Take a look at this interesting body of work…his painting Trees is particularly good.
I was first exposed to Lalla Essaydi during an art history course on Arab Portraiture with Campus Art Dubai 2.0. I was particularly intrigued because her art deals with Orientalism and the objectification of Eastern women as “exotic” creatures with little voice.
Orientalism in art history is defined as below:
“Orientalism” is a way of seeing that imagines, emphasizes, exaggerates and distorts differences of Arab peoples and cultures as compared to that of Europe and the U.S. It often involves seeing Arab culture as exotic, backward, uncivilized, and at times dangerous. Edward W. Said, in his groundbreaking book, Orientalism, defined it as the acceptance in the West of “the basic distinction between East and West as the starting point for elaborate theories, epics, novels, social descriptions, and political accounts concerning the Orient, its people, customs, ‘mind,’ destiny and so on.”
Romanticism of any culture tends to be problematic, but this Wikipedia summary beautifully undermines exactly why Orientalism was reflective of the type of patronizing influence the colonial powers had in the Arabian Peninsula.
Since the publication of Edward Said‘s Orientalism in 1978, much academic discourse has begun to use the term “Orientalism” to refer to a general patronizing Western attitude towards Middle Eastern, Asian and North African societies. In Said’s analysis, the West essentializes these societies as static and undeveloped—thereby fabricating a view of Oriental culture that can be studied, depicted, and reproduced. Implicit in this fabrication, writes Said, is the idea that Western society is developed, rational, flexible, and superior
Orientalism objectified all cultures under colonial rule leading to offshoots like arabesque, hindoo style, Chinoiserie, Japonisme and Turquerie. Apart from the fact that the very naming of these movements is offensive at best, it is important (if obvious) to note that they were more reflective of the colonizing powers view of the Orient than the actual Orient itself.
I am particularly interested in the Western depictions of the harems and their perception of eastern beauty. Demonizing or romanticizing a culture through its sexual practices is one common tool of propaganda. It’s a theme present in history from the Greeks & Romans, to modern day demonization of sexually permissive or sexually repressive cultures. In the suffocating, largely strict atmosphere of 19th Century Europe, the idea of the harem was at once attractive and repulsive. Although having mistresses was a common practice in 19th Century Europe, the illusion of monogamy was upheld by most “gentlemen.” To such a society the idea that “gentlewomen” could choose to reside in a life of luxury, and share a common partner openly was titillating.
However, for Eastern women, then and now, this perception is a huge burden. In describing the themes of her work, Essaydi states:
But my work reaches beyond Islamic culture to invoke the Western fascination, as expressed in painting, with the odalisque, the veil, and, of course, the harem. Here is another way in which my work cannot be read simply as a critique of Arab culture. Images of the harem and the odalisque still penetrate the present and I use the Arab female body to disrupt that tradition. I want the viewer to become aware of Orientalism as a projection of the sexual fantasies of Western male artists––in other words as a voyeuristic tradition
However, Essaydi’s work itself, while echoing that tradition, mimics many of its features. The result, to the uneducated observer, is a rehash of Orientalism that serves to further exacerbate the objectification of Eastern Women and of Arab culture.
In this respect, I feel like her earlier collections like Harem were more indicative of the themes of Arab female Identity because they were personalized self-portraits that reflected a complex, individual experience and because they were such obvious parody’s of the Orientalist tradition that even a lay-person would find it hard to take seriously as a stand-alone aesthetic piece.
While I am unsure whether her work does a good job of starting a dialogue on the perception of Eastern women in Western culture or of the consumption of a flat “commercialized” Eastern culture in the West, I do think it is an important subject to tackle.
It’s also a theme that is particularly important in a world where the commercial ideal beauty is still tall, skinny and white. Eastern women, when depicted are in the role of an “exotic” creature devoid of the complexity of their white counterparts. And I think that this perception creates huge problems both for Caucasian women and these eroticized “other” women. To this aspect, Lalla Essaydi’s work is momentous because to some extent or the other, it is a woman describing her experience of her sexuality in a “foreign” culture.
I’ve just had the opportunity to spend a weekend in Oman, explore Muscat and learn a little about the aesthetic sensibilities of Muscat-dwellers, courtesy a knowledgeable local (an old friend) and the (very educational) nibbles on Oman Air’s in-flight entertainment system.
Let me start by clarifying that I was in Muscat alone for the entire time I spent in the country. Immediately, I was struck by how closely the aesthetics of the city matched a romantic, Orientalist vision of the Middle East. It’s got all the aesthetic magic of an Arabian Nights fairytale and the modern sensibilities and comforts of a major metropolis.
We started by exploring the Al Alam Palace grounds in Muscat which was a testament to simple and minimal
, yet grand Ibadi style of architecture. It’s rare to find a contemporary royal palace that maintains the fine balance between grand and tasteful, but Al Alam did not disappoint. The walk up to the palace was highlighted by cool speckled marble and elaborate domes. A unique feature of Omani architecture is an elaborate wooden panel on relatively low-lying, white concrete buildings.
I was fortunate enough to see the construction of the National Gallery opposite the main palace complex. The museum is expected to house the artifacts of Omani culture that lend it its unique identity.
From then on, we explored some of the more modern hotels that have been constructed to cater to tourists. First, the hotels are grand. Any traveler expecting the traditional Arabian hospitality will not be disappointed. We started with the Barr al-Jissah (Shangri-La) that successfully amalgamated the simplicity of the white box-like construction across the city, alongside other, more elaborate, modern interpretations of Islamic geometric Art.
On a side note, the mountains on the winding drive up to the Resort have some beautiful murals and other art on them, but be on the lookout for them, or you may miss documenting them like I did.
From there we stopped for brunch at the Chedi , enjoying the view of the black pool and refreshing Gin & Limoncello cocktails.
The presence of these hotels is a testament to the adaptability of Omani culture to include expats, while preserving their cultural identity. The stark, minimal buildings often leave you wondering about the contemporary art scene in Oman, but it is apparently quite vibrant. The “movement” or style that particularly attracted my attention is Calligraffiti.
Traditional Islamic calligraphy is taught under the patronage of the Sultan at various art and religious schools across the country. It can take years to master, and requires intense dedication and attention to detail. The transcription of a single page of an officially sanctioned Quranic verse can take between 2-3 days. Emerging from this art form is a new art form described by its founder as “caligraffiti.” It uses elements of traditional calligraphy with influences of African and modern graffiti.
The founder of the movement is Omani artist Madny Al Bakry. His extensive body of work is testament to the traditional Arabic calligraphy and its scope as a vehicle of contemporary expression. I personally feel that it is a beautiful expression of the traditional cultural relationship between Oman and Zanzibar due to their Ibadi roots. If you look through his entire body of work, the complex colors and patterns only highlight the beautiful simplicity of this aesthetic. I would even argue that the pattern progressions evoke the same level of minimalism as Rothko’s most famous pieces.
Other events throughout the city like the Enchated Kids Cinema , and the Royal Opera House all add to the continuing artistic heritage of Oman. Like many cultures in the world today, Oman continues grappling with the perfect balance between tradition, adaptation and innovation, but the burgeoning arts scene and the governments sense of pride in its heritage leave plenty of promise for the art-oriented traveler in the future.
Stormtrooper: A portrait of a 12-year-old boy who hides his aspirations to be a ballet dancer from his friends. Image: Uldus Bakhtiozina
A 12-year-old boy in a Stormtrooper helmet – and a tutu. A hulking man wearing a pre-Raphaelite collar of Barbie dolls. A bride standing wistfully in a garden, her face obscured by a wrestling mask. Russian photo-based artist Uldus Bakhtiozina’s whimsical and surreal images — which feature models as well as herself — raise an eyebrow at identity, gender and cultural stereotypes with humor and thoughtfulness. Exquisitely detailed and lit like classical paintings, her images reveal a vulnerability in her heavily costumed subjects, offering layers of meaning and emotion. At TED2014, we spoke to Uldus about her work and worldview. Below, an edited transcript of our conversation.
Tell us about yourself and how you got started.
I found my way to photography six years ago. At the time, I was doing my art degree in England. There I was, surrounded with…
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Climate change – in the news after release of this week’s United Nations report – is a topic of significance for Spanish street artist Isaac Cordal. One of the best known of his cement sculpture installations is Waiting for Climate Change, created for the Château des Ducs de Bretagne in Nantes, France.
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[My work deals with] the look of architecture, without the function of architecture…[It’s] the skin of architecture, but it doesn’t have the skeleton of architecture
The Works of Sigurdardottir helped me contextualize this conversation.
On the Symposium and a potential conversation with an art critic on her latest body of work :
Something that I was thinking about as I finished my piece in Venice Paradox of the ship of Theseus [..] when the ship of Theseus has been taken apart piece by piece […] is it still the same ship that we began with?
On being asked about the role of the participant/viewer in her earlier works:
I am fundamentally interested in the parallel, and sometimes conflicting modes of perception…and how you are immersed in a sculpture and looking at it as a picture, and how [the body] fits into the picture
The most important thing for every artist is to make the work in a way that is comfortable and suitable for [them]…It’s an ongoing process
“This is not a blog post.”
I bumped into this mini-installation by Rene Magritte at the surrealist exhibition at Centre Pompidou a few days ago.
I knew Magritte loved to play with meanings and visuals.
I’ve been using Magritte’s “This is not a pipe” for ages to harass friends (and an ocassional foe) with the question, “What is wrong here?” The answer, in the majority of cases, was “the text is wrong”.
This is a fast proof that the visual channel is the boss for most of us.
Thinking about letters and meanings kicks in later, after the brain has already registered and catalogued the image as a “pipe”. So when the rational brain finally catches up, it decides that there’s something wrong with the letters. The rational meaning of the inscription comes to the peace conference well after the perfect image of a pipe has climbed up the stage and set out its own agenda.
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