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Information to Users INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Infonnadon Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 A CONTEXTUAL ANALYSIS OF CONTEMPOEU^.RY IRAQI ART USING SIX CASE STUDIES DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Mohammed Al-Sadoun ***** The Ohio Sate University 1999 Dissertation Committee Approved by Dr. Arthur Efland, Adviser Dr. Sydney R. Walker Adviser ~7~ Dr. Joseph T. Zeidan Department of Art Education DMI Number: 9931557 UMI Microform 9931557 Copyright 1999, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 Copyright by Mohammed Al-Sadoun 1999 ABSTRACT Contemporary Iraqi art, like most contemporary art movements in the Middle East in particular and the Third World in general, has flourished outside of the Western mainstream art system. Therefore, its major developments have remained invisible to Western art critics, art historians and art professionals. By introducing artworks from another culture, this study seeks a new appreciation of art movements that have not yet been recognized by the mainstream canon. In doing so, this study promotes a global artistic awareness as well as understanding of current non-Westem art trends and art theories. Briefly, the study investigates the eclectic and diverse approaches of Iraqi artists and examines their artistic endeavors to define their artistic identity. Among the central questions raised by this study are: What is meant by contemporary Iraqi art? and. How do we define it in relation to its social and cultural context? Chapter One of this study deals with the background of the study, examining the broad context of the problem and defining the purpose and the significance of the study. Chapter Two discusses the relevant literature and provides an exhaustive review of the formation of modem art in Iraq as well as in some influential Arab and Islamic countries. The chapter also discusses how Eastern and Western influences contribute to Iraqi art. Chapter Three is primarily concerned with methodology and theory and focusses on the double-coding theory developed by post-modern art critic Charles Jencks. The chapter provides bases and criteria for description and critical analyses. The remaining chapters are devoted to the case studies. Each chapter includes both description and a critical analysis of each artist, focusing on the artist's education, training and role in Iraqi art movements, and it provides critical views by art critics. It also includes interviews with the artists providing new insights about their art and experience. Chapter Ten includes comparisons of the artists and conclusions. Finally, the study has implications for art educators concerning contemporary art from another culture. u Dedicated to my parents 111 ACKNOWLEDGMENTS I would like to express my appreciation to the many individuals who have assisted me in accomplishing this study. Without their sincere help and support, this work would have been impossible. I would like to thank Dr. Arthur Efland, my advisor, and the other members of my doctoral committee. Dr. Sidney Walker and Dr. Joseph T. Zeidan, for their sincere efforts and patience. Working with these scholars has been a wonderful and valuable experience for me. I would also like to thank the following individuals: Dr. Mary Garrett, Dr. Janet Montgomery, Kellie Hay, and Patrick Visel for their assistance and generous support which helped me to complete this study. Special thanks to Dan Elsie, Mohammed Monoamine, and Yoko for their care and hospitality I would like to thank the Iraqi artist Diya al-Azzawi for his support Diya contributed to this study in its early stages by providin important books and articles about Iraqi art from London. My appreciation also goes to Mr. Ibrahim Ben Hossain Alawi, head of the Department of Contemporary Art at the Institute of the Arab World in Paris, for references to contemporary Arab art. In addition, I would like to thank artists Salih al-Jumai'i, Shakir Hasan al-Said and Madihah Umar for their help and cooperation. IV I am also grateful for the remarkable support and patience of my wife Sayoko. She deserves my gratitude for her marvelous job in taking care of me and our lovely daughter Lea, who was bom during this research. VITA 1973 ............. Diploma of Fine Arts, The Institute of Fine Arts, Baghdad, Iraq. 1973-1975 Painter and designer, Baghdad Television, Baghdad, Iraq 1975-1982 Head of the Department of Children’s Programs, Baghdad Television, Baghdad, Iraq. 1977 .............B.F.A., Fine Arts, University of Baghdad, Baghdad, Iraq 1986 .............M.A, Art Education, University of Hartford, West Hartford, Connecticut 1986-8 7 .......Head of the National Center for Animation, Baghdad, Iraq 1987-8 9 .......Assistant Professor, University of Kufa, Kufa, Iraq. 1989-1992 Freelance artist, Tokyo, Japan 1992-1996 Graduate Teaching and Research Associate, The Ohio State University. PUBLICATIONS Al-Sadoun, Mohammed (1996). "Jabra and the Baghdad group for modem art." Jusoor. 7/8. FIELDS OF STUDY Major Field: Art Education VI TABLE OF CONTENTS Page A b stract ................................................................................................................................ i Dedication .............................................................................................................................. iii Acknowledgments ................................................................................................................iv Vita.........................................................................................................................................vi List of Figures ................................................................................................................x Chapters: 1 Statement of the problem ................................................................................. 1 The problem ............................................................................................. 1 Purpose and significance of the study ..............................................4 Limitations of the study .......................................................................5 Method and procedures ........................................................................ 6 Definition of terms ................................................................................ 7 2 Contemporary Iraqi art: the historical background ..............................................9 Part one: A note on the term “modem” .....................................................................10 Islam and representation ............................................................................. 12 The development of modem art in some Islamic and Arab countries ............................................................................................ 15 The search for a national style ,.........................................................20 Part two: Introduction ................................................................................................ 25 A note on ethnic and religious diversity in Iraq ....................................... 27 vii Art education in the 1920’s and 1930’s ....................................................28 Art education in Iraq in the 1940’s ............................................................ 31 The Institute of Fine Arts ................................................... 33 The role of poetry ....................................................................................... 33 Art groups .................................................................................................... 38 The Primitive Group (the Pioneers) ...........................................................38 The Baghdad Group for Modem A rt ........................................................41 The Impressionists ......................................................................................45 Contemporary art, 1958-1968 ..................................................................
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