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The epicentre of Moroccan art deco architecture and main gateway to the nation, Casablanca gleams with an almost supernatural ecstasy, its air, infused with the aroma of Tagine and Pastilla. Their sweet hints of turmeric, ginger, saffron and cinnamon carried in the occasional gentle breeze from the Atlantic ocean momentarily ward off the extreme heat brought on by the nearby desert. Its burgeoning art scene's active mission to find new ways to repurpose abandoned buildings on its industrial outskirts breaths new life into the city. Small havens for individuals looking to experience Moroccan culture in more intimate settings. The Transcultural Slaughterhouse gallery is one of the most interesting of these projects. Cultural History The eclectic metropolitan city that never sleeps. Safety Charge your phone, buy some data, be mindful, avoid sketchy areas. Photography by Joseph Ouechen. Bar do Biu. Pequod's Pizzeria. Soto Ambengan Cak Di. Choyee Coffee and Restaurant. Jerk Junction. Mapu Baos. Bird Thais Restaurant. Brunch and Breakfast Spots in Casablanca, Chosen by Zineb Benharbit The architect spotlights the must-visit places in the Moroccan city for comfort food, a family lunch, coffee and more. Here's his expert guide on the spots you've got to visit. Explore Casablanca All. Casablanca Record Store People's Choice. Casablanca Beach Dar Bouazza. Casablanca Bar Vertigo. Browse All Spots. A Brief History of Morocco's Electronic Music Casablanca-based producer and DJ, Guedra Guedra, takes us through the deep and rich history of Moroccan music and its heavy influence on the electronic music we know and groove to today. Read on for our main takeaways from the event.

Oasis Into the Wild 2022

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Interdisciplinary artist Yuki Kihara is the first Pasifika and first Fa'afafine artist to be presented by New Zealand at the prestigious 59th International Art Exhibition — La Biennale di Venezia, with a ground-breaking exhibition of new work that addresses some of the most pressing issues of our time. Kihara's work interrogates and dismantles gender roles, consumerism, mis representation, and colonial legacies in the Pacific. It is frequently recounted that shortly before Michelangelo died, the eighty-eight-year-old artist sat before a fire and burned many drawings. Critical examination reveals various motivations for such a destructive act and elicits suggestions for what Michelangelo might have burned. Mainly because of old age and significant changes in his artistic practice, Michelangelo made far fewer drawings in his final two decades than earlier in his career. Today the Museum of Modern Art is widely recognized for establishing the canon of modern art; yet in its early years, the museum considered modern art part of a still unfolding experiment in contemporary visual production. By bracketing MoMA's early history from its later reputation, this book explores the ways the Museum acted as a laboratory to set an ambitious agenda for the exhibition of a multidisciplinary idea of modern art. Between its founding in and its 20th anniversary in , MoMA created the first museum departments of architecture and design, film, and photography in the country, marshaled modern art as a political tool, and brought consumer culture into a versatile yet institutional context. Encompassing 14 essays that investigate the diversity of modern art, this volume demonstrates how MoMA's programming shaped a version of modern art that was not elitist but fundamentally intertwined with all levels of cultural production. The seventeenth century witnessed a great flourishing of Dutch trade and culture. Over the course of the first half of the century, the northern Netherlands secured independence from the Spanish crown, and the nascent republic sought to establish its might in global trade, often by way of diplomatic relations with the Ottoman Empire and other Muslim powers. Rarities of These Lands illuminates the formative years of the Dutch Republic, offering a timely examination of the art, politics, and exoticism of this momentous period in the history of the Netherlands. A Companion to Modern and Contemporary Latin American and Latinx Art consists of over 30 never-before-published essays on the crucial historical and theoretical issues that have framed our understanding of art in Latin America. This book has a uniquely inclusive focus that includes both Spanish-speaking Caribbean and contemporary Latinx art in the United States. Influential critics of the 20th century are also covered, with an emphasis on their effect on the development of artistic movements. Professor Ila Sheren contributed the essay 'Border Art' to this volume. By providing in-depth explorations of central artists and issues, alongside cross-references to illustrations in major textbooks, this volume provides an excellent complement to wider surveys of Latin American and Latinx art. Readers will engage with the latest scholarship on each of five distinct historical periods, plus broader theoretical and historical trends that continue to influence how we understand Latinx, Indigenous, and Latin American art today. As he entered his seventies, the great Italian Renaissance artist Michelangelo despaired that his productive years were past. Anguished by the death of friends and discouraged by the loss of commissions to younger artists, this supreme painter and sculptor began carving his own tomb. It was at this unlikely moment that fate intervened to task Michelangelo with the most ambitious and daunting project of his long creative life. When the Pope handed Michelangelo control of the St. Assessing the situation with his uncompromising eye and razor-sharp intellect, Michelangelo overcame the furious resistance of Church officials to persuade the Pope that it was time to start over. The challenge of building St. Fighting the intrigues of Church politics and his own declining health, Michelangelo became convinced that he was destined to build the largest and most magnificent church ever conceived. And he was determined to live long enough that no other architect could alter his design. This essay focuses on questions of distance and proximity, both chronological and spatial, in the painting of eighteenth-century French artist Hubert Robert. It argues that, through the manipulation of different modes of distance in his paintings, Robert sought to articulate an aesthetic attitude which highlighted the remoteness of the past at the same time as he brought it into dialogue with the present. This aesthetic of distance is variously enacted by Robert's pictorial reflections on the ancient Roman system of roads, the virtual creation and collection of antiquities, and the actual movement of the physical remnants of the ancient world. The result, the essay suggests, is that Robert's work straddles the border of fiction and reference to both acknowledge and deny the presentness of the past. Paul Gauguin — broke with accepted conventions and challenged audiences to expand their understanding of visual expression. Nowhere is this phenomenon more evident than in his portraits, a genre he remained engaged with throughout all phases of his career. They also examine how Gauguin infused his work with symbolic meaning by taking on different roles like the Christ figure and the savage in his self-portraits and by placing his models in suggestive settings with alluring attributes. Christopher Riopelle is curator of post paintings at the National Gallery, London. His long and productive career took him from Chicago to New York to Europe and back, interweaving with the art of his time, and his paintings have been collected and exhibited all over the world. Nevertheless, he remained firmly rooted in the American Midwest, settling in St. Louis to teach and paint from until his death in A spectacular fresco from early first-century Pompeii is featured on the cover of the March issue of The Art Bulletin. Drawing on a palette of aqua, yellow, and deep red, it depicts Perseus rescuing Andromeda from captivity on a rocky promontory. The fresco appears in Nathaniel B. In the first centuries BCE and CE, Roman wall painters frequently placed representations of works of art, especially panel paintings, within their own mural compositions. Nathaniel B. Jones argues that the depiction of panel painting within mural ensembles functioned as a meta-pictorial reflection on the practice and status of painting itself. This phenomenon provides crucial visual evidence for both the reception of Greek culture and the interconnected ethical and aesthetic values of art in the Roman world. Roman meta-pictures, this book reveals, not only navigated social debates on the production and consumption of art, but also created space on the Roman wall for new modes of expression relating to pictorial genres, the role of medium in artistic practice, and the history of painting. Richly illustrated, the volume will be important for anyone interested in the social, ethical, and aesthetic dimensions of artworks, in the ancient Mediterranean and beyond. Between and his death at midcentury, Henri Matisse — undertook many decorative projects and commissions. These include mural paintings, stained glass, ceramic tiles, lead crystal pieces, carpets, tapestries, fashion fabrics, and accessories—work that has received no significant treatment until now. Matisse designed many of these decorations in the innovative—and widely admired—medium of the paper cut-out, whose function and significance Klein reevaluates. The built environment along the U. In this volume, the historically tense region and visually provocative margin—the southwestern United States and northern Mexico—take center stage. From the borderlands perspective, the symbolic importance and visual impact of border spaces resonate deeply. In Border Spaces , Katherine G. Morrissey, John-Michael H. Warner, and other essayists build on the insights of border dwellers, or fronterizos , and draw on two interrelated fields—border art history and border studies. The editors engage in a conversation on the physical landscape of the border and its representations through time, art, and architecture. The volume is divided into two linked sections—one on border histories of built environments and the second on border art histories. The global turn in art history has opened up the eighteenth-century world in a variety of productive new ways. Trade, exploration, and diplomacy linked the region stretching from East Asia through Southeast Asia, around India, and across the Indian Ocean to the Middle East in ways that brought exotic goods from one end of this vast area to another. A few notable entities, among them Japan, forbade most or all Europeans from entering the country. But even those with significant European colonial or trade presences maintained and even strengthened their connections with distant Asian neighbors—some of whom were thousands of miles away by land or sea. Artists and artisans traveled between Asian courts and ports; luxurious and useful decorative objects brought far-flung nations into everyday contact; and imitations of the foreign competed with authentic imported goods in markets around the Eastern Hemisphere. The result is a complex and understudied area of cross-cultural contact that has yet to be fully integrated into conceptions of the global early modern world. Within East Asia, Chelsea Foxwell considers how the Japanese fascination with exotic Chinese birds that arrived in the sole trading port of Nagasaki were represented in woodblock-printed books that juxtaposed realistic depiction with visual references to other works of art. Lan Wu takes a historical approach to Tibetan Buddhist art patronage in the Qing empire, using a case study of one Mongolian city as evidence for a thriving network of sites in Inner Asia, and challenging the standard narrative of patronage directed by the capital. Focusing on Southeast Asia, Imran bin Tajudeen reassesses the architectural history of eighteenth-century mosques in Melaka, Palembang, and Jakarta, which display a range of stylistic and structural connections to China, India, and Yemen thanks to a diversity of migrations and movements around the region. With topics that span the breadth of Asia, these four articles reveal the rich texture of intra-Asian interaction that offers new insights into the global eighteenth century. Through the lens of seven scholars, this book examines fine art and commercial design as they both reflected and helped create the vibrant culture of public spectacle in late nineteenth-century Paris. Posters and prints circulated across the city, as the new art form of cinema flourished, all part of a diverse urban climate of leisure that was particularly French. These islands of green in the midst of the Sahara owe their existence to springs and wells drawing on ancient aquifers. In antiquity, as today, they supported agricultural communities, going back to Neolithic times but expanding greatly in the millennium from the Saite pharaohs to the Roman emperors. New technologies of irrigation and transportation made the oases integral parts of an imperial economy. Amheida, ancient Trimithis, was one of those oasis communities. Located in the western part of the Dakhla Oasis, it was an important regional center, reaching a peak in the Roman period before being abandoned. Over the past decade, excavations at this well-preserved site have revealed its urban layout and brought to light houses, streets, a bath, a school, and a church. The only standing brick pyramid of the Roman period in Egypt has been restored. Wall-paintings, temple reliefs, pottery, and texts all contribute to give a lively sense of its political, religious, economic, and cultural life. In a first-of-its-kind exploration, Ila Sheren examines the contradictory effects of globalization on the U. The best artists of the imperial painting academy, including a number of European missionary painters, used Western perspectival illusionism to transform walls and ceilings with visually striking images that were also deeply meaningful to Qianlong. Produced at the height of early modern cultural exchange between China and Europe, these works have received little scholarly attention. Printmaking in particular provided him with many new and fertile possibilities for transposing his imagery. Though Gauguin is best known as a pioneer of modernist painting, this publication reveals a lesser-known but arguably even more innovative aspect of his practice. This book is the first to examine the role of exoticism in his art, and to offer a detailed history of the journal Le Charivari in which the lithographs appeared. These satires of China, Haiti, the United States, Africa, and the Middle East not only target the theater of international politics, but also draw on a broad range of physical stereotypes supported by contemporary ideas about race and cultural difference. In an art of comic inversion, Daumier used the exotic to expose the foibles and pretensions of the Parisian bourgeoisie. Idealistic as well as pragmatic, he used humor to stage political critique as well as to envision a more unified and compassionate world. In the late nineteenth century Tahiti embodied Western ideas of an earthly Paradise, a primitive utopia distant geographically and culturally from the Gilded Age or Belle Epoque. Bringing three of these figures together in comparative perspective for the first time, Vanishing Paradise offers a fresh take on the modernist primitivism of the French painter Paul Gauguin, the nostalgic exoticism of the American John LaFarge, and the elite tourism of the American writer Henry Adams. Drawing on archives throughout Europe, America, and the South Pacific, Childs explores how these artists, lured by romantic ideas about travel and exploration, wrestled with the elusiveness of paradise and portrayed colonial Tahiti in ways both mythic and modern. Discover the full meaning behind fifty featured paintings, drawings, and sculptures in this unique volume celebrating Michelangelo. Contributors include Stanley K. In , John La Farge — and his close friend, historian Henry Adams, embarked on a journey to the islands of the South Pacific, where the artist experienced a period of great creative output. Michelangelo is universally recognized to be one of the greatest artists of all time. In this vividly written biography, William E. Wallace offers a substantially new view of the artist. Not only a supremely gifted sculptor, painter, architect, and poet, Michelangelo was also an aristocrat who firmly believed in the ancient and noble origins of his family. Written from the words of Michelangelo and his contemporaries, this biography not only tells his own stories but also brings to life the culture and society of Renaissance Florence and Rome. With an engaging text by renowned Michelangelo scholar William E. Wallace, Michelangelo: The Complete Sculpture, Painting, Architecture brings together in one exquisite volume the powerful sculptures, the awe-inspiring paintings, and the classical architectural works of one of the greatest artists of all time. The frescoes are specially printed on onion skin paper to recreate the actual appearance of light reflecting off of the plaster walls. The stunning black-and-white photography of the sculptures is printed in four colors to bring out the rich details of the marble. The text emphasizes the intersections among cultures and populations, as well as the influences, borrowings, and appropriations that have enriched and vitalized our collective cultural heritage. The devotion of Henri Matisse to the human figure led him to make portraits of many different sitters—members of his family, fellow artists, professionals in other fields, patrons, and various others. At key points in his career, he was also an obsessive observer of himself, creating intense series of self-portraits. Matisse scholar John Klein goes beyond standard approaches to portraiture that focus on questions of likeness and expression of character. He considers the transaction that produces a portrait—a transaction between the artist and the sitter even when the sitter is oneself that is social as much as artistic. Klein also addresses the vexing question of whether depictions of hired models can be considered as portraits and concludes that they lack the social context that is necessary to portraiture. Dozens of reproductions highlight the work of Parisian avant-garde artists of the late s and early s, including Vincent Van Gogh, Paul Gauguin, Henri de Toulouse-Lautrec, Emile Bernard, and Georges Seurat, providing a fresh look at this influential generation of artists and the impact of their work on the development of modern art. Miller examines the content of nineteenth century American Landscape painting for cultural meaning. Instead of merely reflecting the ideological concepts of the time, the author holds that the paintings themselves formed the basis for much of America's dialogue on issues, such as nationalism, during the last century. Miller argues the painting is an act and paintings as a result were the ground upon which central debates concerning progress and conservation, region and nation, masculine and feminine, were formulated, refined, and presented to the public. In her study, Miller discerned several patterns appearing in the works, many having to do with the reinterpretation of nature, its transformation, and its eventual feminization. It is an investigation of the interplay between the domesticated landscape depicted on canvas and the Whig ideal of social order, as well as the voices dissenting from the myth of nationalist hegemony in the landscape. The author's analysis of a number of paintings challenges the longstanding interpretations or provides strikingly fresh insights. Catalog of an exhibition held at the Christian A. Childs, contributor. Matisse and Decoration By John Klein. Border Spaces: Visualizing the U. Kaper, and Susanna McFadden. Imperial Illusions By Kristina Kleutghen. Gauguin: Metamorphoses By Elizabeth C. Daumier and Exoticism By Elizabeth C. American Encounters: Art. Berlo, Bryan Wolf, Jennifer L. Matisse Portraits By John Klein.

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