections by modern artists who were themselves active in the histories under consideration. A newly commissioned essay by historian and Arab-studies scholar Ussama Makdisi provides a historical overview of the region's intertwined political and cultural developments during the twentieth century. Modern Art in the Arab World is an essential addition to the investigation of modernism and its global manifestations. Publication of the Museum of Modern Art Distributed by Duke University Press
"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
Collecting has a long tradition in the Middle East but the museum as a public institution is relatively new. Today there are national museums for antiquities in most Arab countries. While in some cases the political and social climate has hindered the foundation of museums, with existing collections even destroyed at times, the recent museum boom in the Gulf States is again changing the outlook. This unique book is the first to explore collecting practices in archives and museums in the modern Arab world, featuring case studies of collecting practices in countries ranging from Egypt and Lebanon to Palestine, Jordan, Iraq and the Gulf, and providing a theoretical and methodological basis for future research. The authors are also concerned with investigating the relationship between past and present, since collecting practices tell us a great deal not only about the past but also about the ways we approach the past and present conceptions of our identities. Collections can be textual as well, as in the stories, memories or events selected, recalled, and retold in the pages of a text. As interest in memory studies as well as popular and visual culture grows in the Arab World, so collecting practices are at the heart of any critical approach to the past and the present in that region. The book will be of great interest not only to scholars and students of the modern Arab world but also to professionals in museums and collections in the region, as well as around the world.
A New York Times Notable Book This “imposingly rich . . . a genuine masterwork” vividly captures the Palestinian experience following the creation of the Israeli state (New York Times Book Review). After Palestine is torn apart in 1948, two men remain alone in a deserted makeshift hospital in the Shatila camp on the outskirts of Beirut—entering a vast world of displacement, fear, and tenuous hope. Khalil holds vigil at the bedside of his patient and spiritual father, a storied leader of the Palestinian resistance who has slipped into a coma. As Khalil attempts to revive Yunes, he begins a story, which branches into many: stories of the people expelled from their villages in Galilee; of the massacres that followed; of the extraordinary inner strength of those who survived; and of love. Khalil—like Elias Khoury—is a truth collector, trying to make sense of the fragments and various versions of stories that have been told to him. His voice is intimate and direct, his memories are vivid, his humanity radiates from every page. Khalil lets his mind wander through time, from village to village, from one astonishing soul to another, and takes us with him. Gate of the Sun is a Palestinian Odyssey and the first magnum opus of the Palestinian saga. Beautifully weaving together haunting stories of survival and loss, love and devastation, memory and dream, Khoury humanizes the complex Palestinian struggle as he brings to life the story of an entire people.
"Taking Shape: Abstraction from the Arab World, 1950s-1980s explores the development of abstraction in the Arab world via paintings, sculpture, and works on paper dating from the 1950s through the 1980s. By looking critically at the history and historiography of mid-20th century abstraction, the exhibition considers art from North Africa and West Asia as integral to the discourse on global modernism. At its heart, the project raises a fundamental art historical question: How do we study abstraction across different contexts and what models of analysis do we use? Examining how and why artists investigated the expressive capacities of line, color, and texture, Taking Shape highlights a number of abstract movements that developed in the Middle East, North Africa, and West Asia, as well as the Arab diaspora."--Artsy website (accessed 18/2/20).
Reflections: Contemporary Art of the Middle East and North Africa brings together an extraordinary collection of work from the British Museum for the first time. The contemporary art of the Middle East and North Africa is rich and vibrant. Whether living in their countries of birth or in diaspora, the featured artists are part of the globalised world of art. Here we see artists responding to and making work about their present, histories, traditions and cultures, reflecting on a part of the world that has experienced extraordinary change in living memory.The British Museum has been acquiring the work of Middle Eastern and North African artists since the 1980s, and the collection - principally works on paper - is one of the most extensive in the public sphere. Collected within the context of a museum of history, the works offer insights into the nature of civil societies, the complex politics of the region, and cultural traditions in their broadest sense, from the relationship with Islamic art, to the deep engagement with literature.The introduction to the book by curator Venetia Porter explores the history of the collection and the works included. The essential framework for understanding the politics and context within which the artists are working is provided by Charles Tripp's essay. The works are grouped into seven chapters, each beginning with a short introduction. The authors explore the selection within themes such as faith, abstraction and the female gaze.
"Modern Arab Art provides a historical and theoretical overview of the forces that have spawned artistic movements across the Middle East from the 1940s through today. Nada Shabout recognizes the important distinction between Arabic art and Islamic art, and views them as overlapping rather than synonymous subjects. Based on interviews with Arab artists, reviews of Arabic resources, and visits to sites and galleries in the Arab world, Shabout provides an introduction to a field that has been long neglected. With particular emphasis on production, reception, and the intersection between art and politics in Iraq and Palestine, she reveals the fallacy in Western fascination with Arab art as a timeless and exotic 'other'"--Jacket.
Analyzing the modernist art movement that arose in Cairo and Alexandria from the late nineteenth century through the 1960s, Alex Dika Seggerman reveals how the visual arts were part of a multifaceted transnational modernism. While the work of diverse, major Egyptian artists during this era may have appeared to be secular, she argues, it reflected the subtle but essential inflection of Islam, as a faith, history, and lived experience, in the overarching development of Middle Eastern modernity. Challenging typical views of modernism in art history as solely Euro-American, and expanding the conventional periodization of Islamic art history, Seggerman theorizes a "constellational modernism" for the emerging field of global modernism. Rather than seeing modernism in a generalized, hyperconnected network, she finds that art and artists circulated in distinct constellations that encompassed finite local and transnational relations. Such constellations, which could engage visual systems both along and beyond the Nile, from Los Angeles to Delhi, were materialized in visual culture that ranged from oil paintings and sculpture to photography and prints. Based on extensive research in Egypt, Europe, and the United States, this richly illustrated book poses a compelling argument for the importance of Muslim networks to global modernism.
Exploring visual culture, design and politics in 1960s Beirut, this compelling interdisciplinary study examines a critical period in Lebanon's history.