The texts below are entries taken from the 1933 guest book from the first solo exhibition of the work of Zulfa al-Sa‘di (1905–1988), a young Palestinian female artist, held in the Palestine Pavilion at the First National Arab Fair, organized in Jerusalem under the auspices of the Supreme Muslim Council.
Thoroughly committed to novelty, invention, and atomic and space-age practices, the Crystalist group proposed completely new directions for art in Sudan in the 1970s. Their manifesto published in a Khartoum newspaper within the artistic context of the time introduces the Crystalist themes of transparency and dualism.
The publication, Modern Art in the Arab World: Primary Documents (2018), edited by Anneka Lenssen, Sarah Rogers, and Nada Shabout, offers an unprecedented resource for the study of modernism: a compendium of critical art writings by twentieth-century Arab intellectuals and artists. The selection of texts—many of which appear for the first time in English—includes manifestos, essays, transcripts of roundtable discussions, diary entries, letters, and the guest-book comments including those featured here.
In this essay, curator Luis Pérez-Oramas considers the work of Tarsila do Amaral, the subject of the exhibition Tarsila do Amaral: Inventing Modern Art in Brazil on view February 11 through June 3, 2018 at The Museum of Modern Art, New York.
In this essay, curator Luis Pérez-Oramas considers the work of Tarsila do Amaral, the subject of the exhibition Tarsila do Amaral: Inventing Modern Art in Brazil on view February 11 through June 3, 2018 at The Museum of Modern Art, New York.
If the Caribbean has largely been subtracted from those better-known narratives of art and artists that dominate the Atlantic world, attempts to mend this failing have often brought about mixed results. How may we come to appreciate that Caribbean experience is integral to the historical development and understanding of modern and contemporary art?
Through a close analysis of documents in the MoMA Archives, this essay challenges the dominant narrative about the development and internationalization of Haitian art in the 1940s.
The Rauschenberg Overseas Cultural Initiative was a large-scale international traveling exhibition that doubled as a cultural exchange program.
The Rauschenberg Overseas Cultural Initiative was a large-scale international traveling exhibition that doubled as a cultural exchange program.
Going beyond the context of modern Brazil and its experimental art scene, this essay traces a wide genealogy for his body of work, from local traditions such as samba to European intellectual figures such as Friedrich Nietzsche.
This essay considers Robert Rauschenberg’s 1975 residency in Ahmedabad, India, which fostered an environment of exchange and collaboration between Rauschenberg and the Sarabhai family.
Colorhythms, a group of works by Venezuelan artist Alejandro Otero made in the 1940s and 1950s, are vertical or horizontal rectangular paintings that unfold in countless serial compositional variations.
