Harem #4, 2009
Les Femmes du Maroc: La Grande Odalisque, 2008
Converging Territories #30, 2004
Harem #14C, 2009
Harem Revisited #51, 2013
Les Femmes du Maroc: Harem Beauty #2, 2008
Les Femmes du Maroc: Harem Women Writing, 2008
Harem Revisited #33, 2012
Bullets Revisited #3, 2012
Bullets Revisited #20, 2013
Bullets Revisited #37, 2014
Harem #15, 2009
Lalla Essaydi’s art champions women. Central to the artist’s vision is a unique synthesis of personal and historical catalysts. As a Muslim woman who grew up in Morocco, raised her family in Saudi Arabia, and relocated to France and finally the United States, the artist has profound firsthand perspectives into cross-cultural identity politics. Weaving together a rich roster of culturally embedded materials and practices—including the odalisque form, Arabic calligraphy, henna, textiles, and bullets—she illuminates the narratives that have been associated with Muslim women throughout time and across cultures. By placing Orientalist fantasies of Arab women and Western stereotypes in dialogue with lived realities, Essaydi presents identity as the culmination of these legacies, yet something that also expands beyond culture, iconography, and stereotypes.
The performative act of inscribing women’s bodies and spaces with calligraphy is a vital part of Essaydi’s approach, emphasizing the ongoing, active, and collaborative process of becoming and creating. Since her first major series Converging Territories (2002-4), Essaydi has used henna to envelope the women in her photographs in Arabic calligraphy, a skill she could not learn in school due to her gender. Henna is a form of decoration that marks some of the happiest and most significant moments of a Muslim woman’s life, and Essaydi elevates this tradition—conventionally regarded as a “woman’s craft”—into a radical act of visual and linguistic artistry. The stream-of-consciousness, poetic script includes biographical details relating to the artist’s and models’ experiences as women. Essaydi’s series Les Femmes du Maroc (2005-7) continued to engage with these approaches while expanding to also question the historical representation of Arab women in the Western art canon, referencing the Orientalist imagery of 19th century artists such as Ingres, Delacroix, and Gérôme. Her reinterpretation is a strong statement of the power of artistic representation to influence identity. In her Harem series (2009), set in a lavish yet isolating harem in Morocco, Essaydi addresses the complex social and physical confines of Muslim womanhood. Her most recent series Bullets (2009-14) introduces a new material for the artist, silver and gold bullet casings, which she has woven to create glittering gowns of armor.
Essaydi’s work deliberately incorporates and invites perspectives from many angles. “In my art,” Essaydi explains, “I wish to present myself through multiple lenses—as artist, as Moroccan, as traditionalist, as Liberal, as Muslim. In short, I invite the viewer to resist stereotypes.”
Essaydi spent her most foundational years living in traditional Muslim society in Morocco and Saudi Arabia. She attended École nationale supérieure des Beaux-Arts in Paris before earning her BFA from Tufts University and MFA from the School of the Museum of Fine Arts, both in Boston. Her work has been exhibited around the world, including at the San Diego Museum of Art, CA; Museum of Fine Arts, Boston, MA; Bahrain National Museum; and Sharjah Calligraphy Biennial, United Arab Emirates. Essaydi’s work is represented in the collections of the Los Angeles County Museum of Art, CA; Art Institute of Chicago, IL; Museum of Fine Arts, Houston, TX; National Gallery of Art, Washington, D.C.; Brooklyn Museum of Art, NY; Museum of Fine Arts, Boston, MA; and the Louvre Museum, Paris, amongst many others. The artist currently lives in Boston and Marrakesh.
In the photography gallery, rotating works by the Moroccan-born artist Lalla Essaydi incorporate Islamic calligraphy, a sacred art form dominated by men in part because of the training required to master it. In “Converging Territories #30,” currently on view, Essaydi inscribed it on her models’ clothing, bodies and surroundings with henna, a decorative dye traditionally applied by women. The four women and girls pictured are in a house where female members of Essaydi’s family — including Essaydi — were locked in isolation, sometimes weeks at a time, for disobedient acts like entering spaces impermissible to women.
Inspired by the east: how the Islamic world influenced western art charts the long and complex cultural interactions between Europe and North America in the ‘West’, and North Africa and the Middle East in the ‘East’. At its core is an examination of the tradition known as Orientalism – the representation of the East in Western arts, which often blurred the line between fantasy and reality. Reaching its height as an art movement during the 19th century, this exhibition traces the relationship back to the 15th century. Objects in the exhibition reflect this vast timespan, with works by early travellers including illustrated accounts, maps and costume albums, to 19th-century European and North American painters including Delacroix, Lewis and Bridgman.
The exhibition concludes with a 21st-century perspective, questioning the Orientalist discourse through the eyes of four female, Middle Eastern and North African artists - Lalla Essaydi, Raeda Saadeh, Shirin Neshat and Inci Eviner.
Using the lens of her personal experience, LallaEssaydi (b. 1965, Marrakesh, Morocco) reveals the complexity of Arab female identity by challenging stereotypes she has encountered in both the East and the West.
Lalla Essaydi is amongst the ever-growing number of women artists from the Maghreb who have garnered international acclaim. The artist must also be placed, more widely, within a generation of minoritized artists who, often living and working in North America or Europe, explore issues relating to colonialism, gender and identity, particularly plural identity or what Homi Bhabha famously calls the “third space.”
A new exhibit at the Canadian War Museum is aiming to challenge Western perceptions of the Middle East. She Who Tells a Story is set to open Dec. 6 and features nearly 85 photographs taken by female photographers from the Arab world.
Lalla Essaydi, a Moroccan photographer and artist whose work is displayed in the exhibit, spoke to CBC's All In a Day at its opening on Tuesday afternoon. Her piece, a triptych titled Bullets Revisited #3, features a reclining woman surrounded by bullet casings.
"This work is inspired by the Arab Spring," she said. "I wanted to represent these women who have been fighting among men for their own rights."
From the Arabian Nights to the Arab Spring, Westerners see images of the Middle East in our own pop culture, news and art. But what does the region look like through the lens of local women? The exhibit She Who Tells a Story includes 85 images taken from the 1990s to today by a dozen female photographers from Iran and the Arab world. They aim to challenge Western conceptions and illuminate contemporary life and politics. Organized by the Museum of Fine Arts in Boston, the exhibit opens at the Canadian War Museum Wednesday and runs until March 4.
Moroccan-born Lalla Essaydi, a former painter and alumna of the School of the Museum of Fine Arts, Boston (SMFA), uses iconography from 19th century Orientalist paintings as inspiration to explore and question her own cultural identity. In the triptych Bullets Revisited #3 (2012), the most expansive work in the exhibition at 5 1⁄2 x 12 1⁄2 feet, she uses calligraphy (a typically male art form) to suggest the complexity of gender roles within Islamic culture. In Bullets Revisited #3, silver and golden bullet casings evoke symbolic violence, referencing her fear about growing restrictions on women in a new, post-revolutionary era that followed demonstrations and protests in the Arab world that began in 2010.
Converging Territories is a photo series conceptualized and executed by Moroccan-born photographer, Lalla Essaydi. The photographs feature Arab women as odalisques, and objects representative of the harem, as they confront the veil of a Western perspective of Orientalism. Borrowing the words of Whitman, the women in this series are large, they contain multitudes, and to wholly appreciate the granduer Essaydi encourages her viewers to dismiss stereotypes when engaging with her work.
Moroccan artist Lalla Essaydi’s photographs set out to provoke viewers into new ways of seeing by mimicking and subverting Orientalist tropes. Beautiful but reductive, fetishistic and steeped in colonialism and imperialism, Orientalist paintings invented a Middle East that never existed for an audience that wished to see its desires and prejudices reinforced. Moroccan photographer Lalla Essaydi hijacks this imagery to create photographs that deliberately subvert Orientalist views.
I find this image transfixing. Having long admired 19th- and early-20th-century Orientalist art, I enjoy Lalla Essaydi’s fresh approach to it. Here, the artist re-creates a French School harem pose, herself applying the hennaed Islamic calligraphy covering the woman’s body. Antique textiles are central to my projects and those used in this composition are sensational. Her bed, wrapped in a strong indigo-blue carpet, contrasts with the sweeter surrounding colours and brings the subject forward in the composition. Her layers of clothing appear to extend out into the profusion of silks around her, adding to her allure. This highly decorative, impactful piece provides a window into a secretive world, a place the artist describes as a “dangerous frontier where sacred law and pleasure collide”.
"I Am," a traveling exhibition that has already stopped in Amman, Jordan and London, UK, aims to challenge such stereotypes and shatter misconceptions of Middle Eastern women through photographs, paintings, and mixed-media works that reflect their varied life experiences.
Lalla Essaydi's "Bullets Revisited #15" is included in the exhibition.
Moroccan artist Lalla Essaydi's "Bullets Revisited #3" is one of several works featured in the Akron Art Museum's upcoming exhibition, "Alchemy: Transformations in Gold." The exhibition travels from the Des Moines Art Center, where it was open from 11 February — 5 May 2017.
Looking for enlightenment?
It can be found, then lost, and found again in an untitled 2009 artwork by Kevin Veronneau. A long strip of wood and masonite renders the revelatory noun in the reflective paint used for crosswalks. View the signage from one angle and aha! Total understanding. From another vantage point, however, the text disappears, and the viewer is greeted by a void.
Lalla Essaydi’s photograph “Converging Territories #29” pursues a similar idea, to earthier results. A cloaked woman’s back is turned from the camera, her shape and even surroundings swaddled in sumptuous, swirling eddies of Arabic calligraphy.
The National Museum of Women in the Arts (NMWA) announces recent major collection acquisitions in celebration of the beginning of the museum’s 30th-anniversary year. Newly acquired works include Lalla Essaydi's Bullets Revisited #3 (2012), on view in "REVIVAL" from June 23 to September 10, 2017. The show also includes Essaydi's Bullets Revisited #20 (2014) (pictured here).
“We are delighted to have strong support from generous donors and members who made these acquisitions possible. Their contributions have enabled us to add new, diverse and increasingly global artworks to the collection—from late 19th century painting to contemporary times,” said NMWA Director Susan Fisher Sterling. “These important acquisitions greatly enrich the thematic reinstallation of our collection galleries for the museum’s 30th anniversary.”
The title of a new exhibition at the National Museum of Women in the Arts , “She Who Tells a Story,” undersells the high quality of the work therein. The name is borrowed from an Arabic word, rawiya, which also refers to a group of female photographers working as a collective in the Middle East. But the title makes it sound as if this provocative show — devoted to photography by women from Iran and the Arab world — is just another exercise in narrative, just more storytelling, a needless addition to the overflowing swamp of narrative that drowns out critical thinking.
The depiction of Arab women in art is a relatively recent phenomenon. For centuries, it was unconditionally banned; the only existing representations were 19th-century European fantasies of women lazing in harems.
Now, women from the Muslim world appear frequently in painting, sculpture and photography, yet the issue remains fraught.
A panel discussion at The New York Times Art for Tomorrow conference in Doha explored the subject of how Arab women are portrayed in art, with Lalla Essaydi, an artist who lives and works in New York and Marrakesh, and Touria El Glaoui, the founder of the 1:54 Contemporary African Art Fair and the daughter of the renowned Moroccan painter Hassan El Glaoui.
Alchemy brings together a group of international artists whose work incorporates gold (or another metal disguised as gold). In each case, this precious material not only brings a sense of luxury to the work, but also ushers in connotations of the historic and cultural value various societies have placed on this rare element. As glamorous and sought after as gold may be, it’s capable of suggesting complicated politics and potent symbolism. The works in Alchemy embrace both dark and light readings of this glittering metal.
Lalla Essaydi's Bullets Revisited #3 and Bullets Revisited #22, pictured here, are included in the exhibition.
Of all the assumptions about the Arab world, “maybe the most insulting is the idea that women from our region are oppressed, and therefore weak, backwards and cannot think for themselves,” Yemeni photographer Boushra Almutawakel says. “Yes, there are cases of oppression for sure, yet in spite of it all I feel women from our part of the world are strong and resilient, and we are intelligent, and can speak for ourselves.” Ten of Almutawakel’s works — among them a series of portraits of a mother, her young daughter and her daughter’s doll increasingly veiled until they fade into the black background — appear as part of the National Museum of Women in the Arts’ newest exhibition, “She Who Tells a Story: Women Photographers from Iran and the Arab World.” Running through the end of July, the show features 83 photographs and one video installation by a dozen contemporary female artists, each exploring stereotypes in her own way.
The work of photographer Lalla Essaydi sits somewhere inside the gaps Said felt so keenly. Part of a new wave of Moroccan artists enjoying success under the liberalized reign of King Mohammed VI (who holds some of Essaydi’s pieces in his private collection), she lives in New York City and works from her family home in Morocco, a large and elaborate house dating back to the 16th century. The portraits she shoots inside — always of women — recall 19th century French depictions of Arab concubines, popularly known as odalisques.
In Essaydi’s portraits, you can see the ghost of the naked odalisque — objectified even in being termed. But Essaydi’s women show little flesh. They gaze into the camera, as if challenging the viewer directly. Some look positively regal, like the women in her “Bullet” series, who wear a sort of chain metal she fashioned out of flattened bullets.
For the past six years, Moroccan-born photographer Lalla Essaydi has labored over a body of photographs made in a large, unoccupied home in her native country. She splits her time between Morocco and the U.S., transporting materials ranging from fabrics to bullet castings to a property owned by her family. The house is not just a distant studio space, though; it is a vital part of the narrative in Ms. Essaydi’s images that explore the Arab female identity. The vacant family home where her photographs are made once served as disciplinary space, where a young woman was sent when she disobeyed by stepping beyond the “permissible space.” The woman would spend a month alone in the house, where she was not spoken to by anyone, including the servants who were her only company.
Middle Eastern women, supposedly powerless and oppressed behind walls and veils, are in fact a force in both society and the arts. They played a major role in the Arab Spring and continue to do so in the flourishing regional art scene — specifically in photography — which is alive and very well indeed. Some Middle Eastern photographers have taken their cameras to the barricades, physical ones and those less obvious, like the barriers erected by stereotypes, which they remain determined to defy. The Museum of Fine Arts, Boston, takes note in “She Who Tells a Story: Women Photographers From Iran and the Arab World,” an ambitious and revealing exhibition of work by 12 women, some internationally known.
''She Who Tells a Story," at the Museum of Fine Arts Boston, is unlike any contemporary art show at the moment. Bringing together photographs and videos by 12 women from Iran and the Arab countries, it introduces issues and names that will be unfamiliar to audiences in the U.S., even among the highly informed.
Opening the show is Ms. Essaydi's three-part photograph of an elegantly dressed woman lying on a bed in a tiled room. Only on close inspection is it apparent that the golden tinge of the image, with its air of luxe et volupté, comes from hundreds of metal bullet casings used to construct the mosaiclike décor. Relying on the illusion of trompe l'oeil, and poses that refer to icons of Western painting by Ingres and Klimt, she has cleverly—maybe too glibly—asked her audience to question the supposed truth of photographs.
Moroccan-born Lalla Essaydi always knew she was going to be an artist. Her father was a painter, and some of her fondest childhood memories include drawing with colors and pencils in his studio in Marrakesh. It wasn't until a journalist spotted her photographs decades later while she was a graduate student at the School of the Museum of Fine Arts in Boston that she began to gain international attention.
Essaydi, who also lived in Saudi Arabia for many years and now lives in New York City, has had her work exhibited across the United States, Europe and the Middle East. Known for her large format photographs, her work combines Islamic calligraphy and representations of the female body, focusing on the interconnection of faith, culture and gender, and challenging notions within all three.
Her photographs feature women dressed in fabric inscribed with henna calligraphy posing in front of abstract backgrounds that utilize the same cloth and script. She sees her work as "intersecting with the presence and absence of boundaries; of history, gender, architecture, and culture; that mark spaces of possibility and limitation. That is my story as well."
The young girl growing up in a harem in Morocco is sitting alone in an abandoned house surrounded by olive trees. For one month, the girl will speak to no one and be spoken to by no one. This is her punishment for “stepping outside the permissible space” and rebelling against rules that give her brothers more freedom.
Confined to this lovely but deteriorating house, attended only by servants, a young Lalla Essaydi begins to think about the private spaces that women in the Arab world must inhabit. It is this place of punishment to which Essaydi will return decades later to understand the artist she has become. Her work, she says, will become haunted by spaces she inhabited as a child.
Essaydi, who has risen to international fame for her stunning portraits of women in Islamic cultures, questions the barriers imposed on Arab women and challenges stereotypical Western depictions of women who live in harems.
An interview with Lalla Essaydi about her work and its relation to the current situation in the Middle East.
Galerie Edwynn Houk zur Stockeregg is delighted to present an exhibition of photographs by Moroccan-born artist, Lalla Essaydi. The show will include work from two recent series: Les Femmes du Maroc (2005-2008) and Les Femmes du Maroc Revisited (2010). This is Essaydi’s first solo exhibition in Zürich.
Opening reception for the artist:
4 November, 6-8 pm