Lalla Essaydi's photographs deal with a rebellion against the limited domain of Essaydi, a situation she that she vividly represents in Converging Territories.
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- Converging Territories: 22 – Lalla Essaydi
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- We speak to Lalla Essaydi about her first solo gallery show in Dubai
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Converging Territories: 22 – Lalla Essaydi
Skip to content. Converging Territories: 22 — Lalla Essaydi It is obvious that while my photographs are expressions of my own personal history, they can also be taken as reflections on the life of Arab women in general. Like this: Like Loading Anthony Time's Flow Stemmed is a notebook of my wild readings. Post a Comment Cancel reply Enter your comment here Fill in your details below or click an icon to log in:. Email required Address never made public.
Name required. A collection of photographs, paintings, videos and sculptures exploring the theme of identity are featured throughout. Morocco-born artist Lalla Essaydi's exhibition recasts the exoticised Arab women of Orientalist paintings and returns the female subjects their agency. For one thing, she personally straddles geographical divides, having been born in Morocco and today living between there and New York.
Morocco-born artist Lalla Essaydi subverts the Western male gaze in her striking photographs of contemporary Arab women, who are swathed in lush fabric and often covered with text in henna. These influential regional artists are using their platforms to generate awareness on the issues that matter.
Converging territories 28 by Lalla Essaydi on artnet
What emerges from a viewing of "I AM" is a sense of the enormous diversity of aims and concerns of Middle Eastern women artists working today, and a desire to learn more. The photos are eerily reminiscent of 19th century Orientalist paintings that fetishized Arab women through a Western gaze.
In a land far away, where the halls are lined with student and faculty work, where your imagination is brought to life, lies the Kimura Art Gallery. Located on the second floor of the art building, most students outside of the art department have never heard of the internationally renowned gallery lying just on the other side of campus.
Their hard work and dedication to the gallery is what keeps everything running smoothly.
We speak to Lalla Essaydi about her first solo gallery show in Dubai
The unself-conscious, joyfully naked children in the photographs of Sally Mann are like forest sprites, splashing in the cool water of a muddy river at twilight, frolicking in the languid Southern summer, or swooping through the primordial woods within whose depths lurks black magic. That's the uneasy spell cast by Mann, a respected photographer who, as a young mother with three youngsters, enlisted her children to be her models.
The response to the children's nudity, in particular, has led to censorship in several prominent publications and sometimes obscured her artistic accomplishment. There have been objections to her kids being too young to understand the implications of their poses, some of which are provocative; accusations of child abuse; fear of pedophiles and stalkers; as well as child pornography laws that threaten the artist and the pursuit of her work.
Though Mann has said she thinks "childhood sexuality is an oxymoron," and emphatically stated that her photographs are not erotic, it's what's in the eye and mind of beholders that's troubling and difficult to reconcile. The name is borrowed from an Arabic word, rawiya, which also refers to a group of female photographers working as a collective in the Middle East. But the title makes it sound as if this provocative show — devoted to photography by women from Iran and the Arab world — is just another exercise in narrative, just more storytelling, a needless addition to the overflowing swamp of narrative that drowns out critical thinking.
Her large-scale photographs are based on nineteenth-century Orientalist paintings, but work to subvert those stereotyped and sexualized representations.
Orientalist painting is a term used by art historians for 19th century art depicting the Middle East. The exhibition features 19th-century French Orientalist paintings and works on paper from the collection of the Dahesh Museum, placed alongside photographs by contemporary artists Lalla Essaydi and Ibi Ibrahim.
The henna with which the text is painted is, of course, a traditional woman-identified substance for feminine body decoration in most Muslim cultures , but writing is not part of this context. Neither a woman's body, nor her clothing, nor the ground on which she walks, are the appropriate sites of a linguistic text, certainly not a text in classic Arabic, written in classic calligraphy.
This language and this artistic practice of writing are reserved primarily for sacred texts, and are privileged in and of themselves due to their direct association with the inscription of the Qu'ran. Since its inception in the second half of the twentieth century , the use of calligraphy in Islamic painting, printmaking, and ceramics has been increasingly widespread throughout Islamic art.
Yet the vast majority of calligraphic texts are still Qu'ranic verses. Only a small percentage are pre-Islamic poetry in Arabic, Persian, or Urdu; an even smaller percentage use Arabic calligraphy to transcribe secular modern poetry or contemporary political commentary.
The text reverberates in different ways throughout these images, yet we also see that the text requires constant renewal to survive. C-Print the text, even as the earlier layers of henna fade into unreadability or flake onto the ground around them, is symptomatic of the tenuousness of the impact of women's-rights movements in many Islamic societies.
These emotions and their articulation speak as well to the condition of global Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide. Forged from a partnership between a university press and a library, Project MUSE is a trusted part of the academic and scholarly community it serves.
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