Twelve contemporary artists dynamically explore identity, narrative, and war in daily life
The First Art Newspaper on the Net    Established in 1996 Saturday, November 23, 2024


Twelve contemporary artists dynamically explore identity, narrative, and war in daily life
Tanya Habjouqa (Jordan, b. 1975, Untitled from the series Women of Gaza, 2009. Pigment print. Museum of Fine Arts, Boston. Museum purchase with general funds and the Horace W. Goldsmith Fund for Photography. Photography © 2014 MFA, Boston.



STANFORD, CA.- A major new exhibition at the Cantor Arts Center, She Who Tells a Story, presents the pioneering work of 12 leading women photographers from Iran and the Arab world. The artists explore identity, narrative, representation, and war in daily life, inviting a broader understanding of the Middle East than what Westerners glean through media reports. The 79 photographs and two videos—a collection of stories about contemporary life—especially refute the belief that women from this region are oppressed and powerless. The exhibition was organized by the Museum of Fine Arts, Boston (MFA) and runs at the Cantor, its only West-Coast venue, January 28 through May 4.

The 81 works, created almost entirely within the last decade, range in style from fine art to photojournalism and represent the women’s diverse perspectives. The photographers are: 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. In Arabic, the word rawiya means "she who tells a story," and through their work, these 12 pioneering artists collectively portray a region that has undergone unparalleled change and endured continuing conflict.

Amidst the myriad approaches to photography and varied experiences of the artists, the exhibition highlights three themes: Deconstructing Orientalism, Constructing Identities, and New Documentary. While most of the work was made between 2008 and 2012, the exhibition includes two important series from the 1990s that marked a turning point in the recent history of representation and inspired exploration by other photographers. Shirin Neshat’s portrait Untitled (1996), overlaid with Persian script from a contemporary Iranian woman writer, evokes the role that women played in the Iranian Revolution. Iranian artist Shadi Ghadirian took pictures that illustrated issues of identity and being female in Iran. Ghadirian’s eight prints from her iconic series Qajar (1998) juxtapose young women in traditional dress with then-forbidden objects—boom boxes, musical instruments and makeup—suggesting tension between tradition and modernity, restriction and freedom, public and private. Ghadirian’s later series Nil, Nil (2008), meanwhile, visually investigates the home during war through subtle intrusions. The series includes images of bullets protruding from a handbag, a grenade in a bowl of fruit, and a military helmet hanging on the wall next to a headscarf.

Ghadirian’s early staged portraits laid the foundation for later photographers to address the subject of identity. Yemeni artist Boushra Almutawakel’s series Mother, Daughter, Doll (2010), explores the veil in relation to visibility, selfhood, and gender. Lebanese-born Rania Matar’s seriesI (2009, 2010), presents six portraits of young women in their bedrooms surrounded by their belongings.

Moroccan-born Lalla Essaydi, a former painter, uses iconography from 19th-century Orientalist paintings as inspiration to explore her own cultural identity. In the triptych Bullets Revisited #3 (2012), the most expansive work in the exhibition at 5 1/2 x 12 1/2 feet, Essaydi uses calligraphy (a typically male art form) to suggest the complexity of gender roles within Islamic culture. In the triptych, silver and gold bullet casings evoke symbolic violence, referencing her fear about the growing restrictions on women in a new post-revolutionary era that followed demonstrations and protests in the Arab world that began in 2010.

Photojournalist Newsha Tavakolian turned to fine art photography after experiencing difficulty photographing in public in 2009. Tavakolian’s six portraits, six imaginary CD covers and a silent six-screen video from her series Listen (2010) portray professional singers who, as women, are forbidden by Islamic tenets to perform in public or to record CDs.

Each artist approaches the medium of photography differently, resulting in a range of image scale, style, and subject. Artists like Tavajolian are fluent in journalistic as well as fine art techniques, and their work—like that of Gohar Dashti— represents an intersection of documentation, narrative and expression. In this new documentary approach addressing social and political issues, artistic imagination imbues real-life situations and experiences. In Dashti’s Today’s Life and War (2008), a series of narrative, staged photographs, a man and woman pursue domestic activities—laundry, watching TV—in a fictionalized battlefield. In Untitled #5, they sit as newlyweds in the shell of an abandoned car; in Untitled #7, they eat on the ground at a makeshift traditional table celebrating the Persian New Year, Nowruz. The remaining five prints show the couple performing daily routines but interrupted by symbols of war—a tank, missile head and a wall of sandbags.

Contrasting Dashti’s staged documentaries are works by Egyptian Rana El Nemr and Jordanian Tanya Habjouqa that directly capture people in urban settings. In her series Metro (2003), El Nemr has inconspicuously photographed passengers in the transit car designated for women. In Women of Gaza (2009), Habjouqa recorded the experience of women in Gaza, who, like all residents of the occupied territory, live with limited freedom. Taken over a span of two months, the images celebrate modest pleasures, including a picnic on the beach, a rest on a bench between college classes and an aerobics class.

Rula Halawani, born in East Jerusalem, photographed scenes of war—tanks in action, grieving mothers and families in the rubble of the aftermath—and then used a technique that obscures the specifics of time and place, thereby increasing the dramatic intensity. Nermine Hammam’s series Cairo Year One (2011–12) depicts the January 2011 uprising in Egypt and its aftermath. Hammam imbedded photographs of soldiers in Tahrir Square within peaceful landscape scenes from her personal postcard collection. She also created two prints after the uprising was over—when it was difficult for her to photograph—by combining reproductions of 17th and 18th Japanese screens with photos of police brutality.










Today's News

January 28, 2015

Leaders of over 40 countries commemorate 70th anniversary of the liberation of Auschwitz

Chromophobia: Group exhibition inspired by the writings of David Batchelor opens at Gagosian

Smithsonian considers opening an exhibition space at the Queen Elizabeth Olympic Park

Unseen Cadell picture found at Scottish Gallery behind Denis Peploe painting

Harn Museum of Art at the University of Florida releases Digital Membership Card App

British Library opens National Newspaper Building housing UK national newspaper collection

20th century militaria auctioneer Malcolm Claridge joins specialists at 25 Blythe Roaad

The Haggerty Museum of Art celebrates its 30th anniversary with three new, and one evolving exhibition

Art Institute of Chicago opens first museum survey of work of American photographer John Gossage

Major solo exhibition by Christian Marclay opens at White Cube Bermondsey

Milwaukee Art Museum, in partnership with Google, will offer a semester-long Massive Open Online Course

Noel Barrett's $1.1M auction had just the thing for collectors who like to venture into little-known territory

Larry Clark $100 Photograph Sale to be held at Ooga Booga in Los Angeles on January 29th

Exhibition takes Stuart Hall essay as its point of departure

'Wolf Vostell: A Possible Survey on Video (1983-1993)' opens at Rooster Gallery

Twelve contemporary artists dynamically explore identity, narrative, and war in daily life

Exhibition of new works by Egyptian artist Armen Agop opens at Art Plural Gallery

Fridericianum Director Susanne Pfeffer to curate the Swiss pavilion at the Venice Biennale

Exhibition lets artists use the suggestive and antique jail rooms of the Grimaldina Tower

The Mexican Museum hires Cayetana S. Gómez as President and Chief Executive Officer

1960 Ferrari 400 Superamerica SWB Cabriolet headlines RM's Amelia Island sale

Internationally acclaimed artist Mark Dion at Colgate University's Clifford Gallery and Picker Art Gallery

Herbert F. Johnson Museum of Art exhibition features Cornell graduate Margaret Bourke-White

Veteran attorneys launch bi-coastal art law firm in response to booming market




Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .

 



Founder:
Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez
Writer: Ofelia Zurbia Betancourt

Royalville Communications, Inc
produces:

ignaciovillarreal.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. Hommage
to a Mexican poet.
Hommage
       

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful