24,5 x 19 cm
Hashem El Madani, a studio photographer in Saida, began working in 1948. Like all studio photographers his subjects came to him. The studio was a constant flux of visitors. It was perceived as a safe haven, where the subjects of his photographs could act out their fantasies within the conventional format of portrait photography. Madani records the poses, clothes and behaviour of his clients reflecting the social and political context in which they lived as well as the norms and the taboos. He portrays anonymous personages, people who normally fall below the radar of public interest.
Zaatari combines the skills of a historian, a curator and an artist. He is interested in salvaging and preserving the past, in challenging the perceived norms of history. ‘Diversity is the most important factor in resisting misrepresentation’ he stated. ‘Focusing on iniduality thus becomes a political mission.’ Akram Zaatari was born in 1966 in Saida, Lebanon. He lives and works in Beirut.
Adnan’s paintings are simple images with bold contrasting colors and rich textures...
For The Reverse Sessions , the artist reversed the order in which instruments are usually created, taking the sounds of a collection of ethnic musical instruments from The Dahlem Museum as the starting point...
For his first NFT release artist Walid Raad made a series of animated birthday cakes, titled Festival of Gratitude , for some of the world’s most toxic and larger-than-life leaders...
“The Lebanese wars of the past three decades affected Lebanon’s residents physically and psychologically: from the hundred thousand plus who were killed; to the two hundred thousand plus who were wounded; to the million plus who were displaced; to the even more who were psychologically traumatized...
The Pixelated Revolution is a lecture-performance by artist Rabih Mroué about the use of mobile phones during the Syrian revolution...
“People often asked if they could pose with the Kodak advertisement where a full scale woman is featured with a camera offering Kodak rolls...
The Pixelated Revolution is a lecture-performance by artist Rabih Mroué about the use of mobile phones during the Syrian revolution...
“People often asked if they could pose with the Kodak advertisement where a full scale woman is featured with a camera offering Kodak rolls...
“While taking the picture it was challenging to make the boys sit properly without moving...
“People often asked if they could pose with the Kodak advertisement where a full scale woman is featured with a camera offering Kodak rolls...
The Pixelated Revolution is a lecture-performance by artist Rabih Mroué about the use of mobile phones during the Syrian revolution...
“The Lebanese wars of the past three decades affected Lebanon’s residents physically and psychologically: from the hundred thousand plus who were killed; to the two hundred thousand plus who were wounded; to the million plus who were displaced; to the even more who were psychologically traumatized...
Wright Imperial Hotel (2004) is a sort of bow and arrow made out of feathers, a São Paulo phone book, and other materials...
La Chambre Marocaine series is a means to reconnect personally to his connection to family history and objectively assess the process of reconnection...
Eileen Quinlan’s abstracted images, like Swipe , rely on the manipulation of photographic materials inside the studio itself, and reject the exterior world for complex interrogations of the medium....
First gallery show dedicated to Ghanaian photography pioneer will display previously unseen works capturing life under colonial rule Art market Museums & heritage Exhibitions Books Podcasts Columns Technology Adventures with Van Gogh Search Search Exhibitions news First gallery show dedicated to Ghanaian photography pioneer will display previously unseen works capturing life under colonial rule The photos are part of a 50,000-strong archive being preserved by the artist J...
Photojournalist with Two Cameras restages a portrait of a photojournalist from the background of an old photograph of protest published in South China Morning Post on January 10, 2010 under the headline “Return of the Radicals: Recent angry protests are nothing new.” The photojournalist in the photograph, probably from a protest of earlier decades, was capturing the scene of a protester’s arrest while wearing two cameras...