AzizArt November 18

AZIZ ART

November 2018

Norman Rockwell

Golnaz Fathi

Lara Baladi

1-Norman Rockwell 9-Golnaz Fathi 12-Competition 13-Lara Baladi

Director: Aziz Anzabi Editor : Nafiseh Yaghoubi Translator : Asra Yaghoubi Research: Zohreh Nazari

http://www.aziz_anzabi.com

Norman Percevel Rockwell (February 3, 1894 – November 8, 1978) was an American author, painter and illustrator. His works have a broad popular appeal in the United States for their reflection of American culture.

Rockwell is most famous for the cover illustrations of everyday life he created for The Saturday Evening Post magazine over nearly five decades. Among the best-known of Rockwell's works are the Willie Gillis series, Rosie the Riveter, The Problem We All Live With, Saying Grace, and the Four Freedoms series. He is also noted for his 64-year relationship with the Boy Scouts of America (BSA), during which he produced covers for their publication Boys' Life, calendars, and other illustrations. These works include popular images that reflect the Scout Oath and Scout Law such as The Scoutmaster, A Scout is Reverent and A Guiding Hand,among many others.

original works in his lifetime. Most of his works are either in public collections, or have been destroyed in fire or other misfortunes.

Rockwell was also commissioned to illustrate more than 40 books, including Tom Sawyer and Huckleberry Finn as well as painting the portraits for Presidents Eisenhower, Kennedy, Johnson, and Nixon, as well as those of foreign figures, including Gamal Abdel

Nasser and Jawaharlal Nehru. His portrait subjects included Judy Garland. One of his last portraits was of Colonel Sanders in 1973. His annual contributions for the Boy Scouts calendars between 1925 and 1976 (Rockwell was a 1939 recipient of the Silver Buffalo Award, the highest adult award given by the Boy Scouts of America), were only slightly overshadowed by his most popular of calendar works: the "Four Seasons" illustrations for Brown & Bigelow that were published for 17 years beginning in 1947 and reproduced in various styles and Norman Rockwell was a prolific sizes since 1964. artist, producing more than 4,000 1

He painted six images for Coca-Cola advertising.Illustrations for booklets, catalogs, posters (particularly movie promotions), sheet music, stamps, playing cards, and murals (including "Yankee Doodle Dandy" and "God Bless the Hills", which was completed in 1936 for the Nassau Inn in Princeton, New Jersey) rounded out Rockwell's œuvre as an illustrator.

really Norman Rockwell's twin brother kidnapped by Gypsies in babyhood". He is called an "illustrator" instead of an artist by some critics, a designation he did not mind, as that was what he called himself.

In his later years, however, Rockwell began receiving more attention as a painter when he chose more serious subjects such as the series on racism for Look magazine. One example of this Rockwell's work was dismissed by more serious work is The Problem serious art critics in his We All Live With, which dealt with lifetime.Many of his works appear the issue of school racial overly sweet in the opinion of integration. The painting depicts a modern critics,especially the young black girl, Ruby Bridges, Saturday Evening Post covers, flanked by white federal marshals, which tend toward idealistic or walking to school past a wall sentimentalized portrayals of defaced by racist graffiti.This American life. This has led to the painting was displayed in the White often-deprecatory adjective, House when Bridges met with "Rockwellesque". Consequently, President Obama in 2011.

Rockwell is not considered a "serious painter" by some Early years contemporary artists, who regard Norman Rockwell was born on his work as bourgeois and kitsch. February 3, 1894, in New York City, Writer Vladimir Nabokov stated to Jarvis Waring Rockwell and Anne that Rockwell's brilliant technique Mary "Nancy" Rockwell, born Hill. was put to "banal" use, and wrote His earliest American ancestor was in his book Pnin: "That Dalí is John Rockwell (1588–1662),

from Somerset, England, who immigrated to colonial North America, probably in 1635, aboard the ship Hopewell and became one of the first settlers of Windsor, Connecticut.

He had one brother, Jarvis Waring Rockwell, Jr., older by a year and a half.Jarvis Waring, Sr., was the manager of the New York office of a Philadelphia textile firm, George Wood, Sons & Company, where he spent his entire career.

Me Why: Stories about Mother Nature.

After that, Rockwell was hired as a staff artist for Boys' Life magazine.

In this role, he received 50 dollars' compensation each month for one completed cover and a set of story illustrations. It is said to have been his first paying job as an artist. At 19, he became the art editor for Boys' Life, published by the Boy Scouts of America. He held the job for three years, during which he painted several covers, beginning Rockwell transferred from high with his first published magazine school to the Chase Art School at cover, Scout at Ship's Wheel, which the age of 14. He then went on to appeared on the Boys' Life the National Academy of Design September edition. and finally to the Art Students League. There, he was taught by Painting years Thomas Fogarty, Rockwell's family moved to New George Bridgman, and Frank Rochelle, New York, when Norman Vincent DuMond; his early works was 21 years old. They shared a were produced for St. Nicholas studio with the cartoonist Clyde Magazine, the Boy Scouts of Forsythe, who worked for The America (BSA) publication Boys' Saturday Evening Post. With Life, and other youth publications. Forsythe's help, Rockwell submitted As a student, Rockwell was given his first successful cover painting to small jobs of minor importance. the Post in 1916, Mother's Day Off His first major breakthrough (published on May 20). came at age 18 with his first book illustration for Carl H. Claudy's Tell

He followed that success with Circus Barker and Strongman (published on June 3), Gramps at the Plate (August 5), Redhead Loves Hatty Perkins (September 16), People in a Theatre Balcony (October 14), and Man Playing Santa (December 9). Rockwell was published eight times on the Post cover within the first year.

Ultimately, Rockwell published 323 original covers for The Saturday Evening Post over 47 years. His Sharp Harmony appeared on the cover of the issue dated September 26, 1936; it depicts a barber and three clients, enjoying an a cappella song. The image was adopted by SPEBSQSA in its promotion of the art.

Rockwell's success on the cover of the Post led to covers for other magazines of the day, most notably the Literary Digest, the Country Gentleman, Leslie's Weekly, Judge, Peoples Popular Monthly and Life magazine.

When Rockwell's tenure began

with The Saturday Evening Post in 1916, he left his salaried position at Boys' Life, but continued to include scouts in Post cover images and the monthly magazine of the American Red Cross. He resumed work with the Boy Scouts of America in 1926 with production of his first of fiftyone original illustrations for the official Boy Scouts of America annual calendar, which still may be seen in the Norman Rockwell Art Gallery at the National Scouting Museum in the city of Irving near Dallas, Texas.

During World War I, he tried to enlist into the U.S. Navy but was refused entry because, at 140 pounds (64 kg), he was eight pounds underweight for someone 6 feet (1.8 m) tall. To compensate, he spent one night gorging himself on bananas, liquids and doughnuts, and weighed enough to enlist the next day. He was given the role of a military artist, however, and did not see any action during his tour of duty

Later career During the late 1940s, Norman Rockwell spent the winter months as artist-in-residence at Otis College of Art and Design.

Students occasionally were models for his Saturday Evening Post covers. In 1949, Rockwell donated an original Post cover, April Fool, to be raffled off in a library fund raiser.

In 1959, after his wife Mary died suddenly from a heart attack,Rockwell took time off from his work to grieve. It was during that break that he and his son Thomas produced Rockwell's autobiography, My Adventures as an Illustrator, which was published in 1960. The Post printed excerpts from this book in eight consecutive issues, the first containing Rockwell's famous Triple Self-Portrait.

Rockwell's last painting for the Post was published in 1963, marking the end of a publishing relationship that had included 321 cover paintings. He spent the next 10 years painting for Look magazine, where his work depicted his interests in civil rights,

poverty, and space exploration.

In 1966, Rockwell was invited to Hollywood to paint portraits of the stars of the film Stagecoach, and also found himself appearing as an extra in the film, playing a "mangy old gambler".

In 1968, Rockwell was commissioned to do an album cover portrait of Mike Bloomfield and Al Kooper for their record, The Live Adventures of Mike Bloomfield and Al Kooper.

In 1969, as a tribute to Rockwell's 75th anniversary of his birth, officials of Brown & Bigelow and the Boy Scouts of America asked Rockwell to pose in Beyond the Easel, the calendar illustration that year.

His last commission for the Boy Scouts of America was a calendar illustration entitled The Spirit of 1976, which was completed when Rockwell was 82, concluding a partnership which generated 471 images for periodicals, guidebooks, calendars, and promotional materials.

His connection to the BSA spanned 64 years, marking the longest professional association of his career. His legacy and style for the BSA has been carried on by Joseph Csatari.

their marriage. They had three children: Jarvis Waring, Thomas Rhodes, and Peter Barstow. The family lived at 24 Lord Kitchener Road in the Bonnie Crest neighborhood of New Rochelle, New York. For multiple reasons, For "vivid and affectionate portraits Rockwell and his wife were not of our country," Rockwell was regular church attendees, although awarded the Presidential Medal of they were members of St. John's Freedom, the United States of Wilmot Church, an Episcopal America's highest civilian honor, in church near their home, where 1977 by President Gerald Ford. their sons were baptized. Rockwell Rockwell's son, Jarvis, accepted the moved to Arlington, Vermont, in award.

1939 where his work began to Personal life reflect small-town life.

Rockwell married his first wife, Irene O'Connor, in 1916. Irene In 1953, the Rockwell family moved was Rockwell's model in Mother to Stockbridge, Massachusetts, so Tucking Children into Bed, that his wife could be treated at the published on the cover of The Austen Riggs Center, a psychiatric Literary Digest on January 19, hospital at 25 Main Street, close to 1921. The couple divorced in where Rockwell set up his studio.

1930. Depressed, he moved Rockwell also received psychiatric briefly to Alhambra, treatment, seeing the analyst Erik California as a guest of his old Erikson, who was on staff at Riggs. friend Clyde Forsythe. There he Erikson is said to have told the painted some of his best-known artist that he painted his happiness, paintings including The Doctor but did not live it. In 1959, Mary and the Doll. While there he met died unexpectedly of a heart attack. and married schoolteacher Mary Barstow in 1930. The couple returned to New York shortly after

Rockwell married his third wife, retired Milton Academy English teacher, Mary Leete "Mollie" Punderson (1896-1985), on October 25, 1961.His Stockbridge studio was located on the second floor of a row of buildings; directly underneath Rockwell's studio was, for a time in 1966, the Back Room Rest, better known as the famous "Alice's Restaurant."

During his time in Stockbridge, chief of police William Obanhein was a frequent model for Rockwell's paintings.

From 1961 until his death, Rockwell was a member of the Monday Evening Club, a men's literary group based in Pittsfield, Massachusetts.

At his funeral, five members of the club served as pallbearers, along with Jarvis Rockwell

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Golnaz Fathi born 1972 is an Iranian contemporary artist who lives and works in Tehran and Paris and is noted for her artwork in the hurufiyya tradition.

of calligraphy in abstract designs, she is seen as part of the broader, hurufiyya art movement. Art historian, Rose Issa, has described her work as that of a third generation huryifiyya artist.

Life and career She was born in Tehran and studied graphic design at Islamic Azad University, receiving a BA in 1995. She went on to study traditional Persian calligraphy, receiving a diploma from the Iranian Society of Calligraphy. Fathi was named Best Woman Calligraphist by the Iranian Society of Calligraphy in 1995. She received an award at the Sharjah Calligraphy Biennial in 2010.

Her work has appeared in solo shows in London, New York City, Shanghai, Dubai, Kuwait, Bahrain, Beirut and Paris. Fathi has been included in group exhibitions in the United States, the United Kingdom, India, Germany, South Korea, Switzerland, France, Jordan, Turkey, the United Arab Emirates, Italy and Belgium.

Fathi has developed her own abstract style derived from the practice of traditional calligraphy.

Unlike traditional calligraphy, her painting features strong brushstrokes and vibrant colour.

Although her work may include Arabic letters, Fathi wants it to be viewed as abstract images rather than as text.For continuing the use

Her work is included in the collections of the Metropolitan Museum of Art, the British Museum in London, Carnegie Mellon University in Qatar, the Islamic Arts Museum Malaysia, the Asian Civilisations Museum in Singapore, the Devi Art Foundation in New Delhi and the Farjam Collection in Dubai

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Lara Baladi born 1969 in Beirut, Lebanon is an acclaimed EgyptianLebanese photographer, archivist and multimedia artist. She was educated in Paris and London and currently lives in Cairo. Baladi exhibits and publishes worldwide.

Her body of work encompasses photography, video, visual montages/collages, installations, architectural constructions, tapestries, sculptures and even perfume.Much of her work reflects her "concerns with Egypt's extremely alarming sociopolitical context.

Fellowship in 2003 to research manga and anime in Tokyo. Among other global locations, she participated in the VASL residency program in Karachi, Pakistan in 2010. The breadth and variety of Baladi’s international experience influences her use of iconography drawn from numerous cultures.

Photo-montage In 2000, she participated in The Desert, a group exhibition at Fondation Cartier in Paris with Om El Dounia (Mother of the World), a vast mosaic of photographs with highly saturated colors.This piece, while playful and with many references to pop culture, is also an exploration of the Biblical story of creation.

Work Since 1997, she has been a member of the Arab Image Foundation (AIF), for which she directs magazine editorials and curates exhibitions and artist In 2007, Baladi presented a work residencies.She curated the artist called Justice for the Mother, which residency Fenenin el Rehal depicts leaders of Arab countries.

(Nomadic Artists) in Egypt's White She considers it part of a series she Desert in 2006 and participated in calls "anthropological workshops and conferences photography," where she around the world. Baladi is assembles series of photographs represented by the Townhouse that tell a larger story. In this piece, Gallery of Contemporary Art in Cairo and IVDE Gallery in Dubai.

Baladi received a Japan Foundation

Baladi draws from influences from both Western and Islamic traditions, creating "fantastical, playful surveys of history, culture and personal reflection."

Sandouk el Dounia is a huge composition of hundreds of scanned photographs. The name of the piece references traditional street theater for children in Cairo.Sandouk was presented in 2009 at the Queens Museum of Art's group exhibition Tarjama/Translationand in 2011 at the Venice Biennial's group show Penelope’s Labor: Weaving Words and Images. Reviewers called it "a giant tapestry version of a photo collage packed with images of action heroines" Installations An enormous installation titled "Al Fanous el Sehryn" (the Magic Lantern) was shown at the Townhouse Gallery in Cairo in 2003. The work consists of "a large eight-pointed star constructed of steel--approximately 23 feet in diameter--and a series of light boxes containing saturated colored images produced from xray

giving birth".[16] The art suggests a cyclical nature where the images of the doll endlessly grow up and then giving birth over and over. The star shape was inspired by the chandeliers which hang in the mosque of Mohammed Ali in the Cairo Citadel.

Her installation Roba Vecchia was presented in 2006 at the Townhouse Gallery in Cairo, in 2007 at the Sharjah Biennal and in 2009 at Arabesques, an exhibition of Arab contemporary art at the Kennedy Center in Washington and described as a "human-scale kaleidoscope", that "incorporated images from pop culture, then shattered them in constantly changing geometries", and in which "the participant becomes immersed in a psychedelic environment where rapidly yet systematically changing imagery engulfs the viewer".

Borg el Amal (Tower of Hope), an ephemeral construction and sound installation, won the Grand Nile Award at the 2008/2009 Cairo Biennale.

The inspiration for the tower Tahrir Cinema. Both projects were comes from the inspired and informed by the slums surrounding Cairo known as eighteen days that toppled ashwa'iyat (haphazard things).

Egyptian leader, Hosni Mubarak’s, Her own tower in Borg el Amal leadership. was constructed of similar materials to the ashwa'iyat and allowed the audience to experience music under the oper sky.

Radio Tahrir came about when The entire installation is a Baladi and her friends, along with challenge to "the censorship of other like-minded people, started the Mubarak era and addressed importing the equipment needed the state's ignorance of to start a pirate radio station.Radio [that social plight]," which Baladi Tahrir was the first free online radio saw as a problem which she in Egypt. likened to a "ticking bomb about Tahrir Cinema was co-founded with to explode."She commissioned Mosireen, an Egyptian non-profit the Kiev Kamera Orchestra to media initiative.The project served perform the Donkey Symphony, as a public platform to build and Borg el Amal’s sound component, share a video archive on and for the at the first Kiev Biennial in 2012. revolution. The impetus to create Coffee cups, presented in 2010 at Tahrir Cinema came from the chaos Gallery Isabelle van den Eynde in surrounding the second sit-in in Dubai has been considered both Tahrir: "People were screaming and "playful" and inviting the viewer shouting on stages into "into a world of contemplation microphones," she says, "there was and reflection". so much diffused information floating around, but no focus." Her Tahrir training as a visual artist helped her During the Egyptian Revolution of organize, show and share 2011, Baladi co-founded two documents relating to the media initiatives: Radio Tahrir and revolution using these platforms.

at the state, denouncing it.

Tahrir Cinema went live on July 14, 2011.The public experienced Tahrir Cinema as film shown on a screen constructed of wood and plastic in the main thoroughfare of the square. Surrounding the screen were rugs for people to sit on and areas for a larger standing crowd to view the footage. Lara Baladi created a collection of footage that included videos shot by activists directly involved in the revolution.She was very broad in her collecting, even showing "solidarity protests" from London.Being able to view and experience images and video taken by citizens in Egypt was an abrupt break with Mubarak's regime, where photography was prohibited in many areas of Egypt.Baladi writes, "people in the square took photos because they felt the social responsibility to do so...

The camera became a

Continuing work Baladi received a Fellowship from the Massachusetts Institute of Technology's (MIT) Open Documentary Lab for 2014 and 2015 in order to research, archive and create a transmedia activism project called Vox Populi, Archiving a Revolution in the Digital Age.Vox Populi is a multimedia documentary that consists of an archive of articles, images and videos that Baladi had been gathering since January 25, 2011.Preserving the ephemera and the images of the revolution in Tahrir is important to Baladi.

She writes that "most of the images of the 18 days vanishing into a bottomless pit thanks to Google's PageRank algorithm, will the vision of a possible new world people glimpsed in [Tahrir] Square die along with its digital traces?"

This expression of the fleeting nature of the digital world informs nonviolent weapon aimed directly her current work.

Selected solo exhibitions 2015 Perspectives, Arthur M. Sackler Gallery, Washington, DC, USA 2011 Hope, NY Abu Dhabi University Gallery, New York City, NY, USA 2010 Diary of the Future, Gallery Isabelle Van Den Eynde, Dubai, UAE 2008 Surface of Time, B21 Art Gallery, Dubai, UAE 2006 Towards the Light, 20 screen projections along one kilometer of the seashore on opening night of Image of the Middle East Festival, Copenhagen International Theatre, Denmark Roba Vecchia, Townhouse Gallery of Contemporary Art, Cairo, Egypt 2004-6 Kai’ro Lansmuseet, Vasternorrland, Harnosand, Sweden, 2005-6 Nikolai, Copenhagen Contemporary Art Centre, Denmark, 2005 Pori Museum, Pori, Finland, 2005 Bilmuseet, Umea, Sweden, 2004 2002 Al Fanous Al Sehry, Townhouse Gallery of Contemporary Art, Cairo, Egypt 2001 Sandouk Al Dounia

El Nitaq Festival, Cairo, Egypt Ashkal Alwan, Beirut, Lebanon

NASIR OL MOLK MOSQUE, SHIRAZ, IRAN

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