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"Islamic art objects."
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Ancient splendors: in New York and Cleveland, exhibitions the way they ought to be done
'Egypt's Dazzling Sun: Amenhotep III and His World' (Cleveland, OH), an exhibit of Egyptian art objects, and 'Al-Andalus: The Art of Islamic Spain' (New York, New York), an exhibit of Islamic art objects, have opened and will run through Sep 27, 1992.
Magazine Article
Dispatch: Doha
Vying for cultural influence on a global scale is a national project in Qatar. One of the most ubiquitous slogans seen emblazoned on billboards throughout the country - \"Qatar Deserves the Best\" - reflects the sentiment that Qatar has the money and clout to become an international powerhouse. The past ten years have been a heady time for Doha, armed with a huge budget to buy artwork and to develop new institutions for Islamic, modern, contemporary and Orientalist art, which resulted in exhibitions and events popping up all over the city. However, after a restructuring and rebranding of Qatar Museums Authority (QMA) into Qatar Museums (QM) in 2014 as a way to further engage with the public as an institutional and cultural partner - a streamlined private institution for the public good, as opposed to a governmental organization - the focus has intensified on prestige projects such as the Jean Nouvel-designed National Museum of Qatar, scheduled to open in late 2016, and the planned Art Mill, currently in the process of selecting a design team to redevelop the Qatar Flour Mills site into a contemporary art complex, along with the development of local emerging talent.
Magazine Article
Destroyed—Disappeared—Lost—Never Were
To write about works that cannot be sensually perceived involves
considerable strain. Absent the object, art historians must stretch
their methods to, or even past, the breaking point. This concise
volume addresses the problems inherent in studying medieval works
of art, artifacts, and monuments that have disappeared, have been
destroyed, or perhaps never existed in the first place.
The contributors to this volume are confronted with the full
expanse of what they cannot see, handle, or know. Connecting object
histories, the anthropology of images, and historiography, they
seek to understand how people have made sense of the past by
examining objects, images, and architectural and urban spaces.
Intersecting these approaches is a deep current of reflection upon
the theorization of historical analysis and the ways in which the
past is inscribed into layers of evidence that are only ever
revealed in the historian's present tense.
Highly original and theoretically sophisticated, this volume
will stimulate debate among art historians about the critical
practices used to confront the formative presence of destruction,
loss, obscurity, and existential uncertainty within the history of
art and the study of historical material and visual cultures.
In addition to the editors, the contributors to this volume are
Michele Bacci, Claudia Brittenham, Sonja Drimmer, Jaś Elsner, Peter
Geimer, Danielle B. Joyner, Kristopher W. Kersey, Lena Liepe,
Meekyung MacMurdie, and Michelle McCoy.
eBook