At first glance, Cityscapes (2010) seems to be a collection of panoramic photographs of the city of Istanbul—the kind that are found on postcards in souvenir shops. A closer examination, however, reveals that a key element—the minaret—has been systematically removed, thereby changing profoundly the history and religious character of the city. The work is a response to a November 2009 referendum in Switzerland that approved a ban on the construction of new minarets in that country. It was also a crucial time in Turkey’s negotiation for entrance into the European Union. Instead of making a direct, didactic comment on the controversy, however, Abbas offers up a clever question regarding how landmarks are interpreted in vastly different ways depending on their cultural context. In the Western imagination, minarets are political symbols as much as they are religious architecture. In the Muslim world, they serve as mnemonic devices that enable residents to recognize their own city.
Hamra Abbas, who lives and works in Boston and Islamabad, Pakistan, makes work that has a profound connection to her own cultural context. She asks probing questions about the everyday and its complex relationship with history and ideology; her subject matter ranges from religious rituals to war and the sexual iconography of the Kama Sutra. Working with a diverse range of materials and media, Abbas frequently intertwines the contemporary with the classic to offer up a critique of both modern Western and Islamic cultures.
Hill of Poisonous Trees (three men) (2008) exemplifies the artist’s signature photo-weaving technique, in which he collects diverse found photographs—portraits of anonymous people, stills from blockbuster films, or journalistic images—cuts them into strips, and weaves them into new composition...
In Thomson’s Untitled (TIME) , every front cover of TIME magazine is sequentially projected to scale at thirty frames per second...
Blind Spencer is part of the series “Blind Stars” including hundreds of works in which the artist cut out the eyes of Hollywood stars, in a symbolically violent manner...
Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...
The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material...
The photograph Exquisite Eco Living is part of a larger series titled Executive Properties in which he digitally manipulated the images to insert iconic buildings of Kuala Lumpur in the view of derelict spaces also found in the city...
Kwan Sheung Chi’s work One Million is a video work depicting the counting of bills...
The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material...
Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...
NO POSITIONS AVAILABLE is composed of panels covering the entire wall of the gallery exemplifying one of the tendencies of the artist...
Like many of his other sculptural works, the source of I am the Greatest is actually a historical photograph of an identical button pin from the 1960s...
Bread and Roses takes its name from a phrase famously used on picket signs and immortalized by the poet James Oppenheim in 1911...
Shot in black and white and printed on a glittery carborundum surface, Black Hands, White Cotton both confronts and abstracts the subject of its title...
Nicolas Paris studied architecture and worked as an elementary school teacher before he decided to become an artist...