AZIZ ART
LALLA ESSAYDI
Ramin Shirdel
September 2017
Kara Walker
Natalia Sergeevna Goncharova
1-Natalia Sergeevna Goncharova
6-Ramin Shirdel 8-Lalla A. Essaydi 12-Kara Elizabeth Walker
Director: Aziz Anzabi Editor : Nafiseh Yaghoubi Translator : Asra Yaghoubi Research: Zohreh Nazari
http://www.aziz_anzabi.com
1
Natalia Sergeevna Goncharova July 3, 1881 – October 17, 1962 was a Russian avant-garde artist, painter, costume designer, writer, illustrator, and set designer Life Natalia Sergeevna Goncharova was born on July 3, 1881, in Nagaevo (now in the Chernsky District of Tula Oblast).Her father, Sergei, was an architect and graduate of the prestigious Moscow Institute of Painting, Sculpture and Architecture.Goncharova moved to Moscow at the age of 10 in 1892; she graduated from the Fourth Women's Gymnasium in 1898. Education In 1901 Goncharova began her own studies at the Moscow Institute of Painting, Sculpture and Architecture as a sculptor, under Pavel Trubetskoi, who was associated with the World of Art
movement.By 1903, she began exhibiting in major Russian salons.She was awarded a silver medal for sculpture in 1903-04.It was at the Moscow Institute that Goncharova met fellow-student Mikhail Larionov, and not long afterwards they began sharing a studio and living space.She withdrew from the Moscow Institute of Painting, Sculpture and Architecture in 1909, and in 1910, after a number of students were expelled from Konstantin Korovin's portrait class for imitating the contemporary style of European Modernism, Goncharova, Larionov, Robert Falk, Pyotr Konchalovsky, Alexander Kuprin, Ilya Mashkov and others formed Moscow's first radical independent exhibiting group, the Jack of Diamonds
Participation in avant-garde movements The Jack of Diamonds' first exhibition (December 1910-11) included Primitivist and Cubist paintings by Goncharova, and in the later Donkey's Tail exhibition (March– April 1912) organized by Larionov, more than fifty of her paintings were on display.Goncharova drew inspirations for primitivism from Russian icons and folk art, otherwise known as luboks. The Donkey's Tail was conceived as an intentional break from European art influence and the establishment of an independent Russian school of modern art. The exhibition proved controversial, and the censor confiscated Goncharova's religiously-themed work, The Evangelists (1910-11), deeming it blasphemous for it to be hung at an exhibition titled
Futurism is much in evidence in Goncharova's later paintings. Initially preoccupied with icon painting and the primitivism of ethnic Russian folk-art, Goncharova became famous in Russia for her Futurist work such as The Cyclist and her later Rayonist works. Goncharova and Larionav painted hieroglyphics and flowers on their faces and walked the streets as a part of a primitivist art movement. Goncharova herself sometimes appears topless in public with symbols on her chest.As leaders of the Moscow Futurists, they organized provocative lecture evenings in the same vein as their Italian counterparts. Goncharova was also involved with graphic design—writing and illustrating several avant-garde books
She started to exhibit at the Salon d'Automne (Exposition de L'art Russe) since 1906 after the rear end of a donkey. Goncharova was a member of the Goncharova and her counterpart, Der Blaue Reiter avant-garde group Larionav, were continuously from its founding in 1911. In 1915, harassed for their artwork and the she began to design ballet way they expressed themselves. costumes and sets in Geneva. However, the influence of Russian
In 1915 she started work on a series of designs—Six Winged Seraph, Angel', St. Andrew, St. Mark, Nativity, and others—for a ballet commissioned by Sergei Diaghilev to be titled Liturgy. Also involved in the project, for which Igor Stravinsky was invited to compose the score, were Larionov and Léonide Massine, but the ballet never materialized. Goncharova moved to Paris in 1921 where she designed a number of stage sets of Diaghilev's Ballets Russes. She also exhibited at the Salon d'Automne in 1921, and participated regularly at the Salon des Tuileries and the Salon des Indépendants. Goncharova and Larionav collaborated on four charity events in Moscow. These events were The Grand Bal des Aristes,
The Bal Banal, The Bal Olympique, and The Grand Ourse Bal. They both designed much of the publicity materials for the event. Between 1922 and 1926 Goncharova created fashion designs for Marie Cuttoli's shop, Maison Myrbor on the Rue Vincent, Paris. Her richly embroidered and appliquéd dress designs were strongly influenced by Russian folk art, Byzantine mosaic and her work for the Ballets Russes. In 1938 Goncharova became a French citizen.On June 2, 1955, four years after Larionov suffered a stroke, the two artists got married in Paris to safeguard their rights of inheritance.Goncharova died seven years later, on October 17, 1962 in Paris, France after a debilitating struggle with rheumatoid arthritis
Ramin Shirdel 6
Ramin Shirdel born in Tehran in 1981, Ramin Shirdel received a Master of Architecture from Tehran Art University. He is a multi-disciplinary artist, working In a variety of mediums, celebrated as an award-winning architect and involved in the design of several international projects. Shirdel’s work has been exhibited in both solo and group exhibitions, notably at Sophia contemporary gallery, London 2017, Art Stage Singapore (2017); Art Miami (2016); Sharjah Art Museum (2016); Sophia Contemporary, London (2016); ,Etemad Gallery, Tehran (2015); Ayyam Gallery, Dubai (2014); the 6th Biennale of Sculpture at Niavaran Cultural
Center, Tehran (2011) and Elahe Gallery, Tehran (2011). His works are housed in private collections throughout the Middle East, Europe, Asia and the United States. A Dream an image, a poem, a lyric, a landscape or a dialogue� in everyday life can spark his imagination. Such inspirations, combined with formal considerations of space, merge into an individualised style that takes into account the simultaneity of lived experiences that the artist renders through his mixed media artworks.Working in assemblage creates a sense of dimensionality that alludes to built forms while allowing signifiers of language to come alive as tangible signs. http://raminshirdel.com/biography
8
Lalla A. Essaydi (born 1956) is a Moroccan-born photographer known for her staged photographs of Arab women. She currently works in Boston, Massachusetts and lives in New York City. Essaydi's work is represented by Howard Yezerski Gallery in Boston and Edwynn Houk Gallery in New York City.
Career Essaydi's photographic series include Converging Territories (2003–2004), Les Femmes du Maroc (2005–2006), Harem (2009), Harem Revisited (2012–2013), Bullets, and Bullets Revisited (2012–2013). Her work has been exhibited around the world, including at the National Museum Early life and education of African Art,and is represented in Essaydi was born in Marrakesh, a number of collections, including Morocco in 1956. She left to the Art Institute of Chicago; the attend high school in Paris at 16. Museum Fünf Kontinente Munich/ She married after returning to Germany; the San Diego Museum Morocco and moved to Saudi of Art; the Cornell Fine Arts Arabia where she had two Museum,Winter Park, Florida; the children and divorced. Essaydi Fries Museum in Leeuwarden, The returned to Paris in the early Netherlands; the Museum of Fine 1990s to attend the Arts, Boston; and the Williams College Museum of Art in École nationale supérieure des Williamstown, Massachusetts.She Beaux-Arts. She moved was named as #18 in Charchub's to Boston in 1996 and earned her "Top 20 Contemporary Middle BFA from Tufts University in 1999 Eastern Artists in 2012-2014". In and her MFA in painting and 2015, the San Diego Museum of Art photography from the School of mounted the exhibition, Lalla the Museum of Fine Arts in 2003. Essaydi: Photographs 9
Work Influenced by her experiences growing up in Morocco and Saudi Arabia, Essaydi explores the ways that gender and power are inscribed on Muslim women's bodies and the spaces they inhabit. She has stated that her work is autobiographical[9] and that she was inspired by the differences she perceived in women's lives in the United States versus in Morocco, in terms of freedom and identity. She explores issues of diaspora, identity, and expected location through her studio practice in Boston. Several pieces of her work combine henna, which is traditionally used to decorate the hands and feet of brides, with Arabic calligraphy, a
predominantly male practice. While she uses henna to apply calligraphy to her female subjects' bodies, the words are indecipherable in an attempt to question authority and meaning. "Although it is calligraphy that is usually associated with 'meaning' (as opposed to 'mere' decoration), in the visual medium of my photographs, the 'veil' of henna, in fact, enhances the expressivity of the images. By the same token, the male art of calligraphy has been brought into a world of female experience from which it has traditionally been excluded." Awards 2012 Medal Award, The School of the Museum of Fine Arts, Boston (SMFA)
Kara Elizabeth Walker (born November 26, 1969) is an African American contemporary painter, silhouettist, print-maker, installation artist, and film-maker who explores race, gender, sexuality, violence, and identity in her work. She is best known for her room-size tableaux of black cut-paper silhouettes. Walker lives in New York City and has taught extensively at Columbia University. She is currently serving a five-year term as Tepper Chair in Visual Arts at the Mason Gross School of the Arts, Rutgers University.
of our house and watching him draw. I remember thinking: ‘I want to do that, too,’ and I pretty much decided then and there at age 2½ or 3 that I was an artist just like Dad.” Walker's family eventually moved to Atlanta, where her father took on a position at Georgia State University. The family settled in Stone Mountain.
Walker received her BFA from the Atlanta College of Art in 1991 and her MFA from the Rhode Island School of Design in 1994.Walker Background found herself uncomfortable and Walker was born in Stockton, afraid to address race within her art California in 1969.She lived with during her early college years. her father, Larry Walker (b. However, she found her voice on 1935),who worked as a painter this topic while attending Rhode and professor. Her mother Island School of Design for her Gwendolyn worked as an Master's, where she began administrative assistant.Reflecting introducing race into her art. She on her father's influence, Walker had a distinct worry that having recalls: “One of my earliest race as the nucleus of her content memories involves sitting on my would be received as "typical" or dad’s lap in his studio in the garage "obvious." 12
According to the New York Times address the history of American art critic Holland Cotter, "Nothing slavery and racism through violent about very early life would seem to and unsettling imagery. She has have predestined her for this task. also produced works in gouache, Born in 1969, she grew up in an watercolor, video animation, integrated California suburb, shadow puppets, "magic-lantern" part of a generation for whom the projections, as well as large-scale uplift and fervor of the civil rights sculptural installations like her movement and the want-it-now ambitious public exhibition with anger of Black Power were Creative Time called A Subtlety yesterday’s news." Walker moved (2014). The black and white to her father's native Georgia at the silhouettes confront the realities of age of 13, when he accepted a history, while also using the position at Georgia State stereotypes from the era of slavery University. This was a culture to relate to persistent modern-day shock for the young artist: “ concerns.Her exploration of In sharp contrast with the American racism can be applied to widespread multi-cultural other countries and cultures environment Walker had enjoyed regarding relations between race in coastal California, Stone and gender, and reminds us of the Mountain still held Ku Klux Klan power of art to defy conventions. rallies. At her new high school, She first came to the art world's Walker recalls, "I was called a attention in 1994 with her mural 'nigger,' told I looked like a Gone, An Historical Romance of a monkey, accused (I didn't know it Civil War as It Occurred Between was an accusation) of being a the Dusky Thighs of One Young 'Yankee" Negress and Her Heart. This cutWork and Career paper silhouette mural, presenting Walker is best known for her an old-timey south filled with sex panoramic friezes of cut-paper and slavery was an instant hit. At silhouettes, usually black figures the age of 27, she became the against a white wall, which second youngest recipient of the John D.
and Catherine T. MacArthur Foundation’s “genius” grant,second only to renowned Mayanist David Stuart. In 2007, the Walker Art Center exhibition Kara Walker: My Complement, My Oppressor, My Enemy, My Love was the artist’s first full-scale U.S. museum survey. Walker currently lives in New York, where she has been a professor of visual arts in the MFA program at Columbia University since 2001. Her influences include Adrian Piper's "who played with her identity as a light-skinned black woman to flush racism out of hiding using" political self-portraits which address ostracism, otherness, racial "passing," and racism, Andy Warhol, with his omnivorous eye and moral distance, and Robert Colescott, who inserted cartoonish Dixie sharecroppers into his version of Vincent Van Gogh’s Dutch peasant cottages. Walker's silhouette images work to bridge unfinished folklore in the Antebellum South, raising identity and gender issues for African American women in particular.
However, because of her confrontational approach to the topic, Walker's artwork is reminiscent of Andy Warhol's Pop Art during the 1960s (indeed, Walker says she adored Warhol growing up as a child). Her nightmarish yet fantastical images incorporate a cinematic feel. Walker uses images from historical textbooks to show how African American slaves were depicted during Antebellum South. The silhouette was typically a genteel tradition in American art history; it was often used for family portraits and book illustrations. Walker carried on this portrait tradition but used them to create characters in a nightmarish world, a world that reveals the brutality of American racism and inequality. Walker’s work pokes holes in the romantic idea of the past— exposing the humiliating, desperate reality that was life for plantation slaves. She also incorporates ominous, sharp fragments of the South’s landscape; such as Spanish moss trees and a giant moon obscured by dramatic clouds.
the inequalities and mistreatment derivatives we get in contemporary of society." African Americans by their white Works on display counterparts. Viewers at the Studio In her piece created in 2000, Museum in Harlem looked sickly, Insurrection! (Our Tools Were shocked, and some appalled upon Rudimentary, Yet We Pressed On), seeing her exhibition. Thelma, the the silhouetted characters are museum's chief curator, said that against a background of colored "throughout her career, Kara has light projections. This gives the challenged and changed the way piece a transparent quality, we look at and understand evocative of the production cels American history. Her work is from the animated films of the provocative and emotionally thirties. It also references the wellwrenching, yet overwhelmingly known plantation story Gone With beautiful and intellectually the Wind and the Technicolor film compelling." Walker has said that based on it. Also, the light her work addresses the way projectors were set up so that the Americans look at racism with a shadows of the viewers were also “soft focus,” avoiding “the cast on the wall, making them confluence of disgust and desire characters and encouraging them and voluptuousness that are all to really assess the work’s tough wrapped up in… racism.”In an themes.In 2005, she created the interview with New York's exhibit 8 Possible Beginnings or: Museum of Modern Art, Walker The Creation of African-America, a stated, "I guess there was a little Moving Picture, which introduced bit of a slight rebellion, maybe a moving images and sound. This little bit of a renegade desire that helped immerse the viewers even made me realize at some point in deeper into her dark worlds. In this my adolescence that I really liked exhibit, the silhouettes are used as pictures that told stories of things- shadow puppets. Also, she uses the genre paintings, historical voice of herself and her daughter to paintings- the sort of suggest how the heritage of early
American slavery has affected her own image as an artist and woman of color. In response to Hurricane Katrina, Walker created "After the Deluge," since the hurricane had devastated many poor and black areas of New Orleans. Walker was bombarded with news images of "black corporeality," including fatalities from the hurricane reduced to bodies and nothing more. She likened these casualties to African slaves piled onto ships for the Middle Passage, the Atlantic crossing to America. “I was seeing images that were all too familiar. It was black people in a state of life-or-death desperation, and everything corporeal was coming to the surface: water, excrement, sewage. It was a re-inscription of all the stereotypes about the black body.”
In February 2009, Walker was included in the inaugural exhibition of Sacramouche Gallery,
"The Practice of Joy Before Death; It Just Wouldn't Be a Party Without You." Recent works by Kara Walker include Frum Grace, Miss Pipi's Blue Tale (April–June 2011) at Lehmann Maupin, in collaboration with Sikkema Jenkins & Co. A concurrent exhibition, Dust Jackets for the Niggerati- and Supporting Dissertations, Drawings submitted ruefully by Dr. Kara E. Walker, opened at Sikkema Jenkins on the same day.
Although Walker is known for her serious exhibitions with an overall deep meaning behind her work, she admits relying on "humor and viewer interaction." Walker has stated, "I didn’t want a completely passive viewer, “I wanted to make work where the viewer wouldn’t walk away; he would either giggle nervously, get pulled into history, into fiction, into something totally demeaning and possibly very beautiful.”
Commissions In 2005, The New School unveiled Walker’s first public art installation, a site-specific mural titled Event Horizon and placed along a grand stairway leading from the main lobby to a major public program space. In May 2014, Walker debuted her first sculpture, a monumental piece and public artwork entitled A Subtlety, or the Marvelous Sugar Baby, an Homage to the unpaid and overworked Artisans who have refined our Sweet tastes from the cane fields to the Kitchens of the New World on the Occasion of the demolition of the Domino Sugar Refining Plant. The massive work was installed in the derelict Domino Sugar Refinery in Brooklyn and commissioned by Creative Time. The installation consisted of a colossal female sphinx, measuring approximately 75-feet long by 35-feet high, preceded by an arrangement of fifteen life-size young male figures, dubbed attendants. The sphinx, which bore the head and features of the Mammy archetype, was made by covering a core of
machine-cut blocks of polystyrene with a slurry of white sugar; Domino donated 80 tons of sugar for Walker's piece.The smaller figures, modelled after racist figurines that Walker purchased online, were cast from boiled sugar (similar to hard candy) and had a dark amber or black coloring. After the exhibition closed in July 2014, the factory and the artwork were demolished as had been planned before the show.Walker has hinted that the whiteness of the sugar references its "aesthetic, clean, and pure quality." The slave trade is highlighted in the sculpture as well. Walker also composed the "Lollipop" boys around the sphinx also made of sugar that has turned into molasses. Remarking on the overwhelmingly white audience at the exhibition in tandem with the political and historical content of the installation, art critic Jamilah King argued that "the exhibit itself is a striking and incredibly well executed commentary on the historical relationship between race and capital, namely the money made off the backs of black slaves on sugar plantations throughout the Western Hemisphere.
So the presence of so many white people -- and my own presence as a black woman who's a descendant of slaves -- seemed to also be part of the show."
Getty Museum, Walker offered a lesson that had students collaborating on a story by exchanging text messages.
In March, 2012 artist Clifford Other projects Owens performed a score by Kara For the season 1998/1999 in the Walker at MoMA PS1. Vienna State Opera Kara Walker In 2013, Walker produced 16 designed a large scale picture lithographs for a limited edition, (176 m2) as part of the exhibition fine art printing of the libretto series "Safety Curtain", conceived Porgy & Bess, by DuBose Heyward by museum in progress. In 2009, and Ira Gershwin, published by the Walker curated volume 11 of Arion Press. Merge Records', Score!. Invited by fellow artist Mark Bradford in 2010 to develop a set of free lesson plans for K-12 teachers at the J. Paul
http://www.aziz_anzabi.com