Ghada Amer Was Born in Cairo, Egypt in 1963 and Moved to Nice, France When She Was Eleven Years Old

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Ghada Amer was born in Cairo, Egypt in 1963 and moved to Nice, France when she was eleven years old. She remained in France to further her education and completed both of her undergraduate requirements and MFA at Villa Arson École Nationale Supérieure in Nice (1989), during which she also studied abroad at the School of the Museum of Fine Arts in Boston, Massachusetts in 1987. In 1991 she moved to Paris to complete a post- diploma at the Institut des Hautes Études en Arts Plastiques. Following early recognition in France, she was invited to the United States in 1996 for a residency at the University of North Carolina, Chapel Hill. She has since then been based in New York. Amer’s wide-ranging practice spans painting, cast sculpture, ceramics, works on paper, and garden and mixed-media installations. Further, she often collaborates with her long-time friend Reza Farkhondeh. Recognizing both that women are taught to model behaviors and traits shaped by others, and that art history and the history of painting in particular are shaped largely by expressions of masculinity, Amer’s work actively subverts these frameworks through both aesthetics and content. Her practice explores the complicated nature of identity as it is developed through cultural and religious norms as well as personal longings and understandings of the self. Amer’s work is in public collections around the world including The Arab Museum of Modern Art, Doha; the Art Institute of Chicago, Chicago, IL; the Barjeel Art Foundation, Sharjah; the Brooklyn Museum of Art, New York, NY; Centre Georges Pompidou, Paris; Crystal Bridges Museum of American Art, Bentonville, AR; the Guggenheim Museum, Abu Dhabi; the Israel Museum, Jerusalem; the Samsung Museum, Seoul; among others. Among invitations to prestigious group shows and biennials—such as the Whitney Biennial in 2000 and the Venice Biennales of 1999 (where she won the UNESCO Prize), 2005 and 2007—she was given a midcareer retrospective at the Brooklyn Museum of Art in New York in 2008. Multiple institutions across Marseille, France are currently co-organizing a retrospective for 2022 that will travel to the United States and Asia. .

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Pleasure/Principle
GHADA AMER some kiss we want Breathe into Me There is some kiss we want with our whole lives, the touch of Spirit on the body. Seawater begs the pearl to break its shell. And the lily, how passionately it needs some wild Darling! At night, I open the window and ask the moon to come and press its face into mine. Breathe into me. Close the language-door, and open the love-window. The moon won’t use the door, only the window. jelaluddin rumi GAGOSIAN GALLERY PLEASURE/PRINCIPLE Maria Elena Buszek Feminism must increase women’s pleasure and joy, not just decrease our misery. carole s. vance 1 Feminism can be empowered by seduction. ghada amer 2 few topics have caused more debate within the long history of feminism than those of opposite sexuality and pleasure. Since the late eighteenth century feminist activists, scholars, and The Reign of Terror, 2005 artists have tangled with the issue of whether the representation of women’s pleasure liber- Installation at the ates them from or enforces traditional patriarchal notions of womanhood. While feminist Davis Museum & Cultural Center, Wellesley College thinkers have offered a wide and influential range of contemporary discourse on the ways in which women are victimized and manipulated through the representation of pleasure, Ghada Amer is part of a long tradition of others who have argued for the necessity of pleas- ure—in all its complex manifestations—as both an activist strategy and a human right. Naturally, finding visual languages that perform this task has been difficult—as many artists have learned, efforts to incorporate the highly individualized yet powerful realm of pleasure with the consensus-seeking goals of politics are downright impossible.
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'Eric Troncy', Interview by Olivier Zahm and Portrait by Pierre Even, Issue
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Exhibition Reviews
Exhibition Reviews: Ghada Amer: Love Had No End, Curated by Maura Reilly, Brooklyn Museum, February – October, 2008 1. Press Release, Brooklyn Museum 2. Karen RosenberG, “Veiled or Naked: ScrutinizinG Women’s Roles,” The New York Times, June 20, 2008. 3. Alix Finkelstein, “ReinventinG the Painted Veil,” The New York Sun, February 21, 2008. 4. Sonia Kolesnikov‐Jessop, Sonia. “Ghada Amer: DefusinG the Power of Erotic ImaGes.” The International Herald Tribune, March 12, 2007. December 2007 First Major Retrospective in U.S. of the Work of Ghada Amer to Open at Brooklyn Museum February 16, 2008 Ghada Amer: Love Has No End, the first major U.S. retrospective of the renowned artist’s work, will feature some fifty pieces from every aspect of Amer’s career as a painter, sculptor, illustrator, performer, garden designer, and installation artist. These include the iconic Barbie Loves Ken, Ken Loves Barbie (1995/2002), The Reign of Terror (2005), and Big Black Kansas City Painting—RFGA (2005), as well as a generous selection of works never before exhibited in this country. The exhibition will be on view February 16 through October 19, 2008. While she describes herself as a painter and has won international recognition for her abstract canvases embroidered with erotic motifs, Ghada Amer is a multimedia artist whose entire body of work is infused with the same ideological and aesthetic concerns. The submission of women to the tyranny of domestic life, the celebration of female sexuality and pleasure, the incomprehensibility of love, the foolishness of war and violence, and an overall quest for formal beauty, constitute the territory that she explores and expresses in her art.
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Download Ghada Amer CV
GHADA AMER Born in Cairo, Egypt Lives and works in New York, NY EDUCATION 1991 Institut des Hautes Etudes en Arts Plastiques, Paris, France 1989 MFA in Painting, Villa Arson EPIAR, Nice, France SELECTED SOLO EXHIBITIONS 2015 Love.Earth.Fire. Leila Heller Gallery, Dubai, UAE 2014 Ghada Amer: Rainbow Girls, Cheim and Read, New York, NY, USA 2013 Ghada Amer: Référence à Elle, Kukje Gallery, Seoul, Korea 2012 The Other I, Tina Kim Gallery, New York, NY, USA Ghada Amer, Musee d’Art Contemporain de Montreal, Montreal 2011 100 Words of Love, Cheim and Read, New York, NY, USA No Romance, Goodman Gallery, Johannesburg, South Africa 2010 Color Misbehavior, Cheim and Read, New York, NY, USA 2009 Ghada Amer and Reza Farkhondeh: Roses Off Limits, Pace Prints, New York, NY, USA 2008 Ghada Amer and Reza Farkhondeh: Collaborative Drawings, Tina Kim Fine Arts, New York, NY, USA Ghada Amer and Reza Farkhondeh: A New Collaboration on Paper, Singapore Tyler Print Institute, Singapore Love Has No End, Elisabeth A. Sackler Center for Feminist Art, Brooklyn Museum, New York, NY, USA 2007 Ghada Amer & Reza Farkhondeh, Collaborative Drawings, Kukje Gallery, Seoul, Korea Another Spring, Kukje Gallery, Seoul, Korea Le Salon Courbé, Francesca Minini Gallery, Milan, Italy 568 West 25th Street New York, NY 10001 | Tel: +1 212 249 7695 Fax: +1 212 249 7693 www.LeilaHellerGallery.com Ghada Amer, Museo d’Arte Contemporanea Roma, MACRO, Rome, Italy 2006 Breathe Into Me, Gagosian Gallery, New York (Chelsea), NY, USA 2004 Ghada Amer, Gagosian Gallery, Beverly Hills, CA, USA Ghada Amer, Institut Valencià d’Art Modern, Valencia, Spain 2003 Ghada Amer, Forefront 45, Indianapolis Museum of Art, Indianapolis, IN, USA Ghada Amer, Galleria Massimo Minini, Brescia, Italy 2002 Ghada Amer, Gagosian Gallery, London, UK Ghada Amer, De Appel Foundation, Amsterdam, Netherlands 2001 Encyclopedia of Pleasure, Deitch Projects, New York, NY, USA Reading Between the Threads, Henie---Onstad Kunstsenter, Oslo, Norway Traveled to: Kunst Palast, Düsseldorf, Germany & Bildmuseet, Umea, Sweden.
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Our City Dreams HV PK
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Marianne Boesky Gallery Ghada Amer
MARIANNE BOESKY GALLERY NEW YORK | ASPEN GHADA AMER BIOGRAPHY 1963 Born in Cairo, Egypt Lives and works in New York EDUCATION 1991 Institut des Hautes Études en Arts Plastiques, Paris, France 1989 Villa Arson École Nationale Supérieure d’Art, Nice, France, MFA in Painting SELECTED SOLO EXHIBITIONS 2021 New York, NY, Marianne Boesky Gallery, Ghada Amer, September 9 – October 23, 2021 2020 London, UK, Goodman Gallery, In Black and White, December 2 – January 9, 2021 Berlin, Germany; Palma, Spain, Kewenig, The Women I Know, November 21, 2020 – February 20, 2021 Zapopan, Mexico, Museo de Arte Zapopan, Hoy el 70% de los pobres en el mundo son mujeres, February 1 – May 31, 2020 2018 Dallas, Texas, Dallas Contemporary, Ceramics, Knots, Thoughts, Scraps, September 30 – December 17, 2018 Tours, France, Centre de Création Contemporaine Olivier Debré, Dark Continent, June 2 – November 4, 2018 New York, NY, Cheim & Read, Ghada Amer, April 5 – May 12, 2018 Cape Town, South Africa, Goodman Gallery, Ghada Amer & Reza Farkhondeh/Love Is a Difficult Blue, January 18 – February 24, 2018 2017 New York, NY, Jane Hartsook Gallery, Greenwich House Pottery, Ghada Amer: Déesse Terre, June 4 – July 5, 2017 2016 Berlin, Germany, Kewenig, Ghada Amer, April 29 - July 30, 2016 2014 New York, NY, Cheim & Read, Rainbow Girls, April 3 – May 10, 2014 2013 Seoul, South Korea, Kukje Gallery, Référence à Elle, May 17 – June 30, 2013 2012 New York, NY, Tina Kim Gallery, The Other I, April 26 – June 2, 2012 Montréal, Quebec, Canada, Musée d’Art Contemporain de Montréal, Ghada
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Maura Reilly, “D As in Drips: a Conversation with Ghada Amer,” Ghada Amer, Exhibition Catalogue (New York: Cheim & Reid, 2010)
Maura Reilly, “D as in Drips: A Conversation with Ghada Amer,” Ghada Amer, exhibition catalogue (New York: Cheim & Reid, 2010). D AS IN DRIPS: A CONVERSATION WITH GHADA AMER Maura Reilly Maura Reilly: I’d like to begin by asking you a very basic question. When and why did you decide to become an artist? Ghada Amer: When I was a young girl in Egypt, I adored my art class because I could make such a mess and nobody shouted at me. It was total freedom; I could get as messy as I liked. I loved it! (Laugh.) It was a girls’ school only, with strict rules. There was no talking whatsoever. Art class, which took place in the basement, was the only class where I could be free. But when I moved to France at age 11, art class was differ- ent. I didn’t like it. We had to learn perspective, representation, and it was completely controlled. I had to cut carefully with the scissors, had to paint within the lines—no drips allowed! It was horrible. I hated it! I remember thinking even then that this was not art. But I continued to draw at home, and my parents allowed me to, but only after I’d finished my homework. They eventually realized that I wanted to be an artist and conceded to let me apply to art school in 1982. But when I applied, my application was rejected. I had submitted a patchwork as my artwork, not realizing that I was meant to submit a painting.
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Franz West Artist Biography
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Female Presence in the Middle Eastern and North African Art Market
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Argentina Universidad Nacional de las Artes Australia Sydney College of the Arts, University of Sydney University of New South Wales Austria Academy of Fine Arts Vienna Salzburg University of Applied Sciences University of Applied Arts Vienna University of Art and Design Linz University of Music and Performing Arts Vienna Belgium Ecole Nationale Superieur des Arts Visuels de La Cambre LUCA School of the Arts Brussels Free University Brazil Fundacao Armando Alvares Penteado Canada Concordia University Emily Carr University of Art and Design Ontario College of Art and Design Chile Universidad del Desarrollo University of the Arts Science and Communication China East China Normal University Hong Kong Design Institute Hong Kong Polytechnic University Shenzhen University Xihua University, Chengdu Columbia Universidad de los andes Czech Republic Academy of Arts, Architecture, and Design Prague Academy of Fine Arts in Prague Brno University of Technology Jan Evangelista Purkyne University in Usti Nad Labem Masaryk University Tomas Bata University in Zlin University of West Bohemia Denmark Aarhus University Royal Danish Academy of Architecture, Design, and Conservation Kolding School of Design Estonia Estonian Academy of Arts Estonian Business School Finland Aalto University University of the Arts Helsinki LAB University France Ecole Superieure de Beaux-arts de Nantes Metropole Ecole National Superieure des Beaux-arts de Paris Audencia Group Nantes Ecole Supeieure des arts Appliques Duperre Ecole Nationale Superieure d'Architecture de Versailles
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