The physical harem is the dangerous frontier where sacred law and pleasure collide. My harem is based on the historical reality; rather than the artistic images of the West – an idyllic, lustful dream of sexually available women, uninhibited by the moral constraints of 19th Century Europe.” - Lalla Essaydi, 2010. Kashya. Essaydi grew up in Morocco, and lived in Saudi Arabia for many years. She received her MFA from the School of the Museum of Fine Arts/TUFTS University in May 2003. and European cities, including Boston, Chicago, Minneapolis, Texas, Buffalo, Colorado, Houston, New York, Sant Diego, San Francisco, New Mexico, North Dakota, Syria, the Netherlands, Germany, England, Switzerland, and is represented in a number of collections, including the Williams College Museum of Art; The Art Institute of Chicago; the Fries Museum, the Netherlands; The Museum of Fine Arts Houston; The Kodak Museum of Art; The Columbus Museum of Art, Ohio; The Kresge Art Museum, Michigan; The Museum of Fine Arts, Boston; The Santa Barbara Museum of Art, California; The Colorado Museum of Art, Colorado; The Brooks Museum of Art, Memphis; The New Britain Museum of American Art, Connecticut; The Ackland Art Museum, Chapel Hill, North Carolina; The Hood Museum of Art, Dartmouth College, Hanover, NH; and Longwood Center for the Visual Arts, Virginia. Essaydi’s work is represented by Schneider Gallery in Chicago, by Howard Yezerski Gallery, in Boston, and by Edwynn Hook Gallery, in New York City. Essaydi’s art, which often combines Islamic calligraphy with representations of the female body, addresses the complex reality of Arab female identity from the unique perspective of personal experience. In much of her work, she returns to her Moroccan girlhood, looking back on it as an adult woman caught somewhere between past and present, and as an artist, exploring the language in which to “speak” from this uncertain space. Her paintings often appropriate Orientalist imagery from the Western painting tradition, thereby inviting viewers to reconsider the Orientalist mythology. She has worked in numerous media, including painting, video, film installation, and analog photography. “In my art, I wish to present myself through multiple lenses—as artist, as Moroccan, as Saudi, as traditionalist, as Liberal, as Muslim. In short, I invite the viewer to resist stereotypes.”The traditions of Islam exist within spatial boundaries. The presence of men defines public space, the streets, the meeting places.
Lalla A. Essaydi grew up in Morocco, and lived in Saudi Arabia for many years. She now lives in New York City. She received her MFA from the School of the Museum of Fine Arts/TUFTS University in May 2003. Essaydi's work is represented by Schneider Gallery in Chicago, by Howard Yezerski Gallery, in Boston, and by. 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. Central to the artist’s vision is a unique synthesis of personal and historical catalysts. Essaydi also weaves together a rich roster of culturally embedded materials and practices—including the odalisque form, Arabic calligraphy, henna, textiles, and bullets—to illuminate 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 (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.
BIOGRAPHY. Lalla A. Essaydi grew up in Morocco and now lives in USA where she received her MFA from the School of the Museum of Fine Arts/TUFTS University in May 2003. Essaydi's work is represented by Howard Yezerski Gallery in Boston and Edwynn Houk Gallery in New York City. Her work has been exhibited in. Shirin Neshat and Lalla Essaydi, two artists known for their use of calligraphy, add linguistic layers of coding to their photographs. Words, marking faces and tracing new cartographies, have featured prominently in their works, sparking a fierce contemporary debate about the role of the Middle East and North Africa in the production of images, while at the crux of both these artists’ oeuvres is a concerted interest in relaying histories of unjust representation. The uniting force between their bodies of work is the mutual recognition – via the use of literature in art – of the ways in which colonialism and 19 Century Euro-American hegemony have shaped traditional understandings of what it means to be Middle Eastern / North African, or to belong to the respective diasporas. The result is an art that speaks back to historic pressures in an attempt at emancipation. Linda Nochlin, the celebrated historian of early French modernism, on Jean-Léon Gérôme’s celebrated paintings of beautiful bathing Turks and naked young snake charmers, wrote of a ‘politics of vision’ that looked to trap the ‘East’ in a temporality both externally and hermetically sealed off from influence and change. As France’s stronghold in North Africa grew in the late 19 centuries, European artists began to show a keener interest in portraying these mythical lands in their works. When imagination became the singular source of inspiration, worlds came to being on canvas that were ‘stuck’ in time and weathered by decrepitude, and debauchery and hedonism became the principal subjects for paintings that reflected artistic reverie more than fact. Through a visual culture propagated by art patronage, an of the Middle East and North Africa developed that was ahistorical and skewed, born of a severe imbalance of power that fostered the circulation of imagery produced in Europe; this idea has survived, and continues to insidiously creep into contemporary discussions.
Moroccan-born, New York-based photographer Lalla Essaydi b. 1956 explores issues surrounding the role of women in Arab culture and their representation in the western European artistic tradition. Her large-scale photographs are based on nineteenth-century Orientalist paintings but work to subvert those stereotyped. Essaydi (born 1956) is a Moroccan-born photographer known for her staged photographs of Arab women in contemporary art. She married after returning to Morocco and moved to Saudi Arabia where she had two children and divorced. She currently works in Boston, Massachusetts, and Morocco. Essaydi's work is represented by Howard Yezerski Gallery in Boston and Edwynn Houk Gallery in New York City. Essaydi returned to Paris in the early 1990s to attend the École nationale supérieure des Beaux-Arts. Essaydi's photographic series include Converging Territories (2003–2004), Les Femmes du Maroc (2005–2006), Harem (2009), Harem Revisited (2012–2013), Bullets, and Bullets Revisited (2012–2013). Her work has been exhibited around the world, including at the National Museum of African Art, Influenced by her experiences growing up in Morocco and Saudi Arabia, Essaydi explores the ways that gender and power are inscribed on Muslim women's bodies and the spaces they inhabit. She has stated that her work is autobiographical She also looks at the ways of viewing reality while questioning limits of other cultures and challenging Orientalist art, engaging tradition, history, art and technology. She also presents the resistance of stereotypes maintained by Western and Eastern societies. The inspiration for many of her works came from her childhood, in the physical space where she, as a young woman, was sent when she disobeyed. She stepped outside the permissible behavioral space, as defined by Moroccan culture.
May 8, 2012. For the exhibit "Lalla Essaydi Revisions" the artist spoke candidly about why she began to paint and what motivates her. Drawn from Essaydi’s own diaries, the words are evidence of an interior life of the imagination as well. The continuous stream of writing in the photograph creates a decorative image in which the women and setting become almost inseparable. It both adds a sense of fluid mobility to the scene and gives the artist and her subjects (usually women with similar backgrounds to her own) a voice. Essaydi, a Moroccan-born, Paris-trained artist, created the series as a means of examining the culture in which she grew up from the Western position she now occupies (Essaydi currently lives in the U. Although women in present-day Morocco are not compelled to wear a veil, images like this one speak to the physical as well as metaphorical restrictions placed on women in conservative Islamic society, where they are confined largely to the architecture of the home. Calligraphic script, written in henna, marks the surfaces of everything in the work—the faces of the younger women, the cloth worn by all four figures, and the fabric draped over the wall and floor. “Decolonizing Black Bodies: Personal Journeys in the Contemporary Voice.” In As they age, their bodies are increasingly concealed, so that the most mature member of the group is completely covered head to foot. Because calligraphy traditionally had been taught only to Muslim men, the text in Essaydi’s work takes on added meaning. In writing with henna, Essaydi embraces her cultural heritage and its gender roles. In Islamic practice, henna designs are applied by and on women during significant rites of passage and times of celebration.
May 9, 2012. 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. 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. Central to the artist’s vision is a unique synthesis of personal and historical catalysts. Essaydi also weaves together a rich roster of culturally embedded materials and practices—including the odalisque form, Arabic calligraphy, henna, textiles, and bullets—to illuminate 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.
Browse and purchase exclusive Lalla Essaydi prints at Jackson Fine Art Gallery, located in Atlanta, Georgia. 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.” “Revisions,” which opens Wednesday at the National Museum of African Art and runs through Feb.
Lalla Essaydi was born in Morocco and spent part of her childhood in Saudi Arabia, before studying art in Paris and Boston. Edwynn Houk Gallery is pleased to announce an exhibition of large-scale photographs by Lalla Essaydi from the artist’s most recent series, Harem Revisited and Bullets Revisited. The show will be on view from 16 May through 22 June 2013 with an opening reception for the artist on Thursday, 16 May from 6-8pm. Lalla Essaydi was raised in Morocco and spent many years in Saudi Arabia, and although she was educated in Europe and the US and now lives in New York, this experience of traditional Islamic life was fundamental to her unique approach to the examination of the identity of the Muslim woman. Utilizing a unique working method and set of visual devices that she initiated in 2003 for the iconic series, “Converging Territories,” Essaydi applies many layers of text written by hand with henna in Islamic calligraphy to the subject’s faces, bodies, and environments. Then, she arranges her subjects in poses directly inspired by 19th Century French painters such as Ingres, Delacroix and Gérôme, whose Orientalist paintings featured the harem and the eroticized Arab female body. Using the perspective of an Arab woman living in the West, Lalla Essaydi reexamines and questions this representation of the Arab female identity. “The physical harem is the dangerous frontier where sacred law and pleasure collide. This is not the harem of the Western Orientalist imagination, an anxiety-free place of euphoria and the absence of constraints, where the word “harem” has lost its dangerous edge.
Feb 17, 2017. Bullets, Lalla Essaydi's exhibition at Jackson Fine Art through April 15 is a provocative and metaphorically loaded take on the condition of women in today's Arab world. In this new series, the Moroccan-born New York-based artist denounces the violence women were subjected to following the repression of. In this new series, the Moroccan-born New York-based artist denounces the violence women were subjected to following the repression of the Arab Spring. A departure from the pleasing aesthetics of the ancient Moroccan palaces of her previous work, Essaydi instead positions her subjects in front of monochromatic tapestries composed of thousands of bullet casings sewn together. Her models almost disappear into their grounds, wearing metallic dresses made of bullet shells that required months of preparation. We were all very excited to see the women at the forefront of the protests and we were hopeful that, finally, women would not be treated as second-class citizens in the Arab world anymore. When the conservative government took hold, the first thing they did was to put women back to where they thought they belonged. is about that violence projected on women, specifically physical violence during gatherings in the squares in Egypt and other places — women being violated.
The Edwynn Houk Gallery is a photography gallery based in New York and Zurich, specializing in masters of twentieth-century photography with an emphasis on the 1920s and 1930s as well as contemporary photography. The first thing you notice about Lalla Essaydi’s striking photographs is that many of the women are looking directly at you. Several of Essaydi’s photographs are scattered through the institution, and a grouping is on display in Gallery 20 upstairs at the museum. We are used to seeing Arab women looking away, their faces often hidden by a veil. But in Essaydi’s unsettling work — on exhibit at the San Diego Museum of Art through Aug. It’s a relatively small exhibit, but an undeniably powerful, even transformative one (more of her art can be found in the book “Lalla Essaydi: Crossing Boundaries Bridging Cultures”). You’ll soon discover you’re not the only one in dialogue with these images. It’s hard to engage with Essaydi’s large-scale photographs without questioning your own cultural and gender stereotypes and biases. You can join the company of 19th-century artists like Delacroix and Inges whose “Orientalist” paintings objectified North African and Arab women as fantasy objects populating the exotic and forbidden world of the harem.“Unfortunately, what they did is create a world that doesn’t exist, except in the mind of the people who don’t know the culture,” said Essaydi, who grew up in Morocco, lives in New York, and was in San Diego for the exhibition’s opening. “And the way they perceive us after that becomes problematic.”That perception is particularly seductive as the Orientalist paintings are so beautiful.“That makes them really dangerous,” said Essaydi. “Their beauty allows us to absorb and to appreciate women being sold as slaves, and women being naked — you know, all these troubling things.”Essaydi’s photos are also undeniably beautiful, but she uses the Orientalist painters’ own conventions to undermine their assumptions. A number of her sumptuous, elaborately constructed pieces are staged in a way that the poses resemble, and consequently, recontextualize this male fantasy world, whether her “Les Femmes du Maroc #1,” which is inspired by Delacroix’s “Les Femmes d’Alger,” or most strikingly, her triptych “La Grande Odalisque,” which overtly challenges Inges’ celebrated Orientalist painting of the same name. As in nearly all of Essaydi’s work, “Odalisque” is teeming with Arabic script. You see it on the background, on the fabric covering the subject, even written in henna on her subject’s arms, back, face and feet.
My photographs are about the women subjects' participation in contributing to the greater emancipation of Arab women, while at the same time conveying to an outside audience a very rich tradition of practice, relationships, and ideas that are so often misunderstood and misrepresented in the West." —Lalla Essaydi. Lalla Essaydi, a Moroccan artist and photographer, is part of a new exhibit at the Canadian War Museum called 'She Who Tells a Story,' which aims to to challenge Western perceptions of the Middle East.
Essaydi was born in Marrakesh, Morocco in 1956. She left to attend high school in Paris at 16. She married after returning to Morocco and moved to Saudi Arabia where she had two children and divorced. Essaydi returned to Paris in the early 1990s to attend the École nationale supérieure des Beaux-Arts. “The physical harem is the dangerous frontier where sacred law and pleasure collide.... My harem is based on the historical reality; rather than the artistic images of the West – an idyllic, lustful dream of sexually available women, uninhibited by the moral constraints of 19th Century Europe.” - Lalla Essaydi, 2010 Kashya Hildebrand is pleased to announce Moroccan photographer Lalla Essaydi’s second exhibition with the gallery in London. Where Essaydi’s 2013 show served as a retrospective spanning five major bodies of work from 2003 to 2012, series. Essaydi’s photographs are the result of a complex performance-based medium comprising painting, calligraphy, interior design, costume design, stage directing, and finally photography. This meticulous process of image making is crucial to Essaydi’s oeuvre.
Lalla Essaydi's career as an artist has encompassed painting, mixed media, and video, but recently she has devoted herself to photography, and to explorations of the image of woman in Islamic society. Essaydi was raised in Morocco, spent many years in Saudi Arabia, and educated in Europe and the United States. Founded in 1996, Jenkins Johnson Gallery is a national dealer of contemporary art representing international artists working across disciplines. A member of the Association of International Photography Art Dealers (AIPAD) and the San Francisco Art Dealers Association, owner Karen Jenkins- Johnson brings over 25 years of experience to the gallery's exhibition program. The San Francisco gallery is located in the Union Square area and has operated for twenty years in its original location at 464 Sutter Street. Jenkins Johnson Gallery is creating a project space in Brooklyn, scheduled to open September 2017. Karen Jenkins-Johnson, Ambassador for Mo AD San Francisco, is committed to working with museums, private institutions, art collectors and other dealers to progress the careers of the artists it represents.
Lalla Essaydi grew up in Morocco and now lives between Morocco and the USA where she received her MFA from the School of the Museum of Fine Arts/TUFTS University in May 2003. Essaydi's work is represented by many galleries round the world, including Schneider Gallery in Chicago, Howard Yezerski Gallery. 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. Islamic calligraphy written in henna, incomplete about the female experience, marches infinitely throughout the photographs. In the Arab world calligraphy is traditionally an exclusively male-dominated expression, while the use of henna is sole to women. The merging of the two forms as “veil” in a hyper-punctilious weave of personal and political expression is masterful commentary by Essaydi on the fluidity of women in Arab culture. Essaydi’s focus is the female experience as she comments in her artist statement, “I wish for my work to be as vividly present and yet as elusive as “woman” herself – not simply because she is veiled or turns away – but because she is still in progress.” This is not a hasty generalization of the Arab female experience; rather the work is unique to Essaydi’s own relationship growing up as an Arab woman in Morocco. Acknowledging the range of Islamic governance throughout the East and West, the photographer stresses that she is not – and cannot be – speaking on behalf of all Arab women.
The latest Tweets from LALLA Essaydi @assia_lalla "#5WomenArtists Spotlight Lalla Essaydi https//t.co/nwylrLtiWu via @YouTube" Lalla Essaydi is a contemporary Moroccan photographer and painter. Her work focuses on Arabic female identity explored through a 19th-century Orientalist style, wherein the artist hand-paints Arabic calligraphy in henna on different surfaces, such as fabric, bodies, and walls. Her photographs address the complex reality of the power structures imposed on the Arab female body through a tradition-laden lens. As described by Essaydi, “I invite viewers to resist stereotypes.” Born in 1956 in Marrakech, Morocco, after a childhood and early adult life characterized by frequent relocation, Essaydi moved to Boston in 1996. She earned her BFA from Tufts University and a subsequent MFA at the School of the Museum of Fine Arts in 2003. Her work has received worldwide critical acclaim, and is held and exhibited at institutions such as the National Museum of African Art in Washington, D. the Art Institute of Chicago, and the Fries Museum in the Netherlands.
View over 71 Lalla Essaydi artworks sold at auction to research and compare prices. Subscribe to access price results for 150000 different artists! LALLA ESSAYDI born in 1956 LES FEMMES DU MAROC #25A, 2006 – Moroccan Women #25A, 2006 Chromogenic print mounted to aluminum Signed 'Lalla Essaydi', dated '2006', titled 'Les femmes du Maroc #25A', and numbered 2/15 102 x 83 cm (39,78 x 32,37 in.) Please note : A certificate from Edwynn Houk Gallery, New York, NY will be handed in to the buyer THE AUCTIONEER IS ONLY RESPONSIBLE FOR THE FRENCH INFORMATION PROVIDED BY THIS CATALOGUE. THE ENGLISH TRANSLATION IS COURTESY TO THE ENGLISH SPEAKERS. LALLA ESSAYDI née en 1956 LES FEMMES DU MAROC #25A, 2006 Impression chromogénique sur aluminium signée 'Lalla Essaydi', datée '2006', titrée 'Les femmes du Maroc #25A', et numéroté 2/15 h: 102 w: 83 cm Commentaire : Un certificat de Edwynn Houk Gallery sera remis à l'acquéreur. View additional info LALLA ESSAYDI born in 1956 LES FEMMES DU MAROC #25B, 2006 – Moroccan Women #26A, 2006 Chromogenic print mounted to aluminum Signed 'lalla essaydi', dated '2006', titled 'les femmes du Maroc #25B', numbered 2/15 100 x 83 cm (39 x 32,37 in.) Please note : A certificate from Edwynn Houk Gallery, New York, NY will be handed in to the buyer THE AUCTIONEER IS ONLY RESPONSIBLE FOR THE FRENCH INFORMATION PROVIDED BY THIS CATALOGUE. THE ENGLISH TRANSLATION IS COURTESY TO THE ENGLISH SPEAKERS.