جماهير الهلال تبكي وتذرف دموع الفرح احتفالاً بفوز فريقها علي مازيمبي

جماهير الهلال تبكي وتذرف دموع الفرح احتفالاً بفوز فريقها علي مازيمبي

What is art to you now, have your views changed if so why?

I learned from the book the meaning of art which is visual expression of an idea or experience formed with skill, but for me it’s not enough because when I started this class I didn’t have enough ideas about art I thought that it’s only painting or just make a perfect letter line, but really I learned more than I expected not only I am interested in some parts of art but also the professor bush me to learn to express my own feeling about what I see from other artist he teach me that art can be everything around me just understand it and try to get it out, art doesn’t have a limited . I learned different cultures and different art’s works from galleries, art21, collectives, interviewing artist. Right now after class over I can said that I can start to my best in writing letters in good shapes and styles I am going to continue with my blogs especially with my professor. Thank you professor for your advices, thank you for helping me to learn great something about artist.

Presentatiom

   writer and founder of Art Middle East Nazy Nazhand

 1-   How does your work relate to the Islamic artistic tradition represented

in Gifts of the Sultan? How has traditional art influenced your practice?

From the very beginning of my artistic practice, my intension was to create a

dialogue as well as to explore the viability of an interaction with a traditional

genre, and many aspects of my work are the outcome of examining the

traditional Indo-Persian miniature paintings.

In 1986, as a student at the National College of Arts in Lahore, I realized that

there was an open opportunity in the Miniature Painting Department in that no

one was exploring these paintings as a vehicle for contemporary expression, and

thus my choice of examining the tradition of book illustration within the context

of Indo-Persian miniatures. Because many students were not interested in

pursuing this, it became possible for me to explore a new path. Working with the

inherent complexities of “traditional art” was a paradox of choice, allowing me

to create an intellectual debate and a new way of asking questions.

 

 

2-    What are your thoughts on museum exhibitions like Gifts of the Sultan

that juxtapose historical and contemporary artworks?

I would like to see an exhibition where such juxtapositions are the main crux of the show.

 

3-    Where are you currently based? One of the major themes in Gifts of the Sultan is that of cross-cultural interaction and exchange; what are your thoughts on this theme and how does the geographical location of where you work influence your perspective?

I am based in New York. I also spend several months each year outside of the US working from many other locations. In the recent 4–5 years I have worked in Germany, Italy, Laos, and Pakistan.  The theme of the show is a great parallel to the mobility that many contemporary artists enjoy as well as seek for production of their work. For me the location from where I work is not necessarily a place of influence. It can be of course, but at times it need not be. The idea explored in the work is what casts the influence or direction.

 

4-   Describe your creative process; what are you currently inspired by?

What are you currently working on?

My recent work is an animation titled The Last Post and a related video titled

Gossamer. It was inspired by my ongoing interest in the colonial history of the

sub-continent as well as by an opportunity to collaborate with the musician and

composer, DuYun, who is also a performance artist.

Nazy Nazhand is the founder of Art Middle East, a series of programs and

cultural events during Armory Arts Week in New York City and Art Platfom – Los

Angeles. She’s a contributing writer covering art from the Middle East. She has

written for Artnet, Modern Painters, Artinfo, Whitewall, and T Magazine.

 

 

5-   Fereshteh Daftari

With hindsight do you consider your choice of this tradition as complying with any larger political agenda?

Shahzia Sikander

At a fairly young age, my decisions and judgments were mostly intuitive and yet

I gravitated towards those who were questioning the status quo. The desire to be

subversive and !nd one’s voice is, I think, an outcome of a coming of age in the

unstable and oppressive political climate of Zia ul-Haq’s military regime.

 

6- Who is pursuing who and when does the pursuer become pursued?

Since arriving in America from Pakistan in 1993, there have been many

stops in different cities and many absences also. I have worked outside of the

US recently, in Berlin and Laos, and even back in Pakistan. Art remains a way of

observing the world and bringing into effect a process that creates meaning for me.

I am interested in recorded histories and their paths of evolution in terms of what

gets culled and elaborated. What is usually left out is the space imagination !lls

in. Drawing upon literature, political and national histories, art history, media and

language, and lived experience, I !nd shifting geographical locations compelling.

The indisputable concept of plural identity versus the assertion of a monolithic one,

the fear of the other, politicised ideas of patriotism, constantly evolving truths and all

the bizarre shifts between reality and perception are but some of the elements that

provide paradox, humour, irony and material for me. I am just as interested in these

notions now as I was in 1985 when I !rst started making work.

 

7-  How do you define your relationship to miniature painting?

Shahzia Sikander

My relationship is akin to contradiction itself. Conceptually, metaphorically, as well as

in terms of process, it is as much about accumulation as removal. The anchor for all

my work is drawing. It goes hand in hand with erasing. Layers are built and abraded;

paths are kept, their history etched in the work itself.

 

8-  Fereshteh Daftari

Stereotypes are stubborn and understanding can become entrenched; for instance, Expressionist painting simplistically associated with angst, miniature painting with beauty. How would you de!ne beauty and to what extent do you allow it to enter your work?

Shahzia Sikander

Beauty is as subjective as the notion of art itself. Beauty and its subsequent context

go in and out of fashion every decade it seems. I was interested in violating the

preciousness of the miniature as an equivalent to what might be considered an antiheroic

gesture. At the same time I was interested in process, labour, time, traditional

skills, virtuosity of technique and formalism. Despite my investment in understanding

and studying miniature painting, I was equally irreverent towards its traditions, mixing

them in many unorthodox ways. If we were to equate ‘beauty’ with ‘authenticity’, then a

subversive attitude, one that is open to contamination, would most accurately de!ne

my relationship to it.

 

9-  Fereshteh Daftari

Can you give some examples of unorthodox processes you have applied to

miniature painting?

Shahzia Sikander

Miniature painting has been ripe for deconstruction. Tradition is altered through

many strategies, a change of scale for instance or when I paint a mural; a change

of medium or abstracted forms from miniatures animated through video projection.

Animation is a whole new territory for ideas that used to reside on paper. Another

way to disrupt tradition is through the transformation of a single motif. A turban

in Pursuit Curve (2004) for example, may be a traditional form but through the

device of multiplication, it releases new associations.

 

10   Fereshteh Daftari

Can you discuss some visual artists whose works have touched you?

Shahzia Sikander

Many artists have resonated with me at different times. Regarding ideas of capturing

loss, I admire Anselm Kiefer, Sigmar Polke and William Kentridge. Others, such as

Cornelia Parker and James Turrell, even though very different from each other,

have struck me for the way their intervention impacts or transforms space in much

unexpected ways. The clarity of Ed Ruscha’s and the "uidity of Raymond Pettibon’s

drawings are other qualities I !nd relevant. Pettibon excels in tackling pop culture

with as much ease as he accesses his own subconscious. Bhupen Khakar and

David Hockney are two artists who were helpful for me when I began looking at the

depiction of space in Persian Safavid painting. They opened up the exploration of

space from a personal, psychological standpoint. Francis Alÿs’ use of repetition as a

strategy is also of interest – how every repeated action, gesture or re-enactment in

his work yields multiple readings.

 

 

 

 

Visiting De la Cruz Collection

 

 

Gabriel Orozco

 

 

De la Cruz Collection is a wonderful place which contains Art's works for a number of painters and artists, when I stepped into the third floor, it looks like a Carvings stacked which carefully arranged in a good way, I liked the Art's work for the artist Gabriel Orozco, who was born in Mexico in 1962.     

I found several Art's works, including Bing Bong Table , 1998 Mixed Media 30 x 167 x 3/4 inche, Sculpture, Four Bicycles there is Always  One Direction ), 1994 , Naturaleza recuperada vulcanized rubber 1990, and Epecimenes en Montevideo C.Print : iris print 22 3/4 x 34 inches . The first picture of the Bicycles is a wonderful, for me, first it shows glance as interdependent and interrelated but when I checked the matter, I found that it's going to one direction to the top and each one has a different land and different from , but all of them has two wheels also to one direction. The second image, although it's two Ping-Pong tables, it looks for me four tables surrounding a swimming pool I liked the idea, which means to me the meaning of coherence or cohesion. The third photo attracted me, it looks like stone come from the space or came from a dark place and keep the black color which original the color of the darkness

 

 

 

 

 

 

 

Sculpture , Four Bicycles there is Always

 One Direction ), 1994

Bing Bong Table , 1998

Mixed Media

30 x 167 x 3/4 inches

 

 

 

         

	Naturaleza recuperada   vulcanized rubber   1990
	Epecimenes en Montevideo C.Print : iris print 22 3/4 x 34 inches
	. 

Janine Antoni

 

Janine Antoni  

Janine Antoni was born in Bahamas, in 1964. She studied in Lawrence College in New York, I observed in the movie that sometimes she use her body as a tools her tool. When using her skills to go over the rope on the water, it brings to the viewer she is walking on the water. She also wants to get back to materials and objects that people forget what they are made of and who made them. Her work is extremely interesting. Other use for her body as tools is that using her teeth to sculpt or her hair as a paint brush. She physically becomes one with her art and it’s a closer feel. I love what she use. Some of her works is interesting. She has adapted skills and trades along her way. When I saw how she made the rope, it looks like it’s braided together, it looks different, I think she mean the life or road of life.

"Saddle," 2000
Full rawhide (cow), 25 2/3 x 32 1/2 x 78 5/8 inches
Photo by Anders Norrsell
Courtesy the artist and Luhring Augustine


 

 

"Lick and Lather," detail, 1993
7 soap and 7 chocolate self-portrait busts, 24 x 16 x 13 inches each
Collection of Jeffrey Deitch, New York
Photo by John Bessler
Courtesy the artist and Luhring Augustine

 

Production still from the "Art in the Twenty-First Century

" Season 2 episode, "Loss & Desire," 2003
Segment: Janine Antoni
© Art21, Inc. 2003

 
 
 

 

 

 

 

 

 

Francis Bacon

 Francis Bacon

 

 

           Francis Bacon born in October 28, 1909, in Georgian Dublin. He was an Irish-born British figurative painter known for his bold, he is also a graphic and emotionally raw imagery Bacon's painterly. When I saw some of his painting, I got completely surprised,  because he try to express some parts of his life through his arts work, and that is the reasons of his arts looks like uncompleted work , because he tried to highlight his personal issues in some of his art painting  especially philosophically part which appeared also in some of his arts painting, also he meant to have a lack of visibility in some of them such as figures creation, personal friends or partners or may be something that he try to express, but there is something unknown in his art painting, for example, in one of his arts painting he represent a man looks like a ghost , unknown name, scary , dead , it’s abuses of the human face. It’s interesting to follow his life steps in order to find out the reasons behind that painting.

 

Study after Velázquez's Portrait of

Pope Innocent X, 1953

 

 

 

 

Oil on canvas, 198cm x 147cm.

 Collection of Esther Grether

 

 

 

 

 

Study for the Head of George Dyer (1966)

 

 

 

Richard Tuttle

 

 

Richard Tuttle

 

             Richard Dean Tuttle born 12 July 1941 is an American post minimalist artist known for his small, subtle, intimate works. His art makes use of scale and line. He lives and works between New Mexico and New York. His works span a range of media, from sculpture, painting, drawing, printmaking, and artist’s books to installation and furniture. From the movie that I saw in the class, I think Richard Tuttle created things that hidden from the viewer or may be not clear. I wondered when he was drawing lines they seem unusual, then he was setting down a metal wire on that line, he let the viewers to ponder or to decide what is that, I believe he create something un understandable but he thing that he shows something a life or maybe he want to say there is something behind this scene

 

 

"’Village I, Sculpture I’," 2004
Steel, iron, wire, piñon and juniper wood, 60 x 16 x 31 inches
Collection Deedie and Rusty Rose, Dallas, Texas
Courtesy Sperone Westwater, New York

 

 

 

 

 

Richard Tuttle

"1st Paper Octagonal," 1970
Bond paper and wheat paste, 53 1/2 x 59 inches overall
Collection of the Artist
Courtesy Sperone Westwater, New York