In Essaydi's portraits, you can see the ghost of the naked odalisque -- objectified even in being termed. But Essaydi's women show little flesh. They gaze into the camera, as if challenging the viewer directly. Some look positively regal, like the women in her "Bullet" series, who wear a sort of chain metal she fashioned out of flattened bullets.
Lalla Essaydi's 'Bullets Revisited 3' is on view at Stanford University’s Cantor Arts Center as of Tuesday, February 3 as part of the “She Who Tells a Story: Women Photographers From Iran and the Arab World" exhibition.
The New York Times sees shades of Matisse and Koons. ArtNet is convinced he's the next David LaChapelle. But Hassan Hajjaj, the Moroccan stylist and photographer, started out simply wanting to capture the essence of his home country in ways his buddies back in London would appreciate.
Essaydi has never viewed herself as a militant. Instead, she has made art that is a constant investigation of the polarization between East and West — art that dispels crude stereotypes of Arab culture and women. She uses the female body to make her viewers acutely aware of a voyeuristic tradition in Western art.But “Bullets Revisited” has an added dimension, and Essaydi says it is her most aggressive work to date.
The new Taymour Grahne Gallery in TriBeCa couldn’t wish for a more auspicious kickoff than its excellent inaugural show of new paintings and drawings by Nicky Nodjoumi. Born in Iran in 1942, Mr. Nodjoumi arrived in New York City in the late 1960s, when he became involved in protest movements against the Pahlavi regime in his home country.
Flitting between topics such as illegal club nights, casual acquaintance Mr Damon Albarn, and the bar he designed in Le Marais, Paris - it's clear the Moroccan artist Mr Hassan Hajjaj has lived a little. And having inhabited creative fields spanning film, photography, design and art, it is no surprise that he lives and works in the unique setting of Riad Yima.
The artist's work transcends borders and displays a worldliness that is a hallmark of Iranian artists in New York.
Essaydi, who has risen to international fame for her stunning portraits of women in Islamic cultures, questions the barriers imposed on Arab women and challenges stereotypical Western depictions of women who live in harems.
Green Art Gallery in Dubai is currently exhibiting 'Works on Paper: Hikayat', an exhibition that brings together over 50 works on paper by Modern Arab artists including Khouzayma Alwani, Mahmoud Hammad, Adham Ismail, Jamil Molaeb, Fateh Moudarres, Aref El Rayess, Khaldoun Shishakly, Seif Wanly and Elias Zayat.
It has been almost 27 years since Safwan Dahoul completed his first Dream. Since 1987, he has painted the same woman in the same muted monochromatic colours on what he assumes has been more than 1,000 canvases (although he never kept count). Every time, he titled it Dream.
Nabil Nahas on painting with starfish, the reception of his work in the Middle East, and the symbolism of cedar trees.
In his series 'Coastal Promenade', Camille Zakharia uses his camera to document the journey taken since his departure from Lebanon in 1985.
Afsoon, an Iranian artist who’s getting a lot of play on the developing Middle Eastern art scene, migrated from Iran to San Francisco to London, where — as an adult — things finally clicked.
Hassan Hajjaj’s portraits of female bikers in Marrakech in the latest hybrid street style (bootleg Chanel and Louis Vuitton abayas) challenge traditional notions about Muslim women.
Hassan Hajjaj, who was born in Morocco and is based in London, is a master of several design genres, including furniture, fashion, interiors and record-album covers. Over the past decade, he has synthesized them, and more, into dazzling photo-portraits that are dynamic transcultural documents.
Sara Shamma’s first solo exhibition in London at the Royal College of Art aptly displayed the nurture and evolution of her early-discovered, phenomenal talent. Entitled ‘Q’, the 16.5 metre figurative work consists of 10 large, individual paintings in oil and acrylic that are connected in a frieze to form a juxtaposition offigures and animals painted on a solid background of colour
The creatures found in self-taught Syrian painter Sabhan Adam's work could only be found in nightmares. The variety of dark and gruesome creatures all have a face that is similar to his own. "The figures I paint have so many things in common with me--they look like me, they have the same head and the same asian eyes as me. I draw myself with everything that exists inside--the sadness, the misery, the shocking things I have faced, the isolation, and the feeling of not belonging to this world."
The artist’s work is characterized by a combination of random colors and brush strokes, a style he discovered in the early stages of his profession. “Once I take the brush, I am not in control anymore, and the painting is in the driver’s seat,” he said. “Critics say that my paintings have an orderly sculpturing element.”