Palestinian Art

Framsida
Reaktion Books, 15 apr. 2006 - 255 sidor
1 Recension
Turmoil and violence have defined the lives of Palestinian people over the last few decades, yet in the midst of the chaos artists live and thrive, creating little-seen work that is a powerful response to their situation. Gannit Ankori's Palestinian Art is the first in-depth English-language assessment of contemporary Palestinian art, and it offers an unprecedented and wholly original overview of this art in all its complexity.

Ankori comprehensively traces the full history and development of Palestinian art, from its roots in folk art and traditional Christian and Islamic painting to the predominance of nationalistic themes and diverse media used today. Drawing on over a decade of extensive research, studio visits, and interviews, Ankori explores the vast oeuvre of prominent contemporary Palestinian artists, navigating between the personal and biographical dimensions of specific artworks and the symbolic meanings embedded within them. She provides detailed interpretations of many works and considers the complex historical, geographical, political, and cultural contexts in which the art was created. Questions of gender, exile, colonialism, postcolonialism, and hybridity are integral to Ankori's investigation as she probes the influence and thematic dominance of issues such as rootedness and displacement in Palestinian art. 

Palestinian Art is a fascinating introduction to a virtually unknown visual culture that has been subsumed under the torrent of current political turmoil. A groundbreaking and essential work of art scholarship, Palestinian Art illuminates new and unique facets of the Palestinian cultural identity.
 

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Review: Palestinian Art

Användarrecension  - Garrett - Goodreads

Written well when and full of art criticism. Unless you're into that you might not find it SOOO captivating. Läs hela recensionen

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Sidan 103 - Blessed are the meek, for they shall inherit the earth. Blessed are they which do hunger and thirst after righteousness, for they shall be filled. Blessed are the merciful, for they shall obtain mercy. Blessed are the pure in heart, for they shall see God. Blessed are the peace-makers, for they shall be called the children of God. Blessed are they which are persecuted for righteousness' sake, for theirs is the kingdom of heaven.
Sidan 160 - I came into the world imbued with the will to find a meaning in things, my spirit filled with the desire to attain to the source of the world, and then I found that I was an object in the midst of other objects.
Sidan 108 - I know with certainty that a man's work is nothing but the long journey to recover, through the detours of art, the two or three simple and great images which first gained access to his heart,' he wrote in 1957 and, a few years before, 'every artist, no doubt, is in quest of his truth.
Sidan 87 - For a colonized people the most essential value, because the most concrete, is first and foremost the land: the land which will bring them bread and, above all, dignity.
Sidan 22 - Finally, it emphasises how hybridity and the power it releases may well be seen to be the characteristic feature and contribution of the postcolonial, allowing a means of evading the replication of the binary categories of the past and developing new anti-monolithic models of cultural exchange and growth.
Sidan 233 - Robert JC Young, Colonial Desire: Hybridity in Theory, Culture, and Race (London and New York...
Sidan 238 - The thesis just outlined — that the Victorian colonial paternalistic establishment appropriated the language of feminism in the service of its assault on the religions and cultures of Other men, and in particular on Islam, in order to give an aura of moral justification to that assault at the very same time as it combated feminism within its own society — can easily be substantiated by reference to the conduct and rhetoric of the colonizers.
Sidan 209 - This narrative of resistance appropriated, in order to negate them, the symbolic terms of the originating narrative. The veil came to symbolize in the resistance narrative, not the inferiority of the culture and the need to cast aside its customs in favor of those of the West, but, on the contrary, the dignity and validity of all native customs, and in particular those customs coming under fiercest colonial attack — the customs relating to women — and the need to tenaciously affirm them as a...

Om författaren (2006)

Gannit Ankori, an Associate Professor of Art History at the Hebrew University of Jerusalem, is currently a Research Associate and Visiting Associate Professor at the Women’s Studies in Religion Program at Harvard Divinity School. She has published and lectured extensively on Palestinian art since 1987 and is the author of numerous articles and two books on Frida Kahlo, among which is Imaging her Selves: Frida Kahlo’s Poetics of Identityand Fragmentation(2002), and a recent catalogue essay for the Frida Kahlo retrospective at Tate Modern, London (2005). Her other publications relate to hybridity, gender, exile, displacement, postcolonial identities and the manifestations of these issues in the visual arts.

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