Suchergebnisse

Le beau-livre "Pop Impact : Women Artists" présente le travail de femmes artistes du Pop Art au départ de l?œuvre de la namuroise Evelyne Axell. Il a l?ambition d?explorer la place des femmes dans ce mouvement. Richement illustré, cet ouvrage bilingue français-anglais donnera au lecteur le plaisir de faire découvrir certaines de ces artistes féminines longtemps délaissées par la critique : Evelyne Axell, Michèle Bastin, Pauline Boty, Alina Szapocznikow, Jann Haworth, Niki de Saint Phalle, Marisol Escobar, Martine Canneel, Sylvie Fleury et Nicola L. Exhibition: Maison de la culture, Namur, Belgium (16.10.2015-14.02.2016)

The word art is immediately associated in our minds with an art object... a painting, sculpture ... the fine arts. An artist is the executor of these objects. An artiste is explained in the dictionary as a skilled performer: musical or theatrical: an entertainer.

The beginning of the twentieth century witnessed in the Arab World a limited number of artists most of whom were men; but the period between the fifties and eighties marked the birth of many women artists, especially in Lebanon, Egypt, Iraq and other countries - some of them with important affiliations, others with none - but they all had one thing in common: self-assertion and the struggle for more social and economic independence, after a long period of imposed absence.

In May 2014, the editors of CSSAAME hosted a discussion with the Pakistani American artist Shahzia Sikander about artistic practice and its role in deconstructing (and reframing) the often vexed relationship Eurocentric canons of art history and aesthetic theory have with regional art and artists. The discussion is the first of a series of events that intersect ongoing concerns of the journal, even as they open new avenues for collective consideration of art and its curation that extends beyond the attention that an individual art historian or cultural critic might direct toward specific artists, or singular artworks. These questions assume added significance against the backdrop of a rapidly globalizing museum culture, supported by the concomitant rise in museum construction as supportive infrastructure for new sites of spectacle and speculation.