scholarly journals Stories of Continuity. Contemporary Art and Collection of Islamic Art

2017 ◽  
Vol 16 (1) ◽  
pp. 8-21
Author(s):  
Monia Abdallah
Keyword(s):  
Contemporary Art ◽  
British Museum ◽  
Islamic Art

Nos últimos trinta anos, o Islã, entendido como civilização islâmica, tem sido, em vários sentidos, crescentemente associado à noção de arte contemporânea. Por exemplo, muitos grandes museus no mundo incluem, em suas coleções de arte islâmica histórica, trabalhos pertencentes a suas coleções de arte contemporânea originárias do Oriente Médio. Essa associação entre artecontemporânea e arte islâmica levou à noção de Arte Islâmica Contemporânea, que se baseia na ideia de permanência da arte islâmica. Assim, a arte islâmica pode ser vista como um “umanacronismo de uma arte medieval que nunca morreu” (Amy Goldin) e recebe a atribuição de um caráter trans-histórico: arte, produzida hoje em países muçulmanos ou por artistas ligados ao Islã por seus lugares de nascimento ou por ascendência, é compreendida como prolongamento da arte islâmica hoje. Essa interpretação também funda-se na ideia de permanência da civilização islâmica e em uma concepção ahistórica do tempo. Esse artigo analisará essa concepção alternativa de periodização da arte islâmica estudando o caso do British Museum erelacionando-a ao discurso de vários historiadores e autores não-ocidentais. O tema em questão vai além do campo da arte: esse renascimento da arte islâmica é um meio de estabelecer,através da arte, a continuidade cultural da civilização islâmica.

Working in metal: Mutual influences between the Islamic world and the medieval West

1977 ◽  
Vol 109 (1) ◽  
pp. 3-16 ◽  
Author(s):  
G. Fehérvári
Keyword(s):  
World War I ◽  
British Museum ◽  
Islamic Art ◽  
World War ◽  
Glass Bottle ◽  
Islamic World ◽  
Small Glass

The enamelled Islamic dish which is in the Ferdinandeum at Innsbruck is well known to scholars of Islamic art. It is a unique and outstanding piece of work, yet, surprisingly, so far no monograph has been devoted to it. One of the earliest references to this object was made by Max van Berchem and J. Strzygowski. In 1910 it was on show at the famous Islamic exhibition in Munich. Then the dish was included in Alois Riegel's publication, which came out soon after World War I. The late L. A. Mayer mentioned it again briefly in connexion with a small glass bottle in the British Museum, which, like the dish, depicts dancing girls. Then an article by Hugo Buchtal referred to it once more. More recently the dish was described and illustrated by Sir Harry Garner.

Jordan National Gallery of Fine Arts

2018 ◽  
Author(s):  
Sarah Ann Rogers
Keyword(s):  
Contemporary Art ◽  
Royal Society ◽  
Fine Arts ◽  
Video Art ◽  
National Gallery ◽  
Islamic Art ◽  
Non Profit ◽  
Governmental Organization ◽  
Islamic World ◽  
Founding Director

The Royal Society of Fine Arts, a private, non-profit, non-governmental organization with the goal of promoting the visual arts in Jordan and the region, established the Jordan National Gallery of Fine Arts in 1980. Located in two buildings in the historic district of Jabal al Weibdeh in the capital of Amman, the National Gallery houses over two thousand five hundred paintings, drawings, sculptures, ceramics, photographs, weavings, installations, and video art by modern and contemporary artists from Arab, Islamic, and developing countries. One of the institution’s most important projects was the 1989 exhibition, Contemporary Art from the Islamic World, which opened at the Barbican Centre in London. Edited by founding director Dr Wijdan F. Al-Hashemi and accompanied by an extensive catalogue, the exhibition represented the most extensive show of modern Islamic art in Europe, with over two hundred pieces and inclusive of over a hundred artists from twenty-three countries in the Islamic world. In 2009, the National Gallery launched a second pioneering project: the Mobile Museum. Each week, a van converted into a gallery shares the work of Jordanian artists, along with art workshops and artist talks, with villages throughout Jordan’s rural countryside.

Il Convegno AICA del 1984. La Presidenza Hăulică e la questione dei Marmi del Partenone

2020 ◽  
Vol 65 (1) ◽  
pp. 157-173
Author(s):  
Alexandros Diamantis
Keyword(s):  
Contemporary Art ◽  
International Association ◽  
British Museum ◽  
The Other ◽  
Xxth Century ◽  
The Face ◽  
Complex Relationships ◽  
The One ◽  
Greek World ◽  
Art Critics

"The 1984 Conference of the International Association of Art Critics. The Presidency of Dan Hăulică and the Issue of the Parthenon Sculptures. In 1984, the Conference of the International Association of Art Critics (AICA), chaired by the Romanian Dan Hăulică (1932-2014), was organized for the first time in Greece; the event offered an opportunity for historians and art critics of various nationalities to meet. The theme of the conference, „Contemporary art and the Greek world. The XXth century in the face of the civilizations that have followed one another in the Greek space”, on the one hand honored the host country and on the other, placing the accent on the relationship between XXth century art and the Western artistic tradition, was part of the international discussion on the end of the avant-gardes. The complex relationships between the ancient and the contemporary were discussed in terms of influences, continuity and discontinuity. Particular attention was paid to the concept of myth and the mythical dimension of contemporary art. On the other hand, the generic definition of „Greek world"", intentionally chosen by the Greek section of the AICA, re-proposed the national narrative of an essentially unitary historical-artistic development. The Conference also had a dimension of international political significance connected to the fact that the previous year the AICA, an organization affiliated with UNESCO, had approved a motion for the return to Greece of the Parthenon marbles kept at the British Museum. In Athens, the confirmation of solidarity with the Greek cause was also a matter of electoral campaign for the renewal of the Presidency of the AICA. Keywords: AICA Congress, art discourse, contemporary art, Parthenon marbles, classical heritage, myth "

“Muslims to Take Over Institute for Contemporary Art”: The 1976 World of Islam Festival

2008 ◽  
Vol 42 (1-2) ◽  
pp. 40-47 ◽  
Author(s):  
Anneka Lenssen
Keyword(s):  
Contemporary Art ◽  
Modern Art ◽  
Islamic Art ◽  
Single Event ◽  
The West ◽  
The World ◽  
Visual Expression ◽  
Do So

The terms “Islamic” and ‘Arab” are not ideal instruments for classifying modern or contemporary art, for they are meta-categories that can variously encompass Muslims and non-Muslims, and Arabs and non-Arabs. Nonetheless, as historians of modern art in Islamic regions, we seem to have inherited a longstanding commitment to Islamic art as an epistemologically unique practice that produced limitless abstract patterns and other “non-Western” visual expression. It is time to move beyond such overburdened lineages. In this paper, I aim to historicize the formulations of a specific Arabo-Islamic aesthetic that emerged in the 1970s. I do so by a study of a single event and its metacultural claims: the World of Islam Festival held in London in 1976. The Festival projected optimistic countercultural options for art and civilization that remain instructive today, while the complexity of its organizing structures demonstrates the limitations of the West/rest paradigm in interpreting its artistic products.

scholarly journals Back to the Future : art contemporain du Moyen-Orient et expositions temporaires au British Museum

2018 ◽  
Vol 9 (1) ◽  
pp. 45-58
Author(s):  
Monia Abdallah
Keyword(s):  
Middle Eastern ◽  
British Museum ◽  
Islamic Art ◽  
The Future ◽  
Temporary Exhibitions

The confrontation between contemporary and ancient art, within the framework of temporary exhibitions or in the context of permanent collections, is not new, and examples are numerous. This article shows, through a description of a variety of temporary exhibitions organized by the British Museum, bringing together contemporary Middle Eastern and ancient Islamic art, the ideological consequences of such juxtapositions which consistently favour continuity over rift.

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