Mohammad Omar Khalil, whose work often draws inspiration from his homeland, calls black “the richest medium, the richest color for me in all printmaking.”
Encompassing both private and public collections, Unbound represents a range of collecting practices and asserts the artistic, cultural, and social importance of textiles.
Drawn from archival photographs, memories, and imagination, Cassi Namoda’s family portraits emanate warmth and comfort.
While Pre-Raphaelite Sisters does write the female characters of the Pre-Raphaelite era into art history, it falls short by relegating these talented artists to the roles of lover and muse.
With her project, The Passport, Thana Faroq documents the lives not just of stateless individuals, but also her own escaping conflict and later settling abroad.
In her first major solo show in London, Kudzanai-Violet Hwami’s paintings recall the all too familiar diasporic experience of being foreign in both places you call home.
In October 2018 Anna Kamay created the first ever contemporary arts festival, Artsakh Fest, in Stepanakert. Now she returns to restage it with a new theme and approach.
On the eve of her exhibition at the new Middle East Institute Gallery, Issa talks about her decades-long curatorial career, the shifting infrastructure for artists in the region, and the need for memory and archives.
Hayv Kahraman’s paintings compel viewers to acknowledge the potential pleasure of viewing contorted bodies in a position of pain.
Throughout his career, Rakowitz has been making artful reconstructions of lost heritage.
With artists spanning all corners of the globe, Vitamin T is a timely contribution to dismantling the division between art and craft.
New Waves at the Mosaic Rooms illustrates how Melehi’s painted waves spread across Morocco to create a cultural scene that celebrated tradition.