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"Islamic art Exhibitions"
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Re-orientations : Europe and Islamic art from 1851 to today
\"A wide variety of works explore the relationship between Islamic art and modernism in Western Europe. The art and architecture of the Islamic world strongly influenced the development of Western modernism. Re-Orientations reflects the diversity of this fascinating cultural exchange by showcasing a rich variety of works from the mid-nineteenth century to the present day, including drawings, watercolors, paintings, photographs, ceramics, textiles, videos, installations, and more.During the nineteenth century European collectors caught in Orientalism and 'Islamophilia' began to acquire Islamic art. With the advent of modernism, avant-garde artists and those working in the applied arts sought inspiration in the forms and colors of Islamic art. The catalog, which accompanies a 2023 exhibit at the Kunsthaus Zürich, delves into this historical context and more to examine the relationships between the featured works. Re-Orientations showcases art by Hélène Adant, Anila Quayyum Agha, Marwan Bassiouni, Edmond Bénard, Henriette Browne, Karl Gerstner, Jean-Léon Gérôme, Jaʻfar ibn Najaf ʻAli, Elisabeth Jerichau-Baumann, Wassily Kandinsky, Gülsün Karamustafa, Bouchra Khalili, Paul Klee, J. & L. Lobmeyr, Henri Matisse, Gabriele Münter, MuhammadʻAli Ashraf, Muhammad Jaʻfar, Muhammad Yusuf, Osman Hamdi Bey, Lotte Reiniger, Charles Claude Rudhardt, and Salah al-Din, as well as historic pieces by unknown artists from Algeria, Egypt, India, Iran, Iraq, Morocco, Spain, Syria, Tunisia, Turkey, and Uzbekistan.\"-- Provided by publisher.
'From the Prophet to Postmodernism? New World Orders and the End of Islamic Art', in Elizabeth Mansfield, ed., Making Art History: A Changing Discipline and its Institutions, London and New York: Routledge, 2007. Reproduced by permission of the author and publishers
This article addresses the peculiar fact that in most art historical surveys the narrative of Islamic art history ends around 1800 CE. It considers the roots of this idiosyncrasy and its implications for attempts to coopt or instrumentalize the objects of Islamic art in the decade after 2001 in discourses of liberalism and tolerance in which an originary Islam was contrasted with modern more 'fundamentalist' understandings of religious belief and practice. It explores contradictions inherent in related attempts to locate models for Muslim religious subjectivity in medieval artefacts secularized as art objects. (Author abstract)
Journal Article
Re-orientations : Europe and Islamic art from 1851 to today
The art and architecture of the Islamic world strongly influenced the development of Western modernism. Some 170 works from the mid-19th century to the present day illustrate this fascinating cultural exchange. Beguiling examples of fine and decorative art reflect the diversity of this lively transfer.
BOOK
Spotlight on Islamic art of Africa in Paris
\"The Islamic Treasures of Africa: From Timbuktu to Zanzibar\" is on display at L'Institut du Monde Arabe in Paris through Jul 30, 2017. Highlighting not only the art and culture of West Africa, the Horn of Africa, Upper Nile Valley and the Swahili region--the areas historically known in Arabic as bilad al-sudan (the land of the black peoples)--this unique exhibition, organized with the support of the governments of Senegal and the Cote d'Ivoire, also explored the relationship between the Arab and Muslim world with sub-Saharan Africa. Through trade, beginning in the eighth century, Islam spread throughout the region. Featuring 300 pieces of artwork, the initial galleries displayed the early art and craftsmanship of sub-Saharan Africa, including the calligraphy of sacred texts and manuscripts.
Journal Article
Caliphs and kings : the art and influence of Islamic Spain
\"Al-Andalus (Islamic Spain), like no other region of the Islamic world evokes a nostalgic perception of a lost paradise: For many, it provides a model of medieval cultural and religious tolerance, intellectual endeavor, and artistic excellence. Caliphs and Kings: The Art and Influence of Islamic Spain explores the magnificent artistic achievements of al-Andalus from the seventh to fifteenth centuries, and its lasting influence on European Christiandom and Jewry.\" \"Caliphs and Kings celebrates the centenary anniversary of The Hispanic Society of America, a unique institution dedicated to the study of the cultural and artistic traditions of Spain. For the first time, the splendid Islamic collections of the society, rarely made available to the public, have been assembled into a single exhibition and volume, supplemented with a small number of objects from the collections of the Smithsonian Institution. Caliphs and Kings provides a window into Islamic empire of the west, and its place in Spanish art and history.\"--BOOK JACKET.
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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
Muhammad at the Museum: Or, Why the Prophet Is Not Present
This article analyses museum responses to the contemporary tensions and violence in response to images of Muhammad, from The Satanic Verses to Charlie Hebdo. How does this socio-political frame effect the Metropolitan Museum of Art in NY, the V&A and British Museum in London, and the Louvre in Paris? Different genres of museums and histories of collections in part explain differences in approaches to representations of Muhammad. The theological groundings for a possible ban on prophetic depictions is charted, as well as the widespread Islamic practices of making visual representations of the Prophet. It is argued that museological framings of the religiosity of Muslims become skewed when the veneration of the Prophet is not represented.
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Al-Ṭayyib Ṣāliḥ's Season of Migration to the North, the CIA, and the Cultural Cold War after Bandung
In the fall of 1966, Ḥiwār magazine published al-Ṭayyib Ṣāliḥ's novel Mawsim al-hijrah ilā al-shamāl [Season of Migration to the North]. Arabic literary critics both hailed the novel in the Arabic press and mourned that it had been published by the Paris-based Congress for Cultural Freedom's Ḥiwār. The CCF had been revealed just months before to be a global covert cultural front of the Cold War founded and funded by the United States Central intelligence Agency, maintaining an extensive list of high profile literary magazines, including not only the Beirut-based Arabic magazines Ḥiwār and briefly Adab, but also the London-based Encounter, Bombay's Quest, and the African journals Black Orpheus in Ibadan and Transition in Kampala. In response to the 1955 Bandung conference for Afro-Asian solidarity, the CCF established a formidable network of its own, founding and funding African and Asian magazines, putting on conferences, art exhibits, and handsomely paying a significant cadre of intellectuals, writers, and artists worldwide. It would be more than a decade later that the CIA's domination of Afro-Asian literature would give way to the publication of the Afro-Asian Writers Association's trilingual (Arabic/English/French) journal Afro-Asian Writings (later to be called Lotus), a broadly imagined legacy of the 1955 Bandung Conference for Afro-Asian Solidarity and its celebration of decolonization, various forms of communism and socialism, and resistance literature in the third world.
Drawing from Encounter, Ḥiwār, and other journals of the CCF, the Arabic press, letters exchanged by Ṣāliḥ and Ḥiwār's editor Tawfīq Ṣāyigh, and the archives of the International Association for Cultural Freedom, this article argues that Season of Migration to the North, oft read as a postcolonial novel, is better understood as a product of American Cold War cultural imperialism. If its protagonist, Mustafa Sa'eed, might aspire, as though taking a page from Frantz Fanon, to liberate Africa with his penis as he beds a series of British women, seducing them with Orientalist fantasy, and if the novel's unnamed narrator might see that the newly independent Sudanese government was being corrupted by American cars, air conditioners, and opulent conferences and government ministries, the novel itself is doing something still more. As it reaches back intertextually to pre-Islamic poetry, the wine odes of 'Abbasid poet Abū Nuwās, and the tales of A Thousand and One Nights in British translation, Ṣāliḥ's novel exposes the long chain of empires subtending the dissemination of Arabic literature that left it vulnerable to becoming a terrain of cultural Cold War after Bandung's call for Afro-Asian solidarity.
Journal Article