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USCCB Middle East Fact Finding Mission October 7-20, 2012
USCCB Middle East Fact Finding Mission October 7-20, 2012 “…am I my brother’s keeper?” Gn 4:9 Every year the Committee on Migration and Refugees of the United States Conference of Catholic Bishops (USCCB) undertakes a fact-finding mission to some region of the world in which there is particular concern for the welfare of those who are forced by circumstances to migrate within their home country or seek refuge in a foreign land. The USCCB is the largest resettlement agency in the world (not just the largest resettlement agency in the United States), resettling as many as 20,000 refugees per year across the United States…and the United States is by far the largest resettlement country in the world, welcoming 70% of the total world resettlement population. This is something of which American citizens and especially American Catholics can rightly be proud. The United States is also the most flexible country in receiving refugees for resettlement—we rightly have no limitations based on ethnicity or religion. Moreover, the Catholic network in Muslim countries—especially Catholic Relief Services (CRS), Caritas, and the International Catholic Migration Commission (ICMC)--works hand in hand with the local Catholic Church, which is itself deeply engaged in providing charitable help to the entire local population regardless of religion. We were told: “The US government and individual Americans often do things that incite Muslim anger, but the Catholic Church does things that win the esteem of Muslims!” This year a delegation of from the Committee on Migration and Refugees led by committee member Bishop Anthony B. -
The Iraqi National Museum of Modern Art: Journey of Destruction
The Iraqi National Museum of Modern Art: Journey of Destruction By Ali I. al-Dulaimi Region: Middle East & North Africa Global Research, May 22, 2019 Theme: History In-depth Report: IRAQ REPORT A glimpse of the plastic arts in Iraq The contemporary Iraqi plastic art is considered to be the legitimate heir of the ancient Iraqi civilizations of Sumer and Babylon. Relics have beem found indicating that the Iraqi craftsman is the first artist in the world. He is the one who creates and produces such beautiful household pottery pieces for functional purposes for eating, drinking and other daily uses. The Baghdad School of Art of Illustration was founded by Iraqi artist Yahya bin Mahmoud bin Yahya bin Abi al-Hassan al-Wasiti who laid down its pillars. Al-Wasiti lived in the seventh Hijri century and is considered to be at the forefront of Arab and Islamic creativity scene where the Islamic art of illustration could be straightened and become competitive. Then this School spread from Mesopotamia to all other Islamic countries. Al-Wasiti inspired others with his miniature manuscripts on which he painted topics and narrative facts from the collections of al-Hariri which were written by Abu Muhammad al-Qasim bin Ali bin Othman al-Basri, famous as “al-Hariri”. These collections are considered to be among the Arabic literary masterpieces due to their richness of material, accuracy of observation and unique imagination. Artist al-Wasiti completed illustrating and scripting these collections in 634 A.H./1237 A.D., and they are now treasured at several international museums and libraries. -
Samedi 25 Fevrier À 17H Exposition
1 ART CONTEMPORAIN DU LIBAN ET DU MOYEN-ORIENT Peintures et Sculptures SAMEDI 25 FEVRIER à 17H EXPOSITION PUBLIQUE Mercredi 22 février de 10h à 19h Jeudi 23 février de 10h à 19h Vendredi 24 février de 10h à 19h RENSEIGNEMENTS: Armand Arcache : +961 3 27 04 07 Valérie Arcache Aouad : +961 3 87 22 66 La vente est soumise aux conditions générales imprimées en début de catalogue Les photographies du catalogue n’ont pas de valeur contractuelle 2 CONDITIONS DE LA VENTE DES ARRHES SE MONTANT A 50% DU PRIX D’ADJUDICATION SERONT EXIGEES AU MOMENT DE LA VENTE. LES ACQUEREURS PAIERONT EN SUS DU PRIX D’ADJUDICATION DES FRAIS DE 13,5% REPRESENTANT LES DROITS DE CRIEE ET LA TAXE MUNICIPALE. PAIEMENT La vente se fera expressément au comptant. Par commodité, elle sera conduite en U.S Dollars mais le règlement des objets ainsi que celui des taxes s’y appliquant pourra être effectué aussi bien en Livres Libanaises qu’en U.S Dollars. RECLAMATION 1- La visite permettant à chacun de se rendre compte de l’état des tableaux et sculptures, aucune réclamation ne sera reçue après l’adjudication du lot, particulièrement pour les petits accidents et réparations d’usage qui n’auraient pas été signalés. Certaines rectifications au catalogue peuvent être également annoncées au moment de la présentation de l’objet. 2- L’état des cadres n’est pas garanti. Les dimensions des tableaux (hors cadre) ainsi que des sculptures ne sont données qu’à titre indicatif. 3- Le rentoilage, le parquetage ou le doublage constituant une mesure conservatoire et non un vice, ne seront pas signalés. -
Royaume Du Maroc Ministère De La Culture
Royaume du Maroc Ministère de la Culture 995L - 581 - 43 - 8 Itinéraire Nuit des 2 1 Galeries 2012 3 N° sur le Nom de la Galerie plan 1 Mohammed El Fassi 2 Théâtre Med V 4 3 Bank Al-Maghrib 5 Institut français 7 4 6 5 Marsam 6 Caisse de Dépôt et de Gestion (Espace CDG) 7 Abou Inane (Groupe Crédit Agricole) 8 Bab Rouah 9 Bibliothèque Nationale du Royaume du Maroc (BNRM). 8 Participent à la Septième Edition de la Nuit des Galeries : Agadir rAtelier Arenciel Av 29 février N°55 Talborjt, Agadir . Tél. 0661 73 16 55, [email protected] rLe Sous Sol Art Gallery Imm, achar angle Av. 29 février, Av. Kennedy, Talborjt – Agadir. Tél.0528 84 48 49/ 0661 13 29 47, [email protected] Assilah rAplanos Gallery 89 rue Tijara, Assilah (Medina). Tél. 0666 99 80 30, [email protected] rGalerie du Centre Hassan II des Rencontres Internationales- forum Assilah Centre Hassan II des Rencontres Internationales. Tél. 05 37 70 37 07 / 05 37 70 38 09, [email protected] rGalerie les Amis de Hakim Place Sidi Benaissa, n°14, ancienne ville, Assilah. Tél. 0661 79 95 35, [email protected] rMaison de l’Art Contemporain d’Assilah Plage de Akwas Briech Assilah. Tél. 06 61 46 06 48, [email protected] Azemmour rMaison de l’art contemporain Mazagan d’Azemmour Ancienne Medina, Azemmour. Tél. 06 61 46 06 48, [email protected] Casablanca rAlif Ba 46, rue Omar Slaoui 20140 – Casablanca. Tel.: +212 5 22 20 97 63 - Fax: +212 5 22 27 39 12. -
JGI V. 14, N. 2
Journal of Global Initiatives: Policy, Pedagogy, Perspective Volume 14 Number 2 Multicultural Morocco Article 1 11-15-2019 Full Issue - JGI v. 14, n. 2 Follow this and additional works at: https://digitalcommons.kennesaw.edu/jgi Part of the Arts and Humanities Commons, and the Social and Behavioral Sciences Commons Recommended Citation (2019) "Full Issue - JGI v. 14, n. 2," Journal of Global Initiatives: Policy, Pedagogy, Perspective: Vol. 14 : No. 2 , Article 1. Available at: https://digitalcommons.kennesaw.edu/jgi/vol14/iss2/1 This Article is brought to you for free and open access by DigitalCommons@Kennesaw State University. It has been accepted for inclusion in Journal of Global Initiatives: Policy, Pedagogy, Perspective by an authorized editor of DigitalCommons@Kennesaw State University. For more information, please contact [email protected]. Multicultural Morocco JOURNAL of GLOBAL INITIATIVES POLICY, PEDAGOGY, PERSPECTIVE 2019 VOLUME 14 NUMBER 2 Journal of global Initiatives Vol. 14, No. 2, 2019, pp.1-28. The Year of Morocco: An Introduction Dan Paracka Marking the 35th anniversary of Kennesaw State University’s award-winning Annual Country Study Program, the 2018-19 academic year focused on Morocco and consisted of 22 distinct educational events, with over 1,700 people in attendance. It also featured an interdisciplinary team-taught Year of Morocco (YoM) course that included a study abroad experience to Morocco (March 28-April 7, 2019), an academic conference on “Gender, Identity, and Youth Empowerment in Morocco” (March 15-16, 2019), and this dedicated special issue of the Journal of Global Initiatives. Most events were organized through six different College Spotlights titled: The Taste of Morocco; Experiencing Moroccan Visual Arts; Multiple Literacies in Morocco; Conflict Management, Peacebuilding, and Development Challenges in Morocco, Moroccan Cultural Festival; and Moroccan Solar Tree. -
Untitled (Forever), 2017
PUBLISHERS DISTRIBUTED BY D.A.P. SP21 CATALOG CAPTIONS PAGE 6: Georgia O’Keeffe, Series I—No. 3, 1918. Oil on Actes Sud | Archive of Modern Conflict | Arquine | Art / Books | Art Gallery of York board, 20 × 16”. Milwaukee Art Museum. Gift of Jane University | Art Insights | Art Issues Press | Artspace Books | Aspen Art Museum | Atelier Bradley Pettit Foundation and the Georgia O’Keeffe Foundation. PAGE 7: Georgia O’Keeffe, Black Mesa Éditions | Atlas Press | August Editions | Badlands Unlimited | Berkeley Art Museum | Landscape, New Mexico / Out Back of Marie’s II, 1930. Oil on canvas. 24.5 x 36”. Georgia O’Keeffe Museum, Gift Blank Forms | Bokförlaget Stolpe | Bywater Bros. Editions | Cabinet | Cahiers d’Art of the Burnett Foundation. PAGE 8: (Upper) Emil Bisttram, | Canada | Candela Books | Carnegie Museum Of Art | Carpenter Center | Center For Creative Forces, 1936. Oil on canvas, 36 x 27”. Private collection, Courtesy Aaron Payne Fine Art, Santa Fe. Art, Design and Visual Culture, UMBC | Chris Boot | Circle Books | Contemporary Art (Lower) Raymond Jonson, Casein Tempera No. 1, 1939. Casein on canvas, 22 x 35”. Albuquerque Museum, gift Museum, Houston | Contemporary Art Museum, St Louis | Cooper-Hewitt | Corraini of Rose Silva and Evelyn Gutierrez. PAGE 9: (Upper) The Editions | DABA Press | Damiani | Dancing Foxes Press | Deitch Projects Archive | Sun, c. 1955. Oil on board, 6.2 × 5.5”. Private collection. © Estate of Leonora Carrington. PAGE 10: (Upper left) DelMonico Books | Design Museum | Deste Foundation for Contemporary Art | Dia Hayao Miyazaki, [Woman] imageboard, Nausicaä of the Valley of the Wind (1984). © Studio Ghibli. (Upper right) Center For The Arts | Dis Voir, Editions | Drawing Center | Dumont | Dung Beetle | Hayao Miyazaki, [Castle in the Sky] imageboard, Castle Dust to Digital | Eakins Press | Ediciones Poligrafa | Edition Patrick Frey | Editions in the Sky (1986). -
3Rd Christie's Middle Eastern Art Sale to Be Held in London This October 1/14/20, 11 14 AM
3rd Christie's Middle Eastern Art Sale to be held in London this October 1/14/20, 1114 AM 11:01! am / !# The First Art Newspaper on the Net Established in 1996 Lebanon Tuesday, January 14, 2020 $ Home ! Last Week Artists Galleries Museums Photographers Games Subscribe Comments Search Contact 3rd Christie's Middle Eastern Art Sale to be held in London this October Ismail Shammout, The Way. © Christie's Images Ltd 2019. 0 https://artdaily.cc/news/116306/3rd-Christie-s-Middle-Eastern-Art-Sale-to-be-held-in-London-this-October#.Xh2DiC2B2jg Page 1 of 4 3rd Christie's Middle Eastern Art Sale to be held in London this October 1/14/20, 1114 AM LONDON.- Christie’s third ‘Middle Eastern Modern & Contemporary Art’ auction to be held outside of Dubai will take place on 23 October and is included as part of the rich and traditional Islamic Art Week in London. Around ninety works of Middle Eastern art have been consigned from around the globe, including Los Angeles, New York, London, Dubai, Paris, Beirut, Buenos Aires, Milan, Perth and Casablanca, among others. The auction is mainly focused on modern Arab and Iranian works, with an emphasis on contemporary practice. Strong modern artists from the region include Louay Kayyali and Fateh Moudarres (Syrian), Manoucher Yektai (Iranian), Ismail Shammout (Palestinian), as well as strong selection of modern female artists, including Bibi Zogbé (Lebanense), Chaïbia Talal (Moroccan), Monir Shahroudy Farmanfarmaian (Iranian), Zeinab Abd El Hamid (Egyptian) and Tahia Halim (Egyptian). Contemporary artists include Farhad Moshiri, Ali Banisadr, Reza Derakshani and Hadieh Shafie (Iranian) and Marwan Sahmarani (Lebanese). -
The Changing Roles of Female Visual Artists in Morocco
Journal of Global Initiatives: Policy, Pedagogy, Perspective Volume 14 Number 2 Multicultural Morocco Article 6 11-15-2019 The Changing Roles of Female Visual Artists in Morocco Samir El Azhar Faculty of Letters and Humanities, Hassan 2 University, Casablanca, Morocco, [email protected] Follow this and additional works at: https://digitalcommons.kennesaw.edu/jgi Part of the Arts and Humanities Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation El Azhar, Samir (2019) "The Changing Roles of Female Visual Artists in Morocco," Journal of Global Initiatives: Policy, Pedagogy, Perspective: Vol. 14 : No. 2 , Article 6. Available at: https://digitalcommons.kennesaw.edu/jgi/vol14/iss2/6 This Article is brought to you for free and open access by DigitalCommons@Kennesaw State University. It has been accepted for inclusion in Journal of Global Initiatives: Policy, Pedagogy, Perspective by an authorized editor of DigitalCommons@Kennesaw State University. For more information, please contact [email protected]. Journal of Global Initiatives Vol. 14, No. 2, 2019, pp. 65-84. The Changing Roles of Female Visual Artists in Morocco Samir El Azhar Abstract Female artists are actively participating in the development and growth of visual arts in Morocco. This article seeks to highlight their important contribution in the Moroccan visual arts. It deals with the access of women to the field of visual art, delineates successive categories for understanding the types of work female artists have engaged in since the independence of the country in 1956, and the challenges that these artists have been facing. It focuses on the artistic experiences of specific artists, believed to be, representative of some historical era or artistic trend. -
Asiatische Studien
ASIA 2016; 70(4): 1005–1018 Silvia Naef* Visual Modernity in the Arab World, Turkey and Iran: Reintroducing the “Missing Modern”– Introduction DOI 10.1515/asia-2016-0043 Notwithstanding the fact that opinions between art historians diverge on how it should be done, there is a consensus that nowadays the writing of art history cannot but be global, whether we label it “world art history” or “global art history”. Whereas the two terms are often used synonymously, Hans Belting suggests we distinguish between “world art history”, which would be the history of all art productions in the world since the earliest times, and “global art history,” the history of art production as it has spread around the globe after the opening of the formerly uniquely Western art scene to the planet as whole.1 Even though “global art” is defined as contemporary art produced all around theglobesince1989– the year of the ground-breaking Paris exhibition Magiciens de la terre2 – even though it designates, that is, an art with many different facets but sharing a unified language in its diversity, we still notice, today, a difference in the way production from the “non-West” is considered. One cannot but get the impression that it is presented as if it had come out of nothing, born of a total void or of what had formerly been categorized as ethnographic artefacts. What is striking about this view is that it utterly neglects the existence of the modern phase that preceded the emergence of “global art” and that, from the nineteenth to the end of the twentieth century, saw Western art forms being adopted all over the world and replacing, to a large extent, local art conceptions and styles, thus giving way to a new, original category, generally and locally labelled as “modern art”.In the specific case of art from the Islamic world, contemporary visual creations are often pigeon-holed as “contemporary Islamic art” as if they derived, ontologically, 1 Belting 2013. -
Lundi 28 Décembre 2015 À 16 H 30 - Hôtel Sofitel - Marrakech
Lundi 28 Décembre 2015 à 16 h 30 - Hôtel Sofitel - Marrakech Ventes aux enchères Lundi 28 Décembre 2015 à 16 h 30 HOTEL SOFITEL - MARRAKECH Art Moderne et Contemporain Peinture Marocaine - Peinture Orientaliste Photographie Président Fondateur Chokri Bentaouit Commissaire Priseur Maître Alexandre Millon - Maison Millon - Paris Expositions publiques Samedi 26 - De 10 h à 20 h Dimanche 27 - De 10 h à 20 h Lundi 28 - De 10 h à 14 h 6, Rue Khalil Metrane - 90000 -Tanger Tel / Fax : +212 539 37 57 07 +212 661 19 73 31 [email protected] www.mazadart.com Editeur : Mazad et Art Conception graphique : Mazad et Art Impression : Europrint Crédit Photos : Rachid Ouettassi Photo : Abdelmohcine nakari Impression directe sur ForexP. 2 120 x 80 cm Mazad et art , maison de vente aux enchères de tableaux et objets d’arts organise sa vente D’hiver comme a son accoutumé a l’hôtel Sofitel Marrakech et ce le 28 décembre 2015 à 17 h. Pour ne pas faillir a ses habitudes caritatives ou éducatives , Mazad met en vente un portfolio de 12 photographies qui permettra au futur acquéreur non seulement une acquisition importante de photographies , mais aussi de soutenir le programme éducatif du musée de la photographie et des arts visuels de Marrakech. Durant cette vente , seront proposés plusieurs tableaux et objets d’arts dont une sculpture de Ahmed Benyessef très rare offerte aux hommes de paix dans le monde par les Nations Unis. Sera mise en vente aussi pour la première fois une voiture de collection : Une mercedes PONTON 180 (1962) . Toujours dans le souci d’élargir les produits de collection, nous avons pu trouver un coffre rifain unique du 18 ème très recherché pour le plus grand bonheur de nos collectionneurs. -
Artistic Production During the Lebanese Civil War
collection مجمـــــــــــــــــــــــــوعة ســــــــــــــــــــــــــــرادار Seriality: Artistic Production during the Lebanese Civil War | by Sarah Rogers Introduction This essay explores seriality, the practice of painting or drawing in a series, as a mode of artistic production during the early years of the Lebanese Civil War (1975-1990). In art history seriality is most often associated with postwar American art: a moment distin- guished by a radical shift in the concept of art as a unique expression issuing forth from an individual creator (represented most prominently in the career of Jackson Pollock) towards an artistic practice that embraced the repetitive, mechanical forms of industrial capitalism (made famous by artists such as Andy Warhol and Roy Lichtenstein). Yet, as this essay considers, the work of prominent Lebanese artists working in a series format during the mid-to late 1970s challenges conventional Euro-American art historical nar- ratives. In the context of a violent civil war, the repetitive nature of a series that takes as its subject the surrounding hostilities suggests an aesthetic of witnessing: working through repetition to create a visual testimony that both documents events and con- veys a sense of their unreality. The Saradar Collection offers a point of entry into the possibility that seriality is a mode of production particularly relevant during the early years of the Lebanese Civil War. The collection is an assemblage of works dedicated to modern and contemporary art production in Lebanon. This essay focuses on a select number of works by three prominent Lebanese artists: Seta Manoukian, Jamil Molaeb, and Aref Rayess. I. In the foreground, a young man lounges on a twin bed, propped up by pillows, gazing vacantly at something outside the picture frame, a television set perhaps (Fig. -
Issue34 V5.Qxd
CONTENTS July 2005 - Issue N° 34 NDU Spirit A periodical about campus life at Notre Dame University - Louaïze. 2 A WORD FROM THE PRESIDENT ACADEMIC AFFAIRS 3 French Delegation at NDU 3 Lebanese Emigrants’ Delegation at NDU 4 NDU Activists and Congressman STUDENT AND ACADEMIC ACTIVITIES 5 Admissions in Action! Report by Dr. Elham Hasham WEERC 27 ETE Seminars 10 WEERC Workshop for Chekka area 28 NDU Winner at ESU Competition LERC Conferences 29 NDU Founders’ Day 11 Children of Lebanese in Australia 31 Job Fair 2005 – Dr. Rosemary Suliman 32 NDU Students in Turkey – Nathalie Kobrossi 13 Forum: Residents and Emigrants 33 NDU Student Soars High – Dr. Naji Oueijan 4th Millennial Lecture Series 35 Deputy Pierre Jmeil and Dr. Wadih al-Hajj 15 Universal Reason: Religion and Civil Society – Lebanon of Tomorrow – Dr. William Grassie 35 Dr. Eddy Abillamaa – The Future of the Forces 19 What does Athens have to do with Jerusalem 36 Candidates Farid el-Khazen, I. Kanaan, – Dr. Joseph Bechara G. Abi Zaid and A. Aoun 20 Cross Cultural Symposium with American 36 A Call for Democracy – Deputy Mosbah Ahdab University, Washington 36 Gibran Tueni talks North Campus News 37 Sports Office News 23 Workshop: Lebanese Architecture 37 NDU students united for Independence 24 Workshop on Drug Abuse 25 Shouf Campus Shorts — Events OPINION AND CULTURE 38 Experience never stops – Elias Karout 65 Mechanical Engineering at NDU – Dr. Walid C. Assaf 39 Social - Correction 66 Heating System with Storage – Dr. Walid C. Assaf 40 Why NDU? – Serge Dagher 67 American Society of Mechanical Engineers – Charbel Wehbe 41 Government in Media Developments 68 Solid Mechanics and its Applications – Dr.