Art
Change of Power
The poet Esmail Khoi once remarked to Ardeshir Mohassess that many of his drawings focused on oppression, depicting both the oppressor and the oppressed as ugly and animal-like. “You seem to suggest,” Khoi observed, “that those who suffer from oppression are no less cruel that their oppressors.” Ardeshir responded, “Perhaps I see both as equally responsible.” [1] Throughout an artistic career that spanned nearly five decades, Mohassess’ evocative line drawings depicted the heavy burden of the contest for power on the lives of Iranians. Above all, Ardeshir saw himself as a reporter, and his body of work forms an archive of twentieth-century Iran.
The Post-September 11 Arab Wave in World Music
Music from the Arab world has traditionally been a minor player within world music, the marketing category encompassing a wide variety of international music that emerged in the late 1980s. Aimed at an NPR listening “adult” audience, world music has a small market share of roughly 2-3 percent (comparable to classical music and jazz), but its audibility increased during the 1990s. Rai music from Algeria and Algerians in France — the most important Arab presence in world music — opened the way for other Arab artists to enter the scene during the 1990s.
Art Review: “It’s Possible”
It’s Possible, A Joint Exhibition of Palestinian and Israeli Art
“It’s Possible” is the theme of an exhibition by Palestinian and Israeli artists currently touring the United States. Twenty-four artists — 12 Palestinians and 12 Israelis — are displaying their works together in the first such effort outside Israel and the occupied territories. The exhibit curators are Kamal Boullata, a Palestinian artist and design editor of this magazine, and Yona Fischer, senior curator of the Israel Museum; New York-based Israeli sculptor Shulamith Koenig serves as the exhibition administrator.
Revolutionary Posters and Cultural Signs
All revolutions require aesthetic means for representing changes in consciousness. The French Revolution saw itself as something new and universal, and generated a rich elaboration of aesthetic categories of the sublime (storms of nature, volcanoes, earthquakes), the beautiful (island of calm, meadow after a storm) and the grotesque (metamorphoses) as vehicles for thinking about social change and the future. Most revolutions since then have seen themselves in relation to predecessor revolutions, from which they borrow tactics, organizational forms, strategies, rhetoric, symbols and graphics.
Palestinian Expression Inside a Cultural Ghetto
During the summer of 1986,1 spent a month in the West Bank, keen to learn for myself about the effects of Israeli restrictions on Palestinian forms of expression, particularly in the visual arts and local crafts. A quick look at different cultural products indicated that traditional aesthetic values have for some time been rapidly eroding. Alternative aesthetic values were more often than not crudely colored by the reactive rhetoric intrinsic to the cultural ghetto created by the occupation. I set out to explore for myself the process that brings into being products which stir a sense of pride among Palestinians living under occupation, and to understand the components that endow these cultural products with their uniquely Palestinian character.
Naji al-‘Ali Remembered
A ragged, barefoot boy, hands clutched behind his back, stands witness to the scene before him. The small boy in the cartoon is Naji al-‘Ali, popular cartoonist, at age 10, when he was expelled from his native Palestine to Lebanon in 1948. Naji used to say that the boy was a symbol of the Palestinian people and, more personally, of his aborted youth. “They tell little children to turn their backs, but I don’t turn. The boy is the age I was when I left Palestine, and he will not grow up until I return.”
Orientalism in Color
Mary Anne Stevens, ed., The Orientalists: Delacroix to Matisse — The Allure of North Africa and the Near East (Washington, DC: National Gallery of Art, in association with Weidenfield and Nicolson, London, 1984).
From the Editors (July/August 1983)
An interesting instance of the politics of culture is the “Heritage of Islam” exhibit currently on display at the Smithsonian Museum of Natural History in Washington. The exhibit, which toured a number of US cities over the past year, is a project of the National Committee to Honor the Fourteenth Centennial of Islam. We had been looking forward to its arrival, and our interest was further stimulated by an article in the June 1983 issue of Smithsonian discussing some controversies that had arisen.
