Negotiating Palestinian Womanhood: Encounters between Palestinian Women and American Missionaries, 1880s–1940s is the first analytical study to examine the American Quaker educational enterprise in Palestine since its establishment in the late nineteenth century during the Ottoman rule and into the British Mandate period. This book uses the Friends Girls School as a site of interaction between Arab and American cultures to uncover how Quaker education was received, translated, internalized, and responded to by Palestinian students in order to change their position within their society’s structural power relations. It examines the influence of Quaker education on Palestinian women’s views of gender and nationalism. Quaker education, in addition to ongoing social and political transformations, produced mixed results in which many Palestinian women showed emancipatory desires to change their roles and responsibilities in either radical, moderate, or conservative ways. As many of their writings in the 1920s and 1930s illustrate, Quaker ideals of internationalism, peace, and nonviolent means in conflict resolution influenced the students’ advocacy for cultural nationalism, Arab unity across tribal and religious lines, and responsible citizenship.
Layering postwar geometric abstraction with Arabic calligraphic forms, Anwar Jalal Shemza's rich and imaginative body of work is surveyed for the first time in this comprehensive volume.He then moved to London in the mid 1950s to study at the Slade School of Fine Art, where his art underwent fundamental transformation.His subsequent work in painting, drawing and printmaking rigorously deploys geometric and calligraphic forms to engage with dilemmas of identity, culture and place in the modern and contemporary era.Born in India in 1928, Shemza attended art school in Lahore, Pakistan, and was soon recognised there as a leading artist and literary figure.Accompanying over 100 illustrations of works and rare archival material, a text by Iftikhar Dadi provides an overview of his career alongside essays by Shezad Dawood, Rachel Garfield, Courtney Martin and Hammad Nasar that offer perspectives on his work, contemporary reception and influence on a younger generation.
The project began as a series of three exhibitions at Green Cardamom between 2008 and 2010 with the intention that it would move on to public collecting museums. The idea is to develop the project through a series of visual conversations crossing generations and continents as public museum curators respond to our exhibitions with works from their collections. The project includes artists from South Asia, the Middle East, Europe, North America and Australia.
Accompanying a major large-scale thematic exhibition at Whitechapel Gallery, this extensive catalogue charts the artists' studio through the last century: as a laboratory or stage set; as place of refuge, or a public space; as a site of resistance or an arena for communal activity. Featuring over 80 artists and collectives from around the world, the catalogue will focus in two sections on 'the public studio' and 'the private studio', accompanied by six thematic essays and full colour plate sections of works by Brancusi, Fischli & Weiss, Roni Horn, Bruce Nauman, Cindy Sherman, Andy Warhol, Nikhil Chopra, Gutai Group, Inji Efflatoun, Francesca Woodman, Ai Weiwei, Marisa Merz, Faith Ringgold and Francis Bacon, amongst many others.
- The first book to focus on the LYC Museum Art Gallery, rather than Li Yuan-chia's practice as a whole - A fresh account of 20th century British art centering diverse artists and cultural figures including Li, as well as Audrey Barker, Thetis Blacker, Lygia Clark, Delia Derbyshire, Andy Goldsworthy, Madelon Hookyaas and Elsa Stansfield, dom sylvester housédard, Claire Langdown, Liliane Lijn, David Medalla, David Nash, Winifred Nicholson, Mira Schendel, Takis and Shelagh Wakely - A standalone history of the LYC that accompanies an exhibition of the same name at Kettle's Yard, Cambridge (11 November 2023 - 18 February 2024) - This book traces the impact of Li's practice at the LYC, and beyond, on the contemporary moment and in relation to contemporary artistic and curatorial work - Richy illustrated with reproductions of works in the exhibition and beyond, as well as rarely seen archival material - A new approach to an artist who is quickly becoming recognized as a major figure and whose work is in the collections of major international collections including Tate and M+, Hong Kong Making New Worlds: Li Yuan-chia & Friends is the first book to document the extraordinary activity at the LYC Museum & Art Gallery in Banks, Cumbria between 1972 and 1983. The LYC was the singleminded effort of the artist Li Yuan-chia, who moved to the rural North of England by way of London, Bologna, Taipei and Guangxi, China. At the LYC, Li organized exhibitions, published books, exhibited archelogical artifacts, arranged workshops and welcomed an array of visitors from local and international artists and art workers to nearby residents and travelers, many of whom became friends. In this book, which accompanies an exhibition of the same name at Kettle's Yard, the curators Hammad Nasar, Amy Tobin and Sarah Victoria Turner, establish Li's work at the LYC as a form of worldmaking, connecting his cosmic conceptual art practice, to his interest in participation and friendship as well as his engagement with nature and the landscape. Nasar, Tobin and Turner's account is accompanied by nine short texts - by Elizabeth Fisher, Ysanne Holt, Annie Jael Kwan, Lesley Ma, Gustavo Grandal Montero, Luke Roberts, Nick Sawyer & Harriet Aspin, Nicola Simpson and Diana Yeh - that trace the diverse threads and ramifications of Li's practice historically and in the present. Richly illustrated, Making New Worlds offers a provocative new way of thinking the history of British art in the 20th century.
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