These questions bring to the fore the necessity of seeking alternative methods and historiographies in the writing of more inclusive stories of art, in particular regarding women artists from the Arab world. RMN-Grand Palais / Bertrand Prévost © Saloua Raouda Choucair Foundation Saloua Raouda Choucair, Dual, 1975-1977, aluminium, brass, 10 x 12 x 7 cm, Paris, Centre Pompidou – Musée National d’Art moderne – Centre de Création Industrielle, photo © Centre Pompidou, MNAM-CCI, Dist.
1)? More specifically, what counter-narratives to the dogmatic Greenbergian narrative on abstract art, its purity and the self-referentiality of painting does their work convey?įig. How then, did abstract women artists such as Adnan, Saudi, but also the Lebanese Saloua Raouda Choucair (1916-2017) and the Palestinian Samia Halaby (born 1936), who all share a commitment to activism, deal in their work with the then Western-male-dominated discourses of abstraction (fig. When I once asked Etel Adnan if it had been difficult to be a Lebanese women artist in the United States during the 1960s and 1970s, she simply answered with a grin that it was certainly more challenging to be a women abstract artist than an Arab at the time. Their individual approaches have in common their engagement with international pictorial expressions, while at the same time referring to belonging or their diasporic condition. Gazbia Sirry by defining the contours of Egyptian modern art, and Mona Saudi and Etel Adnan by engaging with abstraction, in Jordan and the United States, respectively. Each of them has played a major role in opening new paths for engaging with contemporary art practices.
The years 20 have sadly witnessed the loss of three monuments of modern art from the Arab world: Etel Adnan (1925-2021), Gazbia Sirry (1925-2021) and Mona Saudi (1945-2022).
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