Posted on 07/16/2012 by Juan Cole
Henri Matisse. The Algerian Woman. 1909. Oil on canvas. Musee National d’Art Moderne, Centre Georges Pompidou, Paris, France
The depiction of the Middle East has, since Edward Said’s Orientalism, often been approached in binary terms and in the framework of “power/knowledge” in the tradition of Friedrich Nietzche and Michel Foucault.
There is, however, an argument to be made for the Middle East as an influence on European modernity, not just the other way around. When one moves away from politics and economics to culture, power/knowledge becomes more ambiguous. People have multiple identities, and appropriate from various sources, and are changed by their influences. Goethe was clearly deeply changed by his encounter with the Persian poet Hafez, something that Said’s approach kept him from seeing.
French painter Henri Matisse, who came to prominence as a post-expressionist and then leader of a school called Fauvism (which rejected Picasso’s cubism), was deeply influenced by Japanese painting, as well as by his experiences in North Africa. Some of his famed striving for serenity probably has at least implicit roots in the Sufism and Buddhism of his influences. European Modernism is often treated as a European phenomenon, but it was global, and Africa and Asia played big roles in it.
0 Share 40 Google +1 1 StumbleUpon 0 Printer Friendly Send via email
Posted in art and photography | Comments
Posted on 07/16/2012 by Juan Cole
Posted on 07/15/2012 by Juan Cole
Posted on 05/03/2012 by Juan Cole
Photograph by Juan Cole, July 27, 2010
The Torre del Oro in Seville, Spain, was built in the 1200s by the Almohad (Berber Muslim) dynasty to serve as a watchtower to guard the Gualdalquivir River (in Arabic, Wadi al-Kabir or ‘big river valley.’)
0 Share 9 Google +1 0 StumbleUpon 0 Printer Friendly Send via email
Posted in art and photography, Uncategorized | Comments
Posted on 04/29/2012 by Juan Cole
Photo by Juan Cole, June, 2009
Sultan Mosque, Singapore
0 Share 2 Google +1 1 StumbleUpon 0 Printer Friendly Send via email
Architect: Denis Santry of Swan and Maclaren
Replaced: Mosque of Sultan Hussein, 1824-1826
Posted in art and photography, Uncategorized | Comments Off
Posted on 04/20/2012 by Juan Cole
Posted on 04/19/2012 by Juan Cole
Photograph by Juan Cole at the National Museum of Singapore, June, 2009:
0 Share 16 Google +1 1 StumbleUpon 0 Printer Friendly Send via email
by S.Teddy D. (Indonesia)
Multiplex, Resin, Metal Structure
Approx. 200 x 500 x 650 cm
Tanks, synonymous with the landscape of war, are instrumental war machines in the propagation of western supremacy.
Pagoda, adorned with lotuses and often part of a temple compound, believed to be the padmasana, the seats of gods and goddesses who rule this world, is the shape of temples and a symbol for the levels of pure love in Eastern cultures.
This work expresses the interaction between the East and West cultures – an interaction which often ends in clashes. The adaptation of these cultures is symbolised through the visual language of seven tanks stacked on top of one another forming a tall structure resembling a Pagoda. The tanks are decorated or camouflaged with red lotuses and the juxtaposition transforms the killing machine into one that conveys love and peace to humankind.
About S. Teddy D.
Artist S. Teddy Darmawan was born in Padang in 1970 and graduated from Indonesia Institute of Arts, Fine Arts Department, Yogyakarta. He was Artist in Residence in Aachen, Germany and was selected for best five of Phillip Morris Awards 2001 (Indonesia).”
Posted in art and photography, Uncategorized | Comment