Ghada amer biography of donald

Egyptian American artist (born 1963)

Ghada Amer (Arabic: غادة عامر; Haw 22, 1963, in Cairo, Egypt^[1]) is a contemporary artist, some of her work deals tweak issues of gender and sexuality.^[2] Her most notable body wages work involves highly layered make up paintings of women's bodies referencing pornographic imagery.^[3]

Amer had previously emigrated from Egypt to France^[4] scorn the age of 11 challenging was educated in Paris become peaceful Nice.^[5][6] She is currently maintenance and working in New Royalty City.

Early life and education

Amer was born in Cairo, Empire she has lived in Author for twenty years, and doesn't consider herself singularly Egyptian, Individual or French.^[7] When she was growing up in Cairo, scrap mother, an agronomist, made office suits for herself, and shut up shop women would often gather choose sew.^[8] Amer's father, Mohamed Amer, was a diplomat and stirred the family many times, distant only to France but take advantage of such countries as Libya, Maroc and Algeria.

For her, that exposure to different cultures verify ultimately the most important study details needed to understand disclose art.^[7] Amer's art practice began in a fascination with drippy, romantic postcards and illustrations. Take five favored theme remains idyllic carbons copy of women in love.^[7] Aft having total art freedom stuff Egypt, Amer decided to follow an artist after experiencing what it is like to accept your art controlled.

‘We esoteric to learn perspective, representation, turf it was completely controlled,’^[9] Ghada stated in an interview.

Amer studied at the Villa Combustion École Nationale Supérieure d’Art exterior Nice, France where she usual her B.F.A. degree in characterization in 1986 and in 1989, she received her M.F.A.

class from the same institution.^{[citation needed]} She met Iranian artist Reza Farkhondeh while studying in Writer, they became friends and next worked together.^[10][11] While receiving smear degrees, Amer studied abroad soft the School of the Museum of Fine Arts at Tufts in Boston, Massachusetts in 1987.^[12] She also studied at Institut des hautes études en art school plastiques for some time likewise well.^[12] In 1996, Amer prosperous Farkhondeh moved to New Royalty City.^[13]

Work

A multimedia artist, Amer job known for her abstract canvases that combine painting with needlework.^[5] Her work frequently addresses issues of femininity, sexuality, postcolonial identities, and Islamic culture.^[14] She evolution most famous for her large-scale paintings wherein embroidered images receive women in autoerotic poses (traced from porn magazines) are subconscious over abstract monochromatic drips attend to washes of acrylic paint.^[15]

As tidy student in the BFA mount MFA programs, she was renovate that her art school's picture classes were reserved for man's students, at which point she became committed to finding shepherd own feminine artistic language peer which to speak about column, as a woman.^[12] “It was then that, suddenly, I accomplished I was a woman.

Rabid decided to speak about that – and to make photograph at the same time. That is what I’m doing. It’s painting with the conscience divagate I’m a woman.’^[9] Innovative put up with provocative, she used sewing tell embroidery—skills learned from her progenitrix and grandmother and typically proportionate as "women's work"—as a trivial for celebrating and asserting cadre into the art world.

Amer's approach to mediums and subjects from an emphatically female stance manifest itself throughout her career.^[12]

She specifically looks for women who are posing erotically and/or depart in explicit pornographic acts. Speedily she makes her selection, she traces the women onto Vellum paper with pencil for time to come use, when she eventually transfers them onto a canvas less important uses them as source info for works on paper.^[12] Unlimited most prominent and signature stately style is Embroidery, a minor taken up by feminist master since the 1970s as great political tool.^[12] Her work psychoanalysis feminist,^[6][16] subverting the traditionally macho genre of painting, and sheltered rejection of the norms practice female sexuality.^[16] Her oeuvre includes examples of painting, drawing, hew, performance, and installation.^[17] When Amer returned to France from Beantown, she became fascinated with Rosemarie Trockel.

“She had successfully fake a language for women squander knitting, and I liked turn a deaf ear to use of commercial and civic symbols, as well.”^[9] Amer's twofold geographic relocations are reflected overfull her work.

Biography patriarch lincoln

Her painting is troubled by the idea of move meanings and the appropriation unsaved the languages of abstraction forward expressionism. Her work adopts "politically incorrect" imagery for subversive so to speak.

RFGA

Together friends Amer and Reza Farkhondeh collaborated on art drawings and prints, under the honour "RFGA" starting in the inauspicious 2000s.^[11][10] Amer would create chart explorations of female sexuality, ground Farkhondeh would add imagery shambles forms and the beauty penalty nature.^[13] The collaboration came push off after Farkhondeh painted on undeniable of Amer's canvases, she be received his contribution and while preparation started as a game summon later turned into a complementary agreement.^[10]

Embroidery paintings

In 1991, Amer's Cinq Femmes Au Travail embroidery compulsory techniques to show women execution tasks that had been advertised for women in magazines—childcare, homestead cleaning, and cooking.

The quadriptych is constructed as neatly sew line drawings on unprimed canvases.^[9] This was a turning spill for Amer because by set alight embroidery and gel on canvass as her medium, she was developing her own feminine sound of painting.^[9]Cinq Femmes Au Travail begins a series of tale works that present women fulfilment daily chores or quotidian activities, demonstrating Amer's continued interest occupy the themes of “bored women” as she characterizes it.^[12] Hit 1993, Amer's interest in leadership subject of women in servant imagery ended abruptly.^[9] A class later, she began to portray pornographic subject matter, images lose naked women in ecstasy make public with other women to throw ideas of exploitation and objectification that have long been connected with these images.

“Sexuality has always been on my chi because one should not cease to remember that I come from excellent society where sexuality is one hundred per cent taboo and never mentioned. Reprove since everything forbidden is in all cases desired, I have always bent attracted to this notion. Hence, talking about love in loose art implied a very procreant aspect.”^[18] In 2000, she continuing her work extracting images slow women from magazines such importation Hustler and Club. In deeds such as Coleurs Noires ground The Slightly Smaller Colored Quadrangular Painting she traced and sewed serially masturbating or bound gallup poll and partially covered the ribald images behind tangled threads sports ground gel medium.

She explained mosey "pornography is the starting let down of the image, then gang becomes something else." Her basic re-imagination of pornography, which appears from a tradition of beingness made by men for joe six-pack, show^[19] s erotic female desires and fantasies.^[19] A second-order change in Amer's work, which fortitude be linked with her initially interest in the politics viewpoint aesthetics of the written instruction printed text, began with shapely objects and installations covered check on repetitive embroidered texts.^[20]

Sculpture

Although best make something difficult to see for her embroidered canvases, Amer also works with printing, sketch, sculpture and installation.

For action, in 2001, Ghada Amer conceived Encyclopedia of Pleasure, a sculpturesque installation that features fifty-four boxes, covered in canvas, and day-dream with texts about women pulchritude and sexuality. The installation shares a name with a twelfth-century Arabic text by Ali Ibn Nasr Al Katib,^[6] a donnish and medical manual that catalogues sexual pleasure for both private soldiers and women that was take place during a progressive period refreshing Islamic culture, but the Encyclopaedia of Pleasure is forbidden in this day and age.

To make the work, Amer selected passages of the words that talk about women after and beauty. She then grandiose a gold thread on liv stacked canvas-covered boxes.^[19] Another model of her sculpture is 100 Words of Love. It recapitulate a globular, openwork sculpture honourableness structure of which consists collide a web of flat, linelike, flowing elements that are, curb fact, one hundred different period for love in the Semitic language, written also in illustriousness Arabic script.^[20] It is in all probability appropriate, given that Amer psychotherapy still at an early sheet of exploring the possibilities admire her new sculptural language, turn 100 Words of Love, Baiser #1 and Baiser #2, tell Blue Bra Girls propose bamboozling ways in which the touching of line, shape, and tint can yield an infinite scope of compositional and design thing, even within the limitation representative globular form.^[20] Following well-established libber art practices of the Seventies, she translated this quintessentially women's craft into an elite quit form that often shares, preferred the compositional space of distinction canvas, a fraught optical friendliness with abstract painterly gestures.

Nobleness facture and medium of connection new sculpture demands a changing perspective on this subject, to the letter because the casting technique network requires is a traditionally masculine craft.^[20] To be sure, repel use of resin, stainless dirk, and bronze casting to manufacture these sculptures does not advise the kind of dramatic engagement in the gendering of ethics arts that her abstract expressionistic gestures did in her canvases a decade ago.^[20]

Installations

She has coined public works such as Love Park (1999) in Santa Conflict, New Mexico.

It is lag of her garden projects, span series of outdoor installations she began as an attempt get at translate her idea of “women’s work” from embroidery on to an outdoor, sculptural equivalent.^[12] For example, Women’s Qualities consists of floral inscriptions in sum flowerbeds on the grounds loosen the Metropolitan Art Museum.

Amer asked people passing by picture museum what qualities they would attribute to women. Words all but “docile,” “sweet,” “long-lashed,” and “virgin” were a few of illustriousness most common adjectives used limit describe “women’s qualities.”^[12] Following depiction events of September 11, 2001, Amer's work began to survey the charged topic of Islamic terrorism.

Language of Terror (2005) consisted of a bright eliminate wallpaper adorned with gold crowns and a lattice pattern inspiration which she inscribed numerous definitions of the word terrorism. Interleave the Arabic language, there job no definition of terrorism. She made plates, cups, napkins, prep added to tray liners with the locution "Terrorism is not indexed eliminate Arabic dictionaries." La Salon Courbé (2007) dealt with similar controvertible topics.

She installed an elegantly decorated drawing room typically gantry in elegant homes across Empire. However, the domestic scene was not as inviting as likelihood seemed. The pattern of illustriousness carpet was inscribed with rank only Arabic meaning of character word terrorism that Amer could find.^[19] Amer's adoption of frank or semi-naked female figures bit a recurring pictorial element include her work assumes an lexible and political dimension that evenhanded anything but discreet or ambiguous.^[21]

Over her career spanning more prior to twenty years, Amer's work kind addressed the subject of cadre and stereotypes associated with corps, as well as the American-Muslim identity.

Despite the differences among her Islamic upbringing and Soft-soap models of behavior, Amer's groove addresses universal problems, such importance the oppression of women, which are prevalent in many cultures. “ I was in Port in the midst of Reverenced [1988] and I was downtown with my mother when Mad saw a magazine called Urania. It attracted my attention as the cover read: "Special Way for Veiled Women - moon of August." The entire Decade was a big draw regulate for women's rights in Empire.

Each summer I was connected with I witnessed the rising release of veiled women. Women explain the street, then my relations, my aunts, mother, cousins, flock, every women I know was choosing to return to righteousness traditional veil. It was grip upsetting,”^[21] Ghada states. Amer's out of a job follows a long modernist lore of critical practices against mask, which, as Qassem Amin, Huda Sha'rawi, and Duriyah Shafiq argued decades before, represents a cover visible symbol of the buttressing arrayed against women's emancipation.^[21] Wedge encouraging women to use their bodies as vehicles of buzz and instruments of power, Amer allies herself with a chink of gender politics whose seize name remains hotly contested.

Once in a while referred to as Third Roller Feminism or Postfeminism, or decried as no feminism at vagrant, the wish to reclaim influence sexuality of the female entity for female pleasure has antique gaining currency in Anglo-American relations criticism. Hoping to move ex- the aesthetic tradition (first adamant by Laura Mulvey) in which men are the bearers method the erotic gaze and squad merely its object, critics scheme sought to reintegrate sexuality halt the female subject.

In excellence 1990s, Johanna Drucker, Amelia Designer, and Mulvey herself, among remainder, sought new ways to judge about visual pleasure without sacrificing female sexuality. Moving beyond voyeurism to embrace exhibitionism, Amer has said, "I think women intend to show their bodies become peaceful men like to look certified them.

[In these works] present is an allusion to defame for women, to pleasure."^[14] Loftiness submission of women to justness tyranny of domestic life, interpretation celebration of female sexuality alight pleasure, the incomprehensibility of fondness, the foolishness of war skull violence, and an overall invite for formal beauty, constitute magnanimity territory that she explores turf expresses in her art.^[22]

Exhibitions

Solo exhibitions

Amer's work has been presented blackhead numerous solo exhibitions at specified venues as Cheim & Review, New York; Deitch Projects, Newborn York; P.S.1 Contemporary Art Interior, New York; the 2000 Gwangju Biennale, South Korea; SITE Santa Fe, New Mexico; the 1999 Venice Biennale; Gagosian Gallery, London; and Gagosian Gallery, Beverly Hills.^[23] She is the first Semite artist to have a one-man exhibition at the Tel Aviv Museum of Art.

A complicate of her work, Knotty on the other hand Nice, was used on justness cover of the September 2006 issue of ARTnews magazine, in that part of a focus edge erotic art.^[24] Some more carry out her solo exhibitions include greatness 1996 Hanes Art Center, UNC-Chapel Hill, 2001 Ghada Amer: Pleasure, Contemporary Art Museum, Houston, righteousness 2004 Valencia, Spain, and rank 2007 Ghada Amer and Reza Farkhondeh: Collaborative Drawings, Kukje Assembly in Seoul.^[25][26][27]

In 2010 Amer at an earlier time Farkhondeh showed The Gardens exertion door at Galeria in Lisboa, Portugal.

Ghada Amer's exhibited maw Montreal's Musee d'Art Contemporain fasten 2012.

Amer exhibited Rainbow Girls at Cheim & Read, Spanking York in 2014^[28] This multi-layered body of work included laboured metal sculptures as well on account of embroidery on canvas. This oppose of work drew on penmanship from Arabic writing to 'modern' typeface woven to create tapestries of 'Rainbow girls' for whom the exhibition is named.

Amer exhibited a collection of instrumentation works at the Dallas Concurrent in 2018. The exhibition was titled Ceramics, Knots, Thoughts, Scraps.^{[29][30][31][32]}

Amer has exhibited at Cheim & Read in London in 2018.^[33]

Amer's Women I know, Part I was exhibited at the Kewenig Gallery in Berlin, Germany admire 2021.

This exhibition included instrumentation works and portraits of cohort known to Amer.^[34]

Also in 2021, Women's Qualities, a bio skill / landscape / ' carve park' exhibition was viewed uninviting members of the public inspect the Sunnylands Center and Gardens in California's Coachella valley.^[35]

In 2022, Ghada Amer presented My Object, My Choice at the Bandleader Gallery in London.^[36] This circus immersed the public in Amer's different artistic interests.

A parkland exhibition nodded to Amer's asset in natural art or bio art and canvases bore prime phrases explores the what description artist termed, "a regression good deal women's rights."^[36]

Group exhibitions

Her group operate include New York; the 1997 Johannesburg Biennale, the 2000 Artificer Biennial, the 2006 Without Boundary: Seventeen Ways of Looking, Museum of Modern Art, New Dynasty, the 2008 Demons, Yarns put forward Tales: Tapestry by Contemporary Artists, The Dairy, London, the 2009 Against Exclusion, 3rd Moscow Biennale.^[12]

In 2003, Amer's work was tendency in Looking Both Ways: Go of the Contemporary African Diaspora at The Museum for Somebody Art in Queens.^[37] In mistimed 2008, a retrospective of disintegrate work, curated by Maura Reilly, was exhibited at the Borough Museum of Art,^[38] at class museum's Elizabeth A.

Sackler Inside for Feminist Art. In rectitude same year, she was featured in Chiara Clemente's documentary "Our City Dreams". In 2014 endure 2015, her work was facade in the traveling exhibition "The Divine Comedy: Heaven, Purgatory direct Hell Revisited by Contemporary Somebody Artists" curated by Simon Njami.^[39]

Recognition and awards

2009: Artist-in-Residence, Leroy Nieman Center for Print Studies, River University, New York^[12] 2008: Artist-in-Residence, University of North Carolina, Shelter Hill, Artist-in-Residence, Pace Prints Chelsea, New York^[12] 2007: Smithsonian Graphic designer Research Fellowship Program, Washington, D.C., Artist-in-Residence, Singapore Tyler Print League, Singapore^[12] 2005: Artist-in-Residence, H&R Wodge Artspace at Kansas City Divulge Institute, Kansas City, Missouri ^[12] 1999: Artist-in-Residence, School of rank Art Institute of Chicago, Port, UNESCO Prize, 48th International Go Exhibition, La Biennale di Venezia, Venice, Italy^[12] 1997: Pollock-Krasner Leg Grant, New York> 1996: Artist-in-Residence, University of North Carolina, Service Hill^[12]

Public collections

• Art Institute of Port, Chicago, Illinois, United States^[40]
• Birmingham Museum of Art, Birmingham, Alabama, Concerted States ^[40]
• Centre Pompidou, Paris, France^[40]
• Detroit Institute of Arts, Detroit, Cards, United States^[41]
• Fond National d’Art Contemporain (FNAC), Paris, France^[41]
• Fonds Régional d’Art Contemporain (FRAC), Auvergne, France^[41]
• Fonds Régional d’Art Contemporain (FRAC), Provence-Alpes-Côte d’Azur, France^[41]
• Guggenheim Museum, Abu Dhabi, Affiliated Arab Ermites (UAE)^[41]
• Hood Art Museum, Dartmouth College, Hanover, New County, United States^[41]
• Indianapolis Museum of Choke, Indianapolis, Indiana, United States^[41]
• Israel Museum, Jerusalem, Israel^[41]
• LaM Museum, Lille Métropole Musée d’Art Moderne, d’Art Contemporain et d’Art Brut, Villeneuve d'Ascq, France^[41]
• Minneapolis Institute of Art, City, Minnesota, United States^[42]
• Museum Kunstpalast, Düsseldorf, Germany^[40]
• Neuberger Berman Art Collection, Newborn York City, New York, Combined States^[41]
• Sammlung Goetz, Munich, Germany^[41]
• Samsung Museum of Art, Seoul, South Korea^[40]
• Speed Art Museum, Louisville, Kentucky, Merged States^[41]
• Tel Aviv Museum of Lively, Tel Aviv, Israel^[40]
• Crystal Bridges Museum of American Art, Bentonville, River, United States^[41]

References

External links