24 x 30 cm
Adnan’s paintings are simple images with bold contrasting colors and rich textures. This particular work has an iconic feel and a strong physical presence in spite of its diminutive size. All of her paintings are small but, like Howard Hodgkin’s work, their intensity gains from their diminutive size. However small they are, they are large in scale and impact. This painting may recall the sunset in Beirut just as it refers to a small confined but defined mass within a larger sea, perhaps in itself some kind of political statement. It is stark in its contrasts but rich in color. The central pattern of horizontal bands may recall national flags, however without referring to any one in particular. Unlike Albers’s work, there is no sense of gradation of color nor forms increasing or decreasing in size but, like Albers, Adnan is manifestly interested in the way in which one color may influence and impact another. A tension between the expansive and the restricted and between the horizontal and the vertical make this a very satisfying and dynamic image.
Etel Adnan was born on February 24, 1925 in Beirut and died in Paris on November 14, 2021. She was a Lebanese American artist and writer. Since the 1960s, Etel Adnan had been making accordion-fold books, or leporellos, that meld visual and verbal observation, fusing the artist’s parallel practices in painting and writing as she transcribed poems and records unfolding landscapes and urban spaces.
FIELD MEETING Take 4: Thinking Practice | Ibraaz Contemporary Visual Culture in North Africa and the Middle East Home Platform Essays Interviews Projects Channel Reviews Publications News About Sign up Quick search Go Author Keyword Search archive Title Platform 010: Where to Now? Shifting Regional Dynamics and Cultural Production in North Africa and the Middle East 009: What are the genealogies of performance art in North Africa and the Middle East? 008: How do we productively map the historical and contemporary relationships that exist between North Africa, the Middle East and the Global South? 007: What is the future of arts infrastructures and audiences across North Africa and the Middle East? 006: What role can the archive play in developing and sustaining a critical and culturally located art history? 005: How has a globalised cultural economy affected the production of contemporary visual culture in North Africa and the Middle East? 004: With the benefit of hindsight, what role does new media play in artistic practices, activism, and as an agent for social change in the Middle East and North Africa today? 003: Can Artistic Practices Negotiate the Demands of Cultural Institutions, Public Space, and Civil Society? 002: What relationship does visual culture have to the world we live in? 001: What do we need to know about the MENA region today? Published between and Publications FIELD MEETING Take 4: Thinking Practice Online Programme 010_05 / 28 October 2016 Tags Curatorial Practice Conference Chapters in this series Introduction Curatorial Narrative Speaker Biographies + Synopses Programme / Schedule Closing Remarks Responses Video documentation Day 1 Video documentation Day 2 Most Viewed The Global South Conflicting Narratives and the Invention of Geographies Fernando Resende Global Art Forum 8 1972-1982 Spaceship Sheraton and the Making of Doha's Masterplans Ibraaz The North of the South and the West of the East A Provocation to the Question Walter D...
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