Liberation Art Of Palestine

"This is a fascinating, great book." -- ROGER WATERS, founding member, Pink Floyd "These moving visions of a decolonized, democratic and free Palestine will resonate wherever collective yearnings for freedom have survived. Palestinian intellectuals, activists, and artists are a beacon both for the future of Palestine and the destiny of our globe." -- ANGELA DAVIS "Read this book and you will be strengthened and inspired. It’s a death knell to the Zionist fantasy and imperialist domination." -- RONNIE KASSRILS, South African anti-apartheid icon Our Vision for Liberation: Engaged Palestinian Leaders & Intellectuals Speak Out aims to challenge several strata of the current Palestine discourse that have led to the present dead end: the American pro-Israel political discourse, the Israeli colonial discourse, the Arab discourse of purported normalization, and the defunct discourse of the Palestinian factions. None promote justice, none have brought resolution; none bode well for any of the parties involved. Here, an alternative Palestinian view of liberation and decolonization is provided by engaged Palestinian leaders and intellectuals, those who been actively involved in generating an ongoing Palestinian discourse on liberation, taking into account the parameters of their struggle as it now stands. Drawing on their own remarkable personal experiences and successes -- as archaeologists, artists, authors, community leaders, educators, filmmakers, historians, human rights activists, journalists, lawyers, spiritual leaders, political prisoners, and the like -- they address what now, what next, is to be done, in a manner that reflects not only Palestinian aspirations, but their view of what is possible. 'Liberation' is a term that was dropped from the official Palestinian lexicon simply because it was incompatible with the US-championed political discourse, but it has resurfaced here because without its justice dimensions, there can be no peace. Now that the international community is able to see that Oslo, along with the 'two-state solution' model, has irreversibly failed, the paradigmatic void has opened space for the articulation of new possibilities. Our Vision for Liberation embraces this opportunity to introduce a new Palestinian discourse, one that is able to address current challenges and obstacles to Palestinian rights and freedom, and provide diverse paths, all leading forward

The International Art Exhibition for Palestine took place in Beirut in 1978 and mobilized international networks of artists in solidarity with anti-imperialist movements of the 1960s and '70s. In that era, individual artists and artist collectives assembled collections; organized touring exhibitions, public interventions and actions; and collaborated with institutions and political movements. Their aim was to lend support and bring artistic engagement to protests against the ongoing war in Vietnam, the Pinochet dictatorship in Chile, and the apartheid regime in South Africa, and they were aligned in international solidarity for anti-colonial struggles. Past Disquiet brings together contributions from scholars, curators and writers who reflect on these marginalized histories and undertakings that took place in Baghdad, Beirut, Belgrade, Damascus, Paris, Rabat, Tokyo, and Warsaw. The book also offers translations of primary texts and recent interviews with some of the artists involved.

Take care of yourself. How many times a week do we hear or say these words' If we all took the time to care for ourselves, how much stronger will we be' More importantly how much stronger will our communities be' In Take Care of Your Self, Iraqi artist and curator Sundus Abdul Hadi turns a critical and inventive eye on the notion of self-care, rejecting the idea that self-care means buying stuff and recasting it as a collective practice rooted in the liberation struggles of the oppressed. Throughout, Abdul Hadi explores the role of art in fostering healing for those affected by racism, war, and displacement, weaving in the artwork of twenty-seven artists of color from diverse backgrounds to identify the points where these struggles intersect. In centering the voices of those often relegated to the margins of the art world and emphasizing the imperative to create safe spaces for artists of color to explore their complicated reactions to oppression, Abdul Hadi casts self-care as a political act rooted in the impulse toward self-determination, empowerment, and healing that animates the work of artists of color across the world.

Exploring visual culture, design and politics in 1960s Beirut, this compelling interdisciplinary study examines a critical period in Lebanon's history.

The rich history and culture of the Arab American people is found in the passionate works of its artists. Whether they be traditional media such as painting and calligraphy, or more sophisticated media such as digital work and installation, the pieces represent the beauty of heritage, the struggles of growing up in war-torn countries, the identity conflicts of female artists in male-dominated societies, and the issues surrounding migration to a Western culture very different from one's own. Many of the artists included here, though their works appear in museums and galleries throughout the world, have never before been featured in a reference book. Interviews conducted by the author provide a personal look into the experiences and creative processes of these artists. Artists included: *Etel Adnan *Wasma Chorbachi *Nihad Dukhan *Kahlil Gibran *Sari Khoury *Emily Jacir *Sari Khoury *Mamoun Sakkal *Mary Tuma *Madiha Umar *Afaf Zurayk

Over the last three decades, a new generation of conceptual artists has come to the fore in the Arab Middle East. As wars, peace treaties, sanctions, and large-scale economic developments have reshaped the region, this cohort of cultural producers has also found themselves at the center of intergenerational debates on the role of art in society. Central to these cultural debates is a steady stream of support from North American and European funding organizations—resources that only increased with the start of the Arab uprisings in the early 2010s. The Politics of Art offers an unprecedented look into the entanglement of art and international politics in Beirut, Ramallah, and Amman to understand the aesthetics of material production within liberal economies. Hanan Toukan outlines the political and social functions of transnationally connected and internationally funded arts organizations and initiatives, and reveals how the production of art within global frameworks can contribute to hegemonic structures even as it is critiquing them—or how it can be counterhegemonic even when it first appears not to be. In so doing, Toukan proposes not only a new way of reading contemporary art practices as they situate themselves globally, but also a new way of reading the domestic politics of the region from the vantage point of art.