Goings On About Town: Art
In “Harem,” this Moroccan-born, New York-based photographer’s most beautiful gallery exhibition to date, Essaydi continues to fearlessly take on Orientalist clichés. Her signature remains the sinuous lines of Islamic calligraphy, handwritten in henna, that cover flesh, fabric, and every visible surface in many of her photographs. The women in her pictures are both defined and confined by these streams of words. They’re also strikingly self-possessed, even when playing the languid odalisque. Essaydi keeps the strength of her subjects under wraps, portraying them swathed in patterned robes that mimic the mosaic tilework of the Moroccan palace settings—it’s that hidden power that gives her work its kick. Through Jan. 15.
Read more http://www.newyorker.com/arts/events/art/lalla-essaydi-houk#ixzz1A6JOakJu
Opening reception: Thursday, 4 November, 6 - 8 pm
Edwynn Houk Gallery is pleased to announce an exhibition of fifteen large-scale photographs by Lalla Essaydi from the artist’s most recent series, Harem. The show will take place from 4 November 2010 through 22 January 2011 with an opening reception for the artist on Thursday, 4 November from 6-8 PM.
Born in Morocco, Lalla Essaydi has been examining the role of the Muslim woman by incorporating layers of Islamic calligraphy applied by hand with henna, in tandem with poses directly inspired by 19th Century Orientalist painting. By appropriating this imagery, the works reflect the “complex female identities” found in Morocco and throughout the Muslim world.
While she continues to explore many of the themes and visual devices characteristic of her earlier work, Lalla Essaydi’s newest body of work, Harem, is a striking departure from her two previous series: Converging Territories (2003-2004) and Les Femmes du Maroc (2005-2008). Perhaps the most marked difference in the Harem series is the highly-colored, elaborate, architectural setting of the Moroccan palace Dar al Basha. The artist created fabric for the models that mimics the patterns within the palace, which is decorated in painstaking detail with mosaic, stucco, stained glass and carved wood. Having navigated the labyrinthine corridors to reach the actual harem quarters, the models are at once camouflaged with the decoration that surrounds them and emerging from the traditional spaces they once occupied. Essaydi’s photographs provide the opportunity for the artist and her subjects to engage in the emerging “culture of Islamic feminism.”
“The physical harem is the dangerous frontier where sacred law and pleasure collide. This is not the harem of the Western Orientalist imagination, an anxiety-free place of euphoria and the absence of constraints, where the word “harem” has lost its dangerous edge. My harem is based on the historical reality; rather then the artistic images of the West – an idyllic, lustful dream of sexually available women, uninhibited by the moral constraints of 19th Century Europe.” Lalla Essaydi, 2010
Lalla Essaydi’s work is represented in a number of collections including the Williams College Museum of Art; The Art Institute of Chicago; the Fries Museum, The Netherlands; The Museum of Fine Arts, Houston; The Kodak Museum of Art, Rochester, New York; The Columbus Museum Of Art, Ohio; The Kresge Art Museum, Michigan; The Museum of Fine Arts, Boston; The Santa Barbara Museum of Art, California; The Colorado Museum of Art, Colorado; The Brooks Museum of Art, Memphis; the Jordan National Museum; the North Carolina Museum of Art; the Neuberger Museum; the Brooklyn Museum of Art, New York; and The Louvre Museum, Paris, France.