This self-titled publication presents the first monograph on the nearly 25-year-long art practice of the US-Iranian artist Pouran Jinchi. Helping to reimagine the engagement of Persian calligraphy within a contemporary art discourse, this title follows a prolific career, examining work that has been exhibited across the world in solo and group presentations and produced across varied media.
As the top-ranking public arts graduate programme in the United States, VCU became the first American university to come to Qatar. This title reflects on and celebrates the 20 years since VCUarts Qatar began its mission of providing a steady source of innovation, exploring alternative ways of looking at the world and at ourselves, and proving that the arts is the connective tissue that supports and binds together the full spectrum of disciplines as we aim to solve today’s most pressing challenges.
Showcasing 26 internationally acclaimed artists and art collectives from the Gulf region and the world, and directly referencing John Berger’s seminal 1972 eponymous text on visual culture, this publication invites the viewer to actively engage with the artwork, and to explore the ways by which artists assign forms and concepts that seem familiar with renewed appearances and meanings.
Born in Damascus in 1935, where he stills lives and works, Elias Zayat is one of the founders of the Faculty of Fine Arts in Damascus, where he taught until his retirement in 2000. As a painter and icon restorer, his art is influenced by religious and popular iconography. Zayat’s oeuvre remains intimately concerned with the history, terrain and psyche of his homeland. His parallel life as an art restorer and historian is evident in his rich vocabulary drawn from Byzantine, early Christian, Sufist, and popular iconography. He has published several studies in the history of art, iconography and art criticism. Despite emerging at the height of Pan-Arabist fervour that culminated in the Naksa of 1967, Elias Zayat managed to resist this sweeping aesthetic hegemony to develop his own inimitable visual language. His works are often emotionally charged, with symbols and pleas for peace caught within seemingly impossible struggles to flee human chaos in order to arrive at a better world. His works on paper form a crucial backbone of his practice and philosophical stance, depicting the movements of birds and new lines of flight.
This represents the first publication covering the practice of Toronto-based artist Abbas Akhavan, examining a large body of his work over the course of his career, ranging from site-specific ephemeral installations to drawing, video and performance. The domestic sphere, as a forked space between hospitality and hostility, has been an ongoing area of research in Akhavan’s work. More recent works have shifted focus, wandering onto spaces just outside the home – the garden, the backyard, and other domesticated landscapes. This title, co-produced with Skira, reflects the conceptual aesthetics of Akhavan’s practice and includes essays by leading curators and professors of art, including, among others, Omar Kholeif and Marina Roy.
This collection of essays and conversations sheds light on and discusses how images in films and animation have influenced identity portrayals in the Arab context. Published to accompany the first exhibition at the new Media Majlis at Northwestern University in Qatar, this beautifully crafted book discusses a spectrum of impressions and visual cues in film, both of and from the Arab world, that often unwittingly create distortions, in turn inspiring confidence or promoting stereotypes and even prejudices that have led to war or inter-regional conflicts of many kinds.
Featuring extraordinary, documentary-style photography, this beautiful and engaging coffee table book follows the remarkable journey of the Scimitar-horned Oryx as it is reintroduced into Chad’s Sahelian heartland. Considered the world’s most ambitious large mammal reintroduction project and a milestone for future species conservation efforts, the book charts the collaborative efforts of the Environment Agency – Abu Dhabi, Government of Chad and Sahara Conservation Fund, along with some of the world’s leading zoological societies and research institutions, as this iconic species sets foot on its native soil nearly three decades after it was declared ‘extinct in the wild’.
Globes: Visions of the World uses remarkable works of cartography, art, science and technology to tell the fascinating story of how humanity has understood our planet and the cosmos across two and a half millennia. This work, in English, French and Arabic, has been published to accompany the second temporary exhibition at the new Louvre Abu Dhabi. It seeks to recreate the links between this long search for knowledge and today’s science and comprehension by paying tribute to the visionary scholars whose goal was to model – in spheres, circles and ellipses – our fascinating cosmos.
This book has been published to accompany the first temporary exhibition at the new Louvre Abu Dhabi. Tracing the birth of the Musée du Louvre in Paris in the 18th century, this beautifully crafted trilingual work sheds light on the way a public collection is formed, drawing mainly on the collections of the Musée du Louvre and the Château de Versailles. The exhibition evokes the creation of the Musée du Louvre from the time of Louis XIV, when the royal collections were presented in the gardens and Grand Apartments at Versailles, through to the opening of the Muséum in the Palais du Louvre in 1793. It examines the question of the origins and role of the museum, born of royal will, and the evolution of artistic practices, enhanced by a reflection on the transmission and teaching of art.