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"Art Middle East Exhibitions"
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Museums and the ancient Middle East : curatorial practice and audiences
Museums and the Ancient Middle East is the first book to focus on contemporary exhibit practice in museums that present the ancient Middle East. Bringing together the latest thinking from a diverse and international group of leading curators, the book presents the views of those working in one particular community of practice: the art, archaeology, and history of the ancient Middle East. Drawing upon a remarkable group of case studies from many of the world's leading museums, including the British Museum, the Louvre, the Metropolitan Museum of Art, the Ashmolean Museum, and the Vorderasiatisches Museum in Berlin, this volume describes what curators have done in order to present a previously unseen side of the Middle East region and its history. Highlighting overlaps and distinctions between the practices of national, art and University museums around the globe, the contributors to the volume are also able to offer a unique insight into the types of challenges and opportunities facing the 21st-century curator. Museums and the Ancient Middle East should be of interest to academics and students engaged in the study of museums and heritage, archaeology, the ancient Near East, Middle Eastern studies and ancient history. The unique insights provided by curators active in the field ensure that the book should also be essential reading for museum practitioners around the globe.
Book
Aestheticizing public space
A photo-collage of past and present street visuals in Asia, Aestheticizing Public Space explores the domestic, regional, and global nexus of East Asian cities through their graffiti, street art, and other visual forms in public space. Attempting to unfold the complex positions of these images in the urban spatial politics of their respective regions, Lu Pan explores how graffiti in East Asia reflects the relationship between aesthetics and politics. The book situates itself in a contested dynamic relationship among human bodies, visual modernity, social or moral norms, styles, and historical experiences and narratives. On a broader level, this book aims to shed light on how aesthetics and politics are mobilized in different contested spaces and media forms, in which the producer and the spectator change and exchange their identities.
eBook
The Humanity Game: Art, Islam, and the War on Terror
This essay examines the connections between art and politics in Middle East arts events in the U.S. since 9/11/2001. It critiques the universalist assumptions about humanity and the agentive capacity of art to build bridges of understanding in contexts of so-called civilizational conflict-assumptions that have strong roots in anthropology. By juxtaposing evidence of how the notion of \"humanity\" is deployed in exhibitions of Palestinian art with an analysis of the three more predominant types of arts events (historical Islamic art, Sufi arts, and contemporary art by Muslim women), the essay demonstrates how American secular elite discourse on Middle Eastern art corresponds to that of the \"War on Terror.\"
Journal Article
Artistic Taste-Making at the Sharjah Biennial
This poster investigates the role that the Sharjah Biennial (SB), an international art showcase in the United Arab Emirates, plays in the development of a local artistic and cultural taste. It argues that the SB contributes to the molding of local aesthetic values through its selection of curatorial themes, artists, artworks, and, especially, venues. Using field visits, interviews, and archival research informed by sociological and anthropological theories on aesthetics, the author shows that organizers of public art exhibitions and programs are in a key position to shape the art to which people are exposed and how this, in turn, creates a public valuation of aesthetics. This project fills a gap in contemporary biennial literature by shedding light on the pivotal roles of art events in shaping societal aesthetic values.
Journal Article
Word into art : artists of the modern Middle East
\"Word into Art\" is a definitive study of the revolutionary ways in which contemporary artists from the Middle East and North Africa have utilized the Arabic script as a medium for modern artistic expression. Written by Venetia Porter, Curator of Islamic and Contemporary Middle Eastern Art at the British Museum, the volume documents a pivotal shift in the 20th and 21st centuries: the movement from traditional Islamic calligraphy toward Hurufiyya (the Letter Movement). The work explores how the \"Word\"—sacred, poetic, and political—has been deconstructed, abstracted, and reinvented across various media, including painting, sculpture, and digital art, to navigate the complexities of modern Arab, Persian, and Turkish identity.
BOOK
Cover Art Concept
Bride and Groom depicts a couple of nameless and faceless individuals who fundamentally represent all of us: two people walking side by side, intersecting in some areas but standing tall and free at the same time. The painting was featured as the poster and catalog cover for my exhibition Intersections, which took place in March 2019 at the Gezira Art Center in Cairo under the auspices of the Egyptian Ministry of Culture. The idea behind the painting, and the exhibition as a whole, is that all people, objects, and ideas, no matter how different they appear on the surface, connect with one another on some level and at some point. We may have crossed paths with someone and never realized it, or we may have encountered an object that might have been important to us without our...
Journal Article
Dalmatinski motivi kod Miroslava Krleže. Prostor, kultura i sukob na pograničju
The aim of this article is to deal with the disputable role Dalmatia played in the Croatian-Italian-Serbian borderlands, referring to the foremost Croatian and Yugoslav writer Miroslav Krleža. Although he is mostly associated with the Croatian North, i.e., historical Croatia-Slavonia, called sometimes the Panonian cultural complex, his engagement in the discourse of Dalmatia after World War Two cannot be underestimated. In the period 19 50-19 51 Krleža prepared two exhibitions of medieval art (one staged in Paris as L'art médiéval Yougoslave and the other in Zagreb as Zlato i srebro Zadra) and wrote two introductions to their catalogues. In them, he builds a concept of a separate \"South Slavic civilisation\" that \"negates\" the bipolarism of Roman-Byzantine competing cultural models (Slavia Romana vs. Slavia Orthodoxa, according to Picchio). Referring to the spatial approach to literature, I attempt to situate the post-war Yugoslav discourse, radically confrontational and militaristic, within historical antagonistic discourses (Croatian-Italian-Serbian).
Journal Article