Intimate Moments mit July

Intimate Moments mit July

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Explore all artists who have exhibited at the List in our Artist Index .

October 22, 2021
- February 13, 2022

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Farah All Qasimi, M Napping on Carpet , 2016. Archival inkjet print, 27.6 x 36.76 in (70 x 93.36 cm). Courtesy the artist; Helena Anrather, New York; and The Third Line, Dubai. © Farah Al Qasimi.
In her richly textured photographs, Farah Al Qasimi considers how images inscribe identity along the lines of gender, nationality, and class.
Borrowing conventions from sources as diverse as documentary photography and Renaissance painting, Al Qasimi manipulates and subverts codified expectations of how images are constructed and understood. Along with her fluency in both Euro-American and Middle Eastern visual cultures, the editorial quality of Al Qasimi’s images facilitates a range of subtle interventions. The photographs frequently confront ideas of national identity as they relate to consumerism and taste, while simultaneously offering covert critiques of the gender divide in the Gulf States and its colonial and religious origins.
Camouflage and concealment play a central role in Al Qasimi’s work and operate through multiple stylistic, iconographic, and conceptual registers. In a recent series of portraits, Al Qasimi obscures the faces of her subjects while capturing moments that feel intimate despite their staging. Various compositional strategies hide identifying features—behind plumes of smoke, a well-placed hand, or sumptuously patterned textiles and drapery—while accentuating the opulent interiors her subjects inhabit. As she embeds her work with double meanings, Al Qasimi’s still and moving images are as seductive and visually lush as they are incisive in their criticality.
Farah Al Qasimi (b.1991, United Arab Emirates; lives and works in New York and Dubai) works in photography, video, and performance. Her work has been featured in exhibitions at Jameel Arts Centre, Dubai; the San Francisco Arts Commission, San Francisco; the CCS Bard Galleries at the Hessel Museum of Art, New York; Helena Anrather, New York; and The Third Line, Dubai. Al Qasimi received her MFA from the Yale School of Art. She has participated in residencies at the Delfina Foundation, London; the Skowhegan School of Painting and Sculpture, Maine; and is a recipient of the New York NADA Artadia Prize and the Aaron Siskind Individual Photographer’s Fellowship.
List Projects: Farah Al Qasimi is organized by Henriette Huldisch, Director of Exhibitions & Curator, MIT List Visual Arts Center.
Exhibitions at the List Center are made possible with the support of Fotene Demoulas & Tom Coté, Audrey & James Foster, Idee German Schoenheimer, Joyce Linde, Cynthia & John Reed, and Terry & Rick Stone. In-kind media sponsorship provided by 90.9 WBUR. Additional funding for List Projects is also provided by The Andy Warhol Foundation for the Visual Arts.
General operating support is provided by the Massachusetts Institute of Technology; the Council for the Arts at MIT; Philip S. Khoury, Associate Provost at MIT; the MIT School of Architecture + Planning; the Mass Cultural Council; and many generous individual donors. The Advisory Committee Members of the List Visual Arts Center are gratefully acknowledged.
Farah All Qasimi, M Napping on Carpet , 2016. Archival inkjet print, 27.6 x 36.76 in (70 x 93.36 cm). Courtesy the artist; Helena Anrather, New York; and The Third Line, Dubai. © Farah Al Qasimi.
Farah Al Qasimi, Abraj Mall , 2018. Archival inkjet print, 69 x 50 in. (175.3 x 127 cm). Courtesy the artist; Helena Anrather, New York; and The Third Line, Dubai. © Farah Al Qasimi.
Farah Al Qasimi, Aviary , 2019. Archival Inkjet print, 45 x 60in. (114.3 x 152.4 cm). Courtesy the artist; Helena Anrather, New York; and the Third Line, Dubai. © 2019 Farah Al Qasimi.
Farah Al Qasimi, Living Room Vape , 2016. Archival inkjet print, 26 x 35 in. (66 x 88.9 cm). Courtesy the artist; Helena Anrather, New York; and the Third Line, Dubai. © 2019 Farah Al Qasimi.
Farah Al Qasimi, Dyed Pastel Birds (30 AED each), 2019. Archival Inkjet print, 26 x 40 in. (66 x 101.6 cm). Courtesy the artist; Helena Anrather, New York; and the Third Line, Dubai. © 2019 Farah Al Qasimi.
Farah Al Qasimi, Perfume (Obama, Lovable, Flawless) , 2018. Archival Inkjet print, 21 x 30 in.(53.34 x 76.2 cm). Courtesy the artist; Helena Anrather, New York; and the Third Line, Dubai. © 2019 Farah Al Qasimi.
Installation view, List Projects: Farah Al Qasimi , MIT List Visual Arts Center, 2019. Photo: Charles Mayer.
Farah Al Qasimi, Closed Kiosk, Red 2 , 2019 and Closed Kiosk, Purple , 2019.Installation view, List Projects: Farah Al Qasimi , MIT List Visual Arts Center, 2019. Photo: Charles Mayer.
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Little White Lies

Huck Film
71a

Art & Culture / Photography / Intimate shots of life in ’80s Massachusetts

Photographer Judith Black spent years capturing her experience as a single parent, celebrating everyday moments that otherwise go unnoticed.
Photographer Judith Black spent years capturing her experience as a single parent, celebrating everyday moments that otherwise go unnoticed.
In 1979, Judith Black enrolled in the Creative Photography Lab at MIT to pursue her MFA in photography . A single mother of four living on limited means, Black moved her brood into a dilapidated apartment into Cambridgeport, Massachusetts: a multi-ethnic working-class neighbourhood that had been part of the industrial, port area of the Charles River just 15 minutes from the school.
“ It was a very hard time in my life,” Black remembers. “We were lucky to find the apartment and to be able to afford it. It was then that I realised how the chance of birth gives one privilege… or denies it.”
Amid the relentless demands of being a working mother and student, Black turned to photography to create a space to record the lives of her loved ones long before family-based work was taken seriously by the art world. “It was seen as too ‘confessional,” Black says.
But these judgments did not deter Black from pursuing her dream, a story that unfolds with sensitivity and grace in the new book, Pleasant Street (Stanley/Barker). Here, we see Black’s young children Laura, Johanna, Erik and Dylan in a series of intimate portraits capturing moments of life that might otherwise go unnoticed.
Black saw beauty and grace in the simplicity of daily life. It was an understanding gleaned from her studies of Julia Margaret Cameron , Gertrude Kasebier , Imogen Cunningham and Elsa Dorfman : women who were both mothers and working photographers.
“Having my home be my studio meant everything,” says Black. “The kids were collaborators in that they knew what the pictures would be used for public display. We didn’t talk about it much – we just did it. I started making the self-portraits as a therapeutic exercise. Including the children and [my partner] Rob was an extension of that exercise. We were all in it together.”
Black applied the lessons she received from professors such as Robert Frank and Lee Friedlander to her personal work, both of whom offered one shared piece of advice: “Don’t think about it too much, just keep working.”
Black describes Frank as “gentle, honest but not cutting, and encouraging”, taking his mission to heart. “Frank’s assignment was to ‘make a photographic statement about where you are with photography, all about who you are and where you’ve been and how you feel.”
Her photographs became a visual diary and a family album, a series of images that speak to the necessity of making work for one’s self rather than for the art market.
“Today, I see that the larger culture has totally accepted ‘personal’ work as a legitimate genre that has universal appeal. Family is a very rich vein of emotional inquiry. I watch us grow up and grow old. We probably have differing memories attached to the photos, but there is some truth in each one. I think that is the important part.”
Pleasant Street is available now on Stanley/Barker.
Enjoyed this article? Like Huck on Facebook or follow us on Twitter .
Posted Monday 6th July, 2020 Text by Miss Rosen Photography © Judith Black

E51-296C Massachusetts Institute of Technology Cambridge MA 02139-4307 Accessibility
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