Contesting Labels: Revisiting old Questionnaires

2020 ◽  
Vol 54 (1) ◽  
pp. 50-70
Author(s):  
Şebnem Yücel ◽  
Serhan Ada
Keyword(s):  
Arab World ◽  
Modern Art ◽  
Artistic Production ◽  
Primary Documents

AbstractAs a response to several questionnaires, manifestos, interviews, and letters that were included in the book Modern Art in the Arab World: Primary Documents, this article carries out a new questionnaire with seven artists form various backgrounds and geographies, in an attempt to update and re-question some of the issues that were highlighted in the collected essays. The questionnaire includes three questions, each focusing on a different issue. The first issue considers the validity of the term “Arab Art,” the second tries to identify the main dynamics of contemporary artistic production, and the last one questions the relation of contemporary production of arts to geography and history. The following interviews have been edited for consistency and clarity.

Locating Modern Arab Art: Between the Global Art Market and Area Studies

2020 ◽  
Vol 54 (1) ◽  
pp. 25-36
Author(s):  
Haytham Bahoora
Keyword(s):  
Arab World ◽  
Academic Discipline ◽  
Modern Art ◽  
Art Market ◽  
Islamic Art ◽  
Institutional Barriers ◽  
Area Studies ◽  
Primary Documents ◽  
Global Art ◽  
Visual Cultures

AbstractThis essay situates the publication of Modern Art in the Arab World: Primary Documents in the context of an expanding global interest in modern Arab art as well as the study of modern Arab art as an academic discipline. The essay first examines the implications of the cultivation of a new museum and gallery infrastructure for modern Arab art in the Arab Gulf. It then considers how the academic study of modern Arab art has faced institutional barriers, due largely to the overwhelming academic focus on Ancient Studies and Islamic art. Finally, it suggests that Modern Arab Art in the Arab World provides scholars with a comprehensive textual archive that calls for a historicized approach to theorizing the emergence of modernist aesthetics in Arab visual cultures.

scholarly journals Modern Art in the Arab World: Primary Documents

2018 ◽  
Vol 7 ◽  
pp. 110-112
Author(s):  
Golnar Yarmohammad Touski
Keyword(s):  
New York ◽  
Arab World ◽  
Modern Art ◽  
Museum Of Modern Art ◽  
Primary Documents ◽  
Duke University

Book Review: Anneka Lenssen, Sarah A. Rogers, and Nada M. Shabout. Modern Art in the Arab World: Primary Documents. New York: The Museum of Modern Art, in association with Duke University Press, 2018. 464 pp.; 49 ills.; 51 b/w ills. Paperback, $40 (1633450384, 9781633450387)

Reading Modern Art in the Arab World from Morocco and Qatar

2020 ◽  
Vol 54 (1) ◽  
pp. 5-13
Author(s):  
Holiday Powers
Keyword(s):  
Arab World ◽  
Modern Art ◽  
Field Of Study ◽  
Primary Documents

AbstractModern Art in the Arab World is a collection of approximately 125 primary documents dealing with the debates around modernism in the Arab world dating between 1882 to 1987. This essay responds to the book from two perspectives: first, as an academic researching modernism in Morocco, and second, as a Qatar-based professor that teaches undergraduate courses about modern and contemporary Arab art. The book highlights a broadly defined and heterogeneous Arab world that extends from Morocco to the Gulf, and the selected texts create new conversations between these varied movements. It is evidence of the changing nature of this field of study. As a tool for teaching, the book offers signposts about what the editors consider to be the most significant debates and events in a given place while also creating the possibility for reading these movements transnationally.

On Language and Modern Art: A Reflection

2020 ◽  
Vol 54 (1) ◽  
pp. 71-79
Author(s):  
Anneka Lenssen ◽  
Nada Shabout ◽  
Sarah Rogers
Keyword(s):  
Middle East ◽  
Arab World ◽  
Modern Art ◽  
Art World ◽  
Primary Documents ◽  
Global Art ◽  
Academic Study

AbstractThis essay, written collectively by the co-editors of the publication Modern Art in the Arab World: Primary Documents (2018), provides an account of the book's conception, institutional backing, and multi-year process of research and editing. The authors reflect in particular on the translational politics that obtain in the global art world and the museum sector as well as the academic study of the modern Middle East.

Modern Art in the Arab World, Primary Documents: A Review Essay

2020 ◽  
Vol 54 (2) ◽  
pp. 342-351
Author(s):  
Hamid Keshmirshekan
Keyword(s):  
Contemporary Art ◽  
North Africa ◽  
Arab World ◽  
Modern Art ◽  
Arab Countries ◽  
The Past ◽  
Scholarly Output ◽  
Primary Documents ◽  
The Subject ◽  
Critical Writings

The study of modern and contemporary art from Islamic lands, and particularly the Arab world, is a developing field. Over the past few decades, a variety of publications on modern and contemporary art from the Arab world and its diasporas has appeared in art magazines, journals, and exhibition and auction catalogues. There is, however, still a lack of scholarly literature and reliable resources on the subject. Many such existing sources have focused on productions that are largely in line with certain interests or agendas pursued by the particular magazine/journal, exhibition, or art market in question. Therefore, although recent scholarly output has played a crucial role in introducing modern art in the Arab countries in the Middle East and North Africa, these publications have not sufficiently filled the gap of discussion regarding certain aspects of the subject. Modern Art in the Arab World, a collection of critical writings by Arab intellectuals and artists, offers an unparalleled source for the study of modernism in the Arab world. Mapping the primary documents with additional entries written by the editors and other scholars, this book addresses the major historical, conceptual, theoretical, and aesthetic issues that inform the modern art paradigm in the Arab world. Arranged largely in a chronological order, it explores the art of the Arab world by tracing the main discourses that have shaped artistic practices and transformations in the region from the mid-nineteenth century until the late 1980s.

Locating Primary Documents: Global Modernism and the Archival Turn

2020 ◽  
Vol 54 (1) ◽  
pp. 14-24
Author(s):  
Hala Auji
Keyword(s):  
Art History ◽  
Arab World ◽  
Modern Art ◽  
Primary Sources ◽  
Primary Documents ◽  
History Of ◽  
Global Art

AbstractThis essay considers the contribution of Anneka Lenssen, Sarah Rogers, and Nada Shabout's Modern Art in the Arab World: Primary Documents to global art history. In particular, the essay addresses the archival turn, the challenges of language and translations in the publication of primary sources, and the continued need to challenge Eurocentric views of and approaches to global modernism. This includes considering how Modern Art and the Arab World's contributions aim to upend Western preconceptions about modern art from the “Arab world,” and demonstrating how such publications can serve as sources for critical evaluations and reconsiderations of the history of global modernism in general.

Artistic Vanguards in Brazil, 1917–1967

2019 ◽  
Author(s):  
Gênese Andrade
Keyword(s):  
Popular Culture ◽  
Modern Art ◽  
Art Exhibition ◽  
Social Commitment ◽  
Mario De Andrade ◽  
Artistic Production ◽  
Concrete Art ◽  
Strong Impulse ◽  
The Way ◽  
Brazilian Theater

The 1922 Modern Art Week is considered the initial landmark of artistic vanguards in Brazil. However, before it was held, Anita Malfatti’s 1917 exhibition, which presented expressionism to Brazilians, and the articles of Oswald de Andrade announcing in the local press the poetry of Mário de Andrade and futurism caused significant polemics and opened the way for renovation. In the middle of the 1920s, the contacts of various artists with European vanguards—especially cubism—and the reinterpretation of the national element and popular culture with the incorporation of this repertoire, with an emphasis on cosmopolitism, established and solidified modernism in various artistic areas. In the 1930s, social commitment, the revalorization of the regional, and adhesion to leftwing ideologies changed the focus of artistic production, leading to the reorganization of groups and the emergence of new protagonists: Patrícia Galvão and Flávio de Carvalho, among others. The return to classic forms and new experimentalisms marked the 1940s and 1950s, characterized by the reappearance of the sonnet, with Vinicius de Moraes, Cecília Meirelles, Murilo Mendes, and Jorge de Lima; renovations in language that reached a peak with Guimarães Rosa; photomontages by Jorge de Lima. Concrete art and poetry, notably the National Concrete Art Exhibition (1956) and neo-concretism, returning to the strategy of the manifestos and journals of the 1920s, revived the same polemical reception and bitter rivalries. In the following decade, the revisiting of Oswald de Andrade’s work, especially the idea of anthropophagy, gave a strong impulse to tropicalism, Cinema Novo, and a greater renewal in Brazilian theater, with the staging of O Rei da Vela by the Teatro Oficina group (1967), the culminating point of a fifty-year cycle of artistic vanguards in Brazil.

Impressionism (Painting)

2018 ◽  
Author(s):  
Jeremy Spencer ◽  
J. Matthew Huculak ◽  
Carmenita Higginbotham ◽  
Anita Callaway ◽  
Eksuda Singhalampong
Keyword(s):  
Modern Art ◽  
New Products ◽  
Compositional Techniques ◽  
Modern Life ◽  
Trade Routes ◽  
Artistic Production ◽  
The Core ◽  
Natural Landscapes ◽  
The World ◽  
Woodblock Printing

Impressionism is an artistic movement that flourished in France between 1860 and 1890. The term has been widely adopted around the world to describe artistic production that follows the principles and methodologies of the "Impressionists." Opposing Realism, a technique that valued accurate renderings of a scene ("to copy nature"), Impressionists sought to "observe nature" and to capture its transitory states of light and feeling. Impressionists produced paintings of natural landscapes as well as the spectacle of modern life to express an essence of modernity. They took advantage of technological innovations like collapsible paint tubes and synthetic colors, which allowed them to work quickly en plein air and use bright palettes. Modernity also brought in new products to Paris. The opening of trade routes between Japan and Europe exposed French artists to different compositional techniques through Japanese woodblock printing, specifically the ukiyo-e print. Monet claimed that Japanese artists "taught us [impressionists] to compose differently." The original movement fractured in the mid-1880s and the core artists no longer painted or exhibited together. Originally criticized for artistic incompetence that did not reflect prevailing norms in the artistic academy, Impressionist paintings are among the most reproduced and sought after popular works of modern art.

Matisse, Henri (1869–1954)

2018 ◽  
Author(s):  
Chara Kolokytha
Keyword(s):  
20Th Century ◽  
Modern Art ◽  
Still Life ◽  
Henri Matisse ◽  
Artistic Production ◽  
The World ◽  
20Th Century Art ◽  
Gustave Moreau

Henri Matisse is a key figure in French modernism and is considered to be the most influential colourist of 20th-century art. A French painter, sculptor, and printmaker, Matisse studied painting in Paris at the École des Beaux Arts under Gustave Moreau, the École des Arts Décoratifs, and the Académie Julian under W.A. Bouguereau. Matisse’s early paintings demonstrate a dark, somber, and dull palette and a naturalist approach to his selected themes (La liseuse, 1894). This progressively gave way to more vivid pure colors (Still Life with Oranges, 1899; Académie bleue, 1899–1900) and impressionist execution (Study of a Nude, 1899). In 1903, Matisse began to use intense pure colors, marking a break with both naturalist and impressionist traditions (Portrait d’André Derain, 1905). He inaugurated a new style that contemporary critics named Fauvism (Le Bonheur de vivre, 1905–1906). From the early 1920s, Matisse enjoyed a worldwide reputation, being famous both for his masterfully colored compositions and for the joyful atmosphere of his works, which became the hallmark of his overall artistic production. Works by Matisse can be found in most museums of modern art around the world in addition to primary displays at the Museum Matisse in Nice and in his birthplace, Le Cateau Cambrésis.

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