by brooksst | Mar 7, 2014 | Uncategorized
Classifying Lalla Essaydi’s studio practice as photography overlooks the complex array of production and practice that goes into the pieces such as, performance, textual, participatory, installation, site specific, and relational. She constructs a variety of tableaus...
by brooksst | Mar 7, 2014 | Uncategorized
Benjamin, Roger. Orientalist Aesthetics: Art, Colonialism, and French North Africa, 1880-1930. Berkeley: University of California, 2003. Print. Nochlin, Linda. Representing Women. New York: Thames and Hudson, 1999. Print. Lin, Ming. “Writing Women: Interview...
by brooksst | Mar 7, 2014 | Uncategorized
Architecture plays a large part in the works of Orientalist paintings, as well as in Lalla Essaydi’s photographs. The series Harem, and Harem Revisited present women in lavish architectural spaces, with mosaic tiles covering the walls in vibrant colors. Their dress...
by brooksst | Mar 7, 2014 | Uncategorized
It is important to appreciate at what point Essaydi realized that not all American or Western viewers understood the full context and meaning of Orientalist paintings. In her recent interview for this exhibition, the artist describes an experience she had in graduate...
by brooksst | Mar 7, 2014 | Uncategorized
Bailey, David A., and Gilane Tawadros. Veil: veiling, representation and contemporary art. Cambridge, Mass.: MIT Press; London, 2003. Batur, Ayşe Lucie. “The Mythology of the Veil in Europe: A Brief History of a Debate”. Comparative Studies Of South Asia,...
by brooksst | Mar 7, 2014 | Uncategorized
Western audiences viewing Essaydi’s photographs of (sometimes) veiled Muslim women will likely bring with them preconceived notions of the veil and what it means to their interpretation of the works. Essaydi, educated in both France and the United States, is no doubt...
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