Marianne Boesky Gallery Ghada Amer
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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. -
Women Challenging the Norms in the Arab Diaspora: Body Talks in Contemporary Art
Mashriq & Mahjar 6, no. 1 (2019), 85–108 ISSN 2169-4435 Martine Natat Antle WOMEN CHALLENGING THE NORMS IN THE ARAB DIASPORA: BODY TALKS IN CONTEMPORARY ART At fifteen I was widowed.… I was illiterate. You must understand, it’s important not to be afraid to be different. ―Chabia Talal Before embarking on the production of the artistic expression of women of the Arab diaspora, and in particular how they represent the body and sexuality in art, it is first important to foreground representations of the body by women in Western art, because their production also continues to be relegated to the margins of art history. On a large scale and globally speaking, both in the East and West, women have rarely participated directly in the production of art history. Yet, women in the West, who had up to the 1980s been all but excluded from the art world, have challenged us to rethink and recontextualize the representation of the body. Most often they have found identity and affirmation through the desire to differentiate themselves from the long history of masculine production of art. As Marie-Jo Bonnet observes about nudity in Western art: “The nude is thus one of the greatest conquests of women artists of the twentieth As a specialist in twentieth-century French theatre, contemporary writing, photography and painting, Martine Antle (Emeriti Professor, University of North Carolina Chapel Hill) has published extensively on race and gender in 20th and 21st- century French and Francophone literature. Her scholarship spans the political, social, and cultural revolutions that shaped modernity from the turn of the twentieth century to the present. -
Guide to the Carolee Thea Papers MSS.009 Finding Aid Prepared by Ryan Evans; Collection Processed by Ryan Evans, 2014; Revised May 2015
CCS Bard Archives Phone: 845.758.7567 Center for Curatorial Studies Fax: 845.758.2442 Bard College Email: [email protected] Annandale-on-Hudson, NY 12504 Guide to the Carolee Thea Papers MSS.009 Finding aid prepared by Ryan Evans; Collection processed by Ryan Evans, 2014; revised May 2015. This finding aid was produced using the Archivists' Toolkit September 16, 2016 Describing Archives: A Content Standard Guide to the Carolee Thea Papers MSS.009 Table of Contents Summary Information..................................................................................................................................3 Biographical/Historical note.........................................................................................................................4 Scope and Contents note........................................................................................................................... 4 Arrangement note....................................................................................................................................... 4 Administrative Information...........................................................................................................................5 Related Materials........................................................................................................................................ 5 Controlled Access Headings.......................................................................................................................6 Collection Inventory.....................................................................................................................................8 -
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. -
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. -
Press Kit "Gregor Schneider"
press kit at la maison rouge February 22nd – May 18th 2008 press preview February 21st 2008 3pm to 6pm preview February 22nd 2008 6pm to 9pm gregor schneider, süßer duft pilar albarracín marie maillard, wall 0208 une proposition des amis de la maison rouge pour le patio press la maison rouge Claudine Colin Communication fondation antoine de galbert Julie Martinez 10 bd de la bastille – 75012 Paris 5, rue Barbette – 75003 Paris www.lamaisonrouge.org [email protected] [email protected] t : +33 (0)1 42 72 60 01 t : +33 (0)1 40 01 08 81 f : +33 (0)1 42 72 50 23 f : +33 (0)1 40 01 08 83 contents p.3 presentation of la maison rouge antoine de galbert the building the bookstore the café p.4 activities at la maison rouge the suite for children les amis de la maison rouge the vestibule publications p.5 gregor schneider, süßer duft press release p.7 UMSTÜLPUNG UND ENTFALTUNG par Julian Heynen (extraits) p.10 selected exhibitions p.11 pilar albarracín press release p.12 PILAR ALBARRACÍN : MILLE ET UNE FEMMES par Rosa Martínez p.15 selected exhibitions p.16 marie maillard, wall 0208 press release p.17 selected exhibitions p.18 pratical information first page : Ur 45, Steindamm, 2003, Hamburger Kunsthalle, Hamburg ©Gregor Schneider Prohibido el Cante, 2000 ©Pilar Albarracín Sans titre, 2007 ©Marie Maillard 2 presentation A private, non-profit foundation, la maison rouge opened in June 2004 in Paris. Its purpose is to promote contemporary creation through a programme of three solo or thematic temporary exhibitions a year, certain of which are staged by independent curators. -
Our City Dreams HV PK
OUR CITY DREAMS A documentary film by Chiara Clemente 85 minutes, color, 2008 FIRST RUN FEATURES The Film Center Building 630 Ninth Ave. #1213 New York, NY 10036 (212) 243-0600/Fax (212) 989-7649 www.firstrunfeatures.com Synopsis Filmed over the course of two years, OUR CITY DREAMS is an invitation to visit the creative spaces of five women artists, each of whom possesses her own energy, drive and passion. These women, who span different decades and represent diverse cultures, have one thing in common beyond making art: the city to which they have journeyed and now call home - New York. The artists profiled are Nancy Spero, who was at the forefront of the feminist movement of the late 50s and 60s and whose work continues to question the polemics of sexual identity and warfare; Marina Abramovic, a pioneer of performance art who uses her own body as a canvas to respond deeply to contemporary cultural issues; Kiki Smith, who addresses philosophical, social and spiritual aspects of the human body through work that incorporates glass, plaster, ceramic, bronze and paper; Ghada Amer, who paints erotic canvases in traditional needle and thread and who refuses to bow to the puritanical elements of Western and Islamic culture and "institutionalized feminism"; and Swoon, one of New York's most promising emerging artists, whose arresting and fugitive street art transmits the pulse of urban life. Director Chiara Clemente combines an intimate style of documentary filmmaking with the ephemera of city life surrounding each woman and the work she creates. The documented year held many triumphs and challenges for each of the participating artists, and the audience will catch a glimpse into the processes of creation and inspiration. -
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. -
Female Presence in the Middle Eastern and North African Art Market
History Department Female Presence in the Middle Eastern and North African Art Market Andreia Helena Nascimento Pires Project submitted as partial requirement for the conferral of Master in Art Markets Supervisor: Doutor Luís Urbano de Oliveira Afonso Professor Auxiliar com Agregação Faculdade de Letras da Universidade de Lisboa October, 2019 History Department Female Presence in the Middle Eastern and North African Art Market Andreia Helena Nascimento Pires Project submitted as partial requirement for the conferral of Master in Art Markets Supervisor: Doutor Luís Urbano de Oliveira Afonso Professor Auxiliar com Agregação Faculdade de Letras da Universidade de Lisboa October, 2019 Acknowledgments I would like to thank my supervisor, Dr. Luís Urbano de Oliveira Afonso for his rigorous follow- up and advice along this path. To my parents, Margarida and Maximino, for your unconditional support, your tireless motivation and your wise advices, not only while developing this dissertation, but throughout my life. To my aunt Neusa, for your unconditional love. To my friends, Rita, Fábio, Sulamita and Didi, for your support, your company, both in good and bad times, and for never letting me give up until the last phase. To André, for your great patience, meticulous insight and your incessant support during this phase. Words will never be enough to thank you. And finally, my sincere gratitude to Dr. Salwa Mikdadi, Amirali Ghasemi, Myrna Ayad and Hala Khayat for your availability for the interviews, and your interesting and enriching insights that provided me with all the information that made possible the development of the present dissertation. i Abstract The present dissertation aims to show the strong presence of modern and contemporary female artists, and art businesswomen from the Middle East and North Africa, as well as providing possible explanations for the success of women in the art market of this region. -
Ghada Amer Was Born in Cairo, Egypt in 1963 and Moved to Nice, France When She Was Eleven Years Old
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. -
Our City Dreams
OUR CITY DREAMS A Documentary Film by Chiara Clemente 85 Minutes, Color, 2008 Digibeta, Stereo FIRST RUN FEATURES The Film Center Building, 630 Ninth Ave. #1213 New York, NY 10036 (212) 243-0600 Fax (212) 989-7649 Website: www.firstrunfeatures.com Email: [email protected] Synopsis Filmed over the course of two years, OUR CITY DREAMS is an invitation to visit the creative spaces of five women artists, each of whom possesses her own energy, drive and passion. These women, who span different decades and represent diverse cultures, have one thing in common beyond making art: the city to which they have journeyed and now call home - New York. The artists profiled are Nancy Spero, who was at the forefront of the feminist movement of the late 50s and 60s and whose work continues to question the polemics of sexual identity and warfare; Marina Abramovic, a pioneer of performance art who uses her own body as a canvas to respond deeply to contemporary cultural issues; Kiki Smith, who addresses philosophical, social and spiritual aspects of the human body through work that incorporates glass, plaster, ceramic, bronze and paper; Ghada Amer, who paints erotic canvases in traditional needle and thread and who refuses to bow to the puritanical elements of Western and Islamic culture and "institutionalized feminism"; and Swoon, one of New York's most promising emerging artists, whose arresting and fugitive street art transmits the pulse of urban life. sDirector Chiara Clemente combines an intimate style of documentary filmmaking with the ephemera of city life surrounding each woman and the work she creates. -
Curator) Luchezar Boyadjiev (Artist
October 2008 Members Iara Boubnova (curator) Luchezar Boyadjiev (artist) Mariela Gemisheva (fashion designer) Pravdoliub Ivanov (artist) Alexander Kiossev (cultural theoretician) Ivan Moudov (artist) The Institute of Contemporary Art – Sofia is a private, non-profit Stefan Nikolaev (artist) NGO, an association of curators, artists and cultural theoreticians. It is dedicated to the study, understanding, promotion and practice of the visual arts of the late 20th and early 21st century; to the Kiril Prashkov (artist) reestablishment and furthering of the dialogue between cultures and art scenes; to the search for an open art dialogue with everyone. Kalin Serapionov (artist) The history of ICA – Sofia is rooted in the professional partnership between friends who after 1989 shared the vision to open up and Nedko Solakov (artist) develop the Bulgarian contemporary art scene. The goals of ICA – Sofia are focused on the development of the contemporary Krassimir Terziev (artist) art scene in Bulgaria in relation to the world at large. The ICA-Sofia primary objective is the constant deepening and strengthening of Maria Vassileva (curator) relations to the international art world in a bidirectional and reciprocal manner. ICA-Sofia is triggering and facilitating a two-way flow of artists, curators, critics, and projects aiming to not only “take” your/ our home out into the world, but also to bring “the world” back home. The spectrum of ICA – Sofia activities consists of international and local projects for shows, publications, conferences, seminars, short term educational activities, lecture series, and so on. Something Personal, Something Common (in a bundle), 2007 A set of multiples, various materials, approx.