Syria's Apex Generation highlights post-uprising art as an introduction to the rich history of painting in Syria. Featuring the works of Abdul Karim Majdal Al-Beik, Nihad Al Turk, Othman Moussa, Mohannad Orabi, and Kais Salman, the exhibition and (...)
Syria's Apex Generation highlights post-uprising art as an introduction to the rich history of painting in Syria. Featuring the works of Abdul Karim Majdal Al-Beik, Nihad Al Turk, Othman Moussa, Mohannad Orabi, and Kais Salman, the exhibition and (...)
Since the start of her artistic practice over a decade ago, Nadia Ayari has engaged painting and the history of its development with marked intensity and seriousness. Adding to the complexity that one finds in her usage of the medium is her subject (...)
Not long after accepting a teaching position at the Kansas City Art Institute in 1964, Samia Halaby decided to abandon the painterly abstraction that she had developed while receiving her artistic training from universities in the Midwest. In search (...)
One of the many myths of the Western canon is that European modern artists invented abstraction. Despite the known existence of pre-modern non-objective art among a number of non-Western cultures, twentieth-century European forays into pure (...)
Earlier this year, London's Tate Modern acquired “Sabra and Shatila Massacre” (1982-83), an epic mural-sized drawing by pioneering Iraqi artist Dia al-Azzawi.
Sprawling as it is towering and engulfing, the artist began the massive work after news (...)
Three recent video installations by Iraqi-born artist Jananne Al-Ani are currently on view at the Arthur M. Sackler Gallery in Washington DC. The second Smithsonian solo exhibition for the London-based artist (the first was held in 1999), Shadow (...)