Category: the petri dish

A couple of weeks ago, I mentioned the ‘Without Boundary‘ show currently on view at MoMA. Now in a New York Observer piece, Tyler Green reports that some of the artists connected with the show are unhappy about it, including Shirin Neshat, who says:

“My immediate reaction was, how could anyone today discuss art made by contemporary Muslim artists and not speak about the role the subjects of religion and contemporary politics play in the artists’ minds?” Ms. Neshat said. “For some of us, our art is interconnected to the development of our personal lives, which have been controlled and defined by politics and governments. Some artists, including Marjane Satrapi and myself, are ‘exiled’ from our country because of the problematic and controversial nature of our work.”

Green points out that it’s “highly unusual” for artists included in a MoMA show to criticize “the most powerful art museum in the world.” You can read more about the artists’ frustrations and MoMA’s stance on the merging of art and politics here.

Over at the New York Times, Holland Cotter reviews “Snap Judgments: New Positions in Contemporary African Photography,” which is currently showing at the International Center of Photography. Of the curator, the Nigerian Okwui Enwezor, Cotter writes:

If Martians tuned in to our television news broadcasts, they’d have a miserable impression of life on Earth. War, disease, poverty, heartbreak and nothing else. That’s exactly how most of the world sees Africa: filtered through images of calamity. “Afro-pessimism” is the diagnostic term that Okwui Enwezor, the Nigerian-born art historian and curator, uses for the syndrome. And he has offered bracing antidotes to it in two major photography exhibitions.

The first, “In/Sight: African Photographers, 1940 to the Present,” appeared at the Solomon R. Guggenheim Museum in 1996. It was fantastic, a revelation. Now, a decade later, the second one has arrived, “Snap Judgments: New Positions in Contemporary African Photography” at the International Center of Photography. It, too, is fantastic — stimulating, astringent, brimming with life — and different from its predecessor.

You can read the rest of the rave review here.

The online gallery for “Snap Judgments” is worth a visit. I was happy to see a strong showing by Moroccan artists in this exhibit, with artwork by Yto Berrada, Ali Chraibi, and Lamia Naji.

The Museum of Modern Art is currently running an exhibition called “Without Boundary: Seventeen Ways of Looking.” Curated by Fereshteh Daftari, the pieces in the collection explore the false notion of “Islamic art,” which is generally taken to mean any art produced in Muslim lands, regardless of ethnicity or culture.

The artists come from various countries (with a strong showing by Iranian artists, including photographer Sherin Neshat and comic artist Marjane Satrapi) and various religious backgrounds, showcasing the diversity of thinking about art from (or about) “over there.” Michael Wise, writing in the Los Angeles Times, finds the exhibit “subversive.” I think we can all use a bit of subversion. You can view the online page for Without Boundary here. (Click on “Full Program” for a guided tour.)

A reader sends words that London-based Palestinian singer Reem Kelani, whose songs speak of the plight of refugees, was recently interviewed on the BBC’s Everywoman and Radio 4’s Woman’s Hour. There also a print interview here.