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.
When the Brussels Expo presented the exhibition Fifty Years of Modern Art in 1958, it unintentionally pioneered a more broadly global view of modern art, although not without some friction.
“In your practice, how do you approach the challenges that arise when presenting art from contexts that are not familiar to your audience?” With the dominance of the biennial model and the aggressive globalization of art institutions, such a question is as pertinent to a curator as it ever was.
Postwar: Art Between the Pacific and the Atlantic, 1945-65, an exhibition on view at Haus der Kunst in Munich from October 2016 – March 2017, presents the period and its art as already global, multi-faceted, and modern.
Rachel Weiss, curator, writer, and professor at the School of the Art Institute of Chicago, was invited to MoMA to speak about the exhibition Global Conceptualism: Points of Origin, 1950s–1980s, which she co-organized in 1999 with Jane Farver (who also came to talk on the subject), Luis Camnitzer, and an international team of curators: Okwei Enwezor,…
Jane Farver, curator and former Director of Exhibitions at the Queens Museum, was invited to MoMA to speak about the exhibition Global Conceptualism: Points of Origin, 1950s–1980s, which she co-organized in 1999 with Rachel Weiss (who also came to present on the subject), Luis Camnitzer, and an international team of curators: Okwei Enwezor, Reiko Tomii &…
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