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Journal Article
Journal of Middle East Women's Studies (2019) 15 (3): 430–432.
Published: 01 November 2019
...Jennifer Jean Copyright © 2019 by the Association for Middle East Women’s Studies 2019 Below are two ekphrastic poems I wrote during the HER STORY IS workshop in Dubai. “This Painting Has a Story” describes a work of art created by participant Thaira Al-Mayyahy (reproduced in this issue...
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Published: 01 November 2022
Figure 2. Nermine Hammam, The Gatekeeper’s Truth . Hand-painted archival pigment print on Hahnemühle Photo Rag paper, 122 × 90 cm. Reproduced by permission of the artist.
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Published: 01 November 2022
Figure 1. Nermine Hammam, Shadow of the Fish-Head . Hand-painted archival pigment print on Hahnemühle Japanese paper, 70 × 90 cm. Reproduced by permission of the artist.
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Published: 01 November 2022
Figure 4. Nermine Hammam, Narcissus Drowning . Hand-painted archival pigment print on Hahnemühle Japanese paper, 70 × 90 cm. Reproduced by permission of the artist.
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Journal Article
Journal of Middle East Women's Studies (2014) 10 (2): 1–30.
Published: 01 July 2014
..., this analysis of the much celebrated Family Code and its two main goals-“doing justice to women” and “preserving men’s dignity”-and of the regime’s ambivalent discourse on gender equality as defined by the Convention on the Elimination of All Forms of Discrimination against Women (CEDAW) paints a more realistic...
Journal Article
Journal of Middle East Women's Studies (2021) 17 (1): 1–21.
Published: 01 March 2021
... women in interior spaces and poses made familiar to an international audience by nineteenth-century European paintings. However, Essaydi trades Orientalism’s apparent realism and colorful decors for a monochromatic gold color scheme that originates from thousands of bullet casings she has meticulously...
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in An Inner Voice Liberated: Feminist Reading of Lilian Weisberger’s Artwork
> Journal of Middle East Women's Studies
Published: 01 March 2021
Figure 7. Lilian Weisberger. Right: Girl Giving the Finger , 2015. Oil pastels, acrylic, and three-dimensional paint on medium-density fiberboard, 80 × 40 × 2 cm. Left, top: Super-Girl , 2015. Plywood, acrylic, oil pastels, three-dimensional paint, paper, glue, and rubber gloves, 98 × 98 × 1
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Published: 01 November 2022
Figure 3. Nermine Hammam, Posturing Bravado . . . Why Hast Thou Forsaken Me? Hand-painted archival pigment print on Hahnemühle Japanese paper, 60 × 80 cm. Reproduced by permission of the artist.
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in An Inner Voice Liberated: Feminist Reading of Lilian Weisberger’s Artwork
> Journal of Middle East Women's Studies
Published: 01 March 2021
Figure 8. Lilian Weisberger. Diptych—Right: Trapped inside a Mirror , 2015. Acrylic, sponge, oil pastels, and broken mirrors, 70 × 173 × 1 cm. Left: Super-Girl , 2015. Wooden door, glass, pencil, acrylic, paint, 60 × 206 × 3 cm.
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Journal Article
Journal of Middle East Women's Studies (2020) 16 (3): 346–350.
Published: 01 November 2020
... were depicted in photographs and paintings opened up a discussion about the circulation of commodities, cross-cultural encounters, changing identities, and medical practices. The conference proposed a new way of thinking about modernity in the Middle East by looking at various representations...
Journal Article
Journal of Middle East Women's Studies (2020) 16 (3): 329–330.
Published: 01 November 2020
... of women’s collectives and sociability. Her paintings depict groups of women with large, Horus-like (or khamsa/ hand of Fatima–like) eyes, looking out of the frame with clear, serene gazes. As a focal point, the eyes center the paintings as they seem to center the figures. A series of El Sadda’s recent...
Journal Article
Journal of Middle East Women's Studies (2019) 15 (3): 433–434.
Published: 01 November 2019
...Thaira Al-Mayyahy Copyright © 2019 by the Association for Middle East Women’s Studies 2019 Figure 1. Thaira Al-Mayyahy, Women in a Time of War , 2013. Figure 1. Thaira Al-Mayyahy, Women in a Time of War, 2013. I painted this image in 2013, during a time of war. Though military...
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Journal Article
Journal of Middle East Women's Studies (2019) 15 (1): 116.
Published: 01 March 2019
..., script, and letters into color and image, and color and image into text. She creates multiplanar works of bodies and books, languages, and images. Her art includes books that are paintings and paintings that read like books. The painting featured on the cover of this issue has writing on the face, mind...
Journal Article
Journal of Middle East Women's Studies (2022) 18 (1): 145–146.
Published: 01 March 2022
... decades. In the Classroom , on the cover of this issue, was painted in the early 1950s, when Sirry focused her figurative style on depicting Egyptian women of all social classes. Instead of the anonymous female peasant symbol of Egypt, prevalent in 1920s and 1930s painting, sculpture, and popular visual...
Journal Article
Journal of Middle East Women's Studies (2022) 18 (3): 433–441.
Published: 01 November 2022
...Figure 2. Nermine Hammam, The Gatekeeper’s Truth . Hand-painted archival pigment print on Hahnemühle Photo Rag paper, 122 × 90 cm. Reproduced by permission of the artist. ...
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Journal Article
Journal of Middle East Women's Studies (2024) 20 (1): 141–148.
Published: 01 March 2024
... ). “The Mother and the Lost Daughter” (“ Al-Umm wa Al-Ibna Al-Daʾiʿa ”), by the Iraqi poet Badr Shakir al-Sayyab, is transcribed in scattered verses, alternately handwritten in pen or painted in ink. The first pages of the leporello , read right to left, are covered in unevenly pigmented blue washes. A yellow...
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Journal Article
Journal of Middle East Women's Studies (2018) 14 (2): 227–229.
Published: 01 July 2018
... out to excavate Anglo-European perceptions and fantasies of Middle Eastern sexuality, with a focus on male homoeroticism. In this substantial volume, Boone performs a close reading of an extensive repertoire of literary texts (including travelogues and fiction) and visual material (such as paintings...
Journal Article
Journal of Middle East Women's Studies (2016) 12 (1): 1.
Published: 01 March 2016
... Copyright © 2016 by the Association for Middle East Women’s Studies 2016 For me painting is primarily about color. Usually, to come to life colors need each other. They change, in a way, at the contact of another color, creating not only color fields but also, and in the meantime, energy...
Journal Article
Journal of Middle East Women's Studies (2015) 11 (2): 216–220.
Published: 01 July 2015
... of femininity and masculinity in works that address the psychic effects of migration and exile. In Marwan’s 1966 painting Khaddouch II a lone male figure in black high heels is standing in profile although his face is directed toward the viewer. The man’s body appears to move in place, as his contorted frame...
Journal Article
Journal of Middle East Women's Studies (2022) 18 (3): 442–447.
Published: 01 November 2022
... and subsequently invited to paint in Syria, Jordan, Tunisia, Lebanon, Saudi Arabia, the United Arab Emirates, Oman, Yemen, and Kuwait, visiting those countries between 1979 and 1989. Janet’s eyes were always drawn to the architectural stories. Janet felt that with her paintings, which she brought back to Rome...
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