As the entrepreneurial co-founder of the Société Zin, a modernist design company, Safia Farhat (Tunisian, 1924–2004), contributed to the visual aesthetics of civic space during the formative period of Tunisian socialism and state feminism. Jessica Gerschultz introduces Farhat’s key role in sustaining a mural tradition for Tunisian modernists.
Is the globe of globalization the same as the globe of global warming?
The panel examines historical cases of the migration of images and knowledge across cultures and temporalities.
The move to diversify art historical narratives is often accompanied by a search for commonalities. Instead addressing a need to acknowledge radical difference and untranslatability, each presenter in this panel approached the question of the incommensurable, interrogating tensions between a global approach and site-specific study.
How to raise awareness of the most recent refugee crisis in the Mediterranean in a way that does not spectacularize human suffering? Beginning with Bouchra Khalili’sThe Mapping Journey Project, this essay addresses how the present crisis has manifested as image and has made its way, across a variety of methodological and ethical approaches, into works of…
In this sardonic text, acclaimed Syrian filmmaker Ossama Mohammed bitingly describes the conditions of filmmaking under the Ba’athist regime in Syria. Under strict control of the National Film Association that was founded in 1963, only one film was produced every year in the country.
“Where do our arts stand with regard to the consciousness that is blossoming in the Arab nation?” This question was posed in 1956 in a questionnaire on “Art and Arab Life” that was circulated to artists in Lebanon, Iraq, Egypt, and Syria in a special issue devoted to the arts of the Arab world of the Beirut-based, pan-Arab journal al-Adab, which was established in 1953 as an outlet for politically engaged thought and cultural analysis.
In Morocco in the mid-1960s, the National School of Fine Arts in Casablanca offered a new cohort of avant-garde thinkers—including artists Farid Belkahia, Mohammed Chebaa, and Mohammed Melehi—a platform for developing new models of decolonized, integrated artistic practice. Such an agenda is set forth in this position statement written by Chebaa on the occasion of the three-person Belkahia, Chebaa, and Melehi exhibition at the Mohammed V Theatre gallery in Rabat.
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.
MoMA’s C-MAP research program developed an extended focus on historical alliances such as Bandung, the Non-Aligned Movement (NAM), pan-Africanism, pan-Arabism, and other south-south, east-east, and Third World nexuses. This conversation addresses such pasts, and their reverberations in the present, as they appear in Mohaiemen’s media-based practice.
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