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{{Draft topics|west-asia}}
New Visions was a Palestinian [[art movement]] that resisted the [[Israeli occupation]] at the time of the [[First Intifada]] by boycotting Israeli products and using only natural materials, such as straw, mud, and plant-based dyes.
{{AfC topic|other}}
{{AFC submission|d|v|u=Arch5445|ns=118|decliner=SafariScribe|declinets=20240902053637|reason2=event|ts=20240503140216}} <!-- Do not remove this line! -->
{{AFC submission|d|mergeto|Sliman Mansour|u=Windsorchair|ns=118|decliner=BuySomeApples|declinets=20231210180215|small=yes|ts=20231202222511}}

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{{AFC comment|1= Many of the inappropriate citations are from Zawyeh Gallery, in Ramallah and Al Hoash Gallery. Possible COI history. [[User:PigeonChickenFish|PigeonChickenFish]] ([[User talk:PigeonChickenFish|talk]]) 01:40, 13 December 2024 (UTC)}}
{{AFC comment|1= This draft was inappropriately tagged with templates for issues with "primary sources" in December 2023, and "unreliable sources" in September 2024; these template tags are for articles and not drafts. Part of the clean up that is needed is the replacement of commercial gallery citations with more reliable sources, see [[WP:RS]]. [[User:PigeonChickenFish|PigeonChickenFish]] ([[User talk:PigeonChickenFish|talk]]) 00:35, 13 December 2024 (UTC)}}

{{AFC comment|1=None of the sources discuss the art movement in any depth, they're brief mentions from sources which usually focus on Mansour. It might make more sense to add this there. [[User:BuySomeApples|BuySomeApples]] ([[User talk:BuySomeApples|talk]]) 18:02, 10 December 2023 (UTC)}}

________<!-- Do not remove this line! -->
{{Short description|Palestinian art movement}}
{{Infobox art movement|name=New Visions<br />
نحو التجريب والإبداء
|location=Palestine
|majorfigures=[[Sliman Mansour]],<br /> [[Vera Tamari]],<br /> [[Tayseer Barakat]],<br /> [[Nabil Anani]]
|yearsactive=1987–present
|influences=
|influenced=[[Boycott, Divestment and Sanctions]]}}
'''New Visions''' ({{langx|ar|نحو التجريب والإبداء|translit=Nahwa al-Tajrib wa al-Ibda'}}) was a [[Palestinians|Palestinian]] [[art movement]] that was founded in 1987 by the four artists [[Sliman Mansour]], [[Vera Tamari]], [[Tayseer Barakat]], and [[Nabil Anani]].<ref name="Anani-2014">{{Cite journal |last1=Anani |first1=Yazid |last2=Toukan |first2=Hanan |date=2014 |title=On Delusion, Art, and Urban Desires in Palestine Today: An Interview with Yazid Anani |url=https://www.jstor.org/stable/24877904 |journal=The Arab Studies Journal |volume=22 |issue=1 |pages=208–229 |jstor=24877904 |issn=1083-4753}}</ref>

== History ==
The movement was part of cultural resistance to the [[Israeli occupation]] of Palestine at the time of the [[First Intifada]].<ref name="Anani-2014" /> The four New Visions artists (Mansour, Tamari, Barakat and Anani) chose to [[boycotting|boycott]] art supplies imported from Israel in favor of local natural materials, and began use traditional methods of craftsmanship to produce works of fine art such as paintings, posters, mixed media [[Assemblage (art)|assemblage]], and [[Earthworks (art)|earthworks]].<ref name="Halasa-2022" /><ref name="Thawabeh-2019">{{Cite web |last=Thawabeh |first=Omar |date=April 30, 2019 |title=Challenges of Identity: A Talk and Art Exhibition by Four of the Founding Members of the Modern Art Movement in Palestine |url=https://dafbeirut.org/contentFiles/file/2020/06/ips-press-release-en.pdf |website=Dalloul Art Foundation (DAF Beirut)}}</ref> It has been interpreted in terms of tying the process of the production of art to land and struggle. It is lauded with bringing the political in symbolic form of the land (e.g. as mud, hay, leather) into the artwork.<ref name="Anani-2014" /><ref name="Rogers">{{Cite web |last=Rogers |first=Sarah |title=Sliman Mansour |url=https://www.encyclopedia.mathaf.org.qa/en/bios/Pages/Sliman-Mansour.aspx |access-date=2023-02-12 |website=Mathaf Encyclopedia of Modern Art and the Arab World}}</ref> It has been described as an "artists' precursor to [[Boycott, Divestment and Sanctions]] (BDS)," highlighting the continued centrality of nonviolent resistance to the Palestinian cause over time.<ref name="Halasa-2022">{{Cite web |last=Halasa |first=Malu |date=2022-12-26 |title=The Creative Resistance in Palestinian Art |url=https://themarkaz.org/the-creative-resistance-in-palestinian-art/ |access-date=2023-12-11 |website=The Markaz Review |language=en-US}}</ref> The art created within New Visions moved away from the [[Symbolic art|symbolic]] to more [[abstract art]]. Its audience was broad and included targeting an international audience as well as the Palestinian public.<ref name="Kadi-2019">{{Cite web |last=Kadi |first=Samar |date=12 May 2019 |title=How Palestinian art evolved under siege |url=https://thearabweekly.com/how-palestinian-art-evolved-under-siege |website=[[The Arab Weekly]]}}</ref> Although not widely known, New Visions became a model for political art in Palestine, and has had a lasting impact on contemporary art practice.<ref name="Anani-2014" />

== Influence ==
The New Visions had an important influence on Palestinian art.<ref name="Rogers" /> [[Dar El-Nimer for Arts and Culture]] and the [[Institute for Palestine Studies]] called the New Visions artists "four of the founding members of the modern art movement in Palestine".<ref name="Thawabeh-2019" /> The movement is considered to have ushered Palestinian fine art towards a more contemporary art practice.<ref name="Kadi-2019" /><ref name="Rogers" /> In 2018 the [[A. M. Qattan Foundation]] (AMQF) honoured the New Visions art collective in a ceremony in Ramallah.<ref name="Foundation-2018">{{Cite web |last=Foundation |first=Qattan |date=August 9, 2018 |title=A. M. Qattan Foundation honours the New Visions collective |url=https://qattanfoundation.org/en/in-qattan/news/m-qattan-foundation-honours-new-visions-collective |website=A. M. Qattan Foundation}}</ref> During the ceremony artist [[Khaled Hourani]] spoke about the impact and accomplishments of New Visions, which [[A. M. Qattan Foundation|AMQF]] describes as having "set the foundations for contemporary practices of Palestinian visual arts".<ref name="Foundation-2018" />

For Mansour, the New Visions movement was a turning point in his art production. He said of the shift:<blockquote>"The intifada mainly liberated us. Our art became more expressive of ourselves and more abstract. We were no longer limited to the traditional way of doing art to please a specific public. For example, I began working with clay and this made me engage in sculpture.”<ref name="Kadi-2019" /></blockquote>
== Materials ==
The First Intifada led the artists to question their use of art materials imported from Israel. Mansour recounts: "People were planting vegetables in their gardens so as not to buy anything from Israel. We thought, 'Why don’t we do the same as artists? Why should we buy paint from Israeli shops and then use it to paint against them?'."<ref>{{Cite web |last=Chaves |first=Alexandra |date=May 30, 2021 |title=How the watermelon became a symbol of Palestinian resistance |url=https://www.thenationalnews.com/arts/how-the-watermelon-became-a-symbol-of-palestinian-resistance-1.1230806 |website=[[The National (Abu Dhabi)|The National]]}}</ref> The artists instead started using materials found in nature such as [[clay]], [[chalk]], [[animal glue]], [[straw]], [[mud]], [[leather]] and [[Natural dye|plant-based dyes]] such as coffee, henna, tea and spices.<ref name="Kadi-2019" />

Both Mansour and Tamari worked with clay with added hay for consistency.<ref name="Kadi-2019" /> Barakat, a painter, used wood and fire as his primary art materials. Anani, also a painter, worked with leather from [[Al-Khalil]] dyed with tea, coffee, henna and spices.{{Citation needed|date=December 2024}}

All four artists utilized [[Assemblage (art)|assemblages]] in their work, drawing from traditions of [[Islamic art]] and [[Geometric pattern|geometric patterns]].<ref name="Kadi-2019" /><ref name="Farhat-2012">{{Cite web |last=Farhat |first=Maymanah |date=June 22, 2012 |title=On "Liberation Art" and Revolutionary Aesthetics: An Interview with Samia Halaby |url=https://www.jadaliyya.com/Details/26316 |access-date=2023-12-04 |website=[[Jadaliyya]] جدلية |language=en}}</ref>
== Exhibitions ==
The New Visions collective began holding group exhibitions inspired by the potential of a free Palestine, and the role that art could play in civic resistance, in 1989. In total, they had three exhibitions in the Occupied Palestinian Territories.

* 1989, ''New Visions,'' Jerusalem; which also travelled to Germany, Italy and the United States<ref name="Thawabeh-2019" />
* 1991, ''New Visions'', [[Jordan National Gallery of Fine Arts]], [[Amman|Amman, Jordan]]{{Citation needed|date=December 2024}}
* 2016, ''Rendezvous'', [[Zawyeh Gallery]], Ramallah, OPT{{Citation needed|date=December 2024}}
* 2018, ''There is a light that never goes out'', at the [[Khalil Sakakini Cultural Center]] and [[Bab idDeir Art Gallery]], [[Ramallah]], OPT<ref>{{Cite web |date=April 2018 |title=Darat al Funun in Palestine |url=https://universes.art/en/nafas/articles/2018/darat-al-funun-in-palestine |access-date=December 14, 2023 |website=Universes in Universe - Worlds of Art}}</ref>
* 2019, ''Challenges Of Identity'', [[Dalloul Art Foundation]] (DAF), [[Beirut|Beirut, Lebanon]]<ref name="Thawabeh-2019" />
* 2024, ''Gaza: Recalling the Collage of a Place'', a virtual exhibition of the early works of Gazan artist Tayseer Barakat, at Zawyeh Gallery, Ramallah, OPT<ref>{{Cite web |date=July 2024 |title=Gaza: Recalling The Collage Of A Place' By Tayseer Barakat |url=https://selectionsarts.com/events/gaza-recalling-the-collage-of-a-place-by-tayseer-barakat/ |access-date= |website=Selections Arts Magazine |language=en-US}}</ref>
== Al-Wasiti Art Centre ==
In 1994, the New Visions movement founded the [[Al-Wasiti Art Centre]] in a renovated traditional Arab-style house in [[Sheikh Jarrah|Sheikh Jarrah, East Jerusalem]]. The art centre had both a permanent collection, a library as well as temporary exhibitions.<ref name="Thawabeh-2019" /><ref name="Halasa-2022" /><ref>{{Cite web |title=Tayseer Barakat |url=https://www.britishmuseum.org/collection/term/BIOG195189 |access-date=December 14, 2023 |website=[[The British Museum]]}}</ref><ref>{{Cite web |title=Al Wasiti Art Centre |url=https://cityseeker.com/jerusalem/225251-al-wasiti-art-centre |access-date=December 14, 2023 |website=Cityseeker}}</ref> The inauguaral exhibition was, ''From Exile to Jerusalem,'' and it included the works of [[Jabra Ibrahim Jabra]], [[Laila Shawa]], [[Kamal Boullata]] and [[Vladimir Samarin|Vladimir Tamari]]''.''<ref name="Thawabeh-2019" /> In 2002, the art centre closed down; in 2005, its archive was donated to [[Al Hoash Gallery]].{{Citation needed|date=December 2024}}

== Themes and symbolism ==
New Visions artists focused on iconic representations of [[Culture of Palestine|Palestinian culture]] and [[pastoral]] life. [[Yazid Anani]] asserts that these included representations of the Palestinian "village, Jerusalem, refugees, the Israeli militaristic machine, prisoners, olive trees, women in embroidered traditional dresses".<ref name="Anani-2014" />

Artist and scholar [[Samia Halaby]] identified that when certain themes were depicted, they symbolised broader meanings to the Palestinian viewer, for example: horses signifying revolution, flutes signifying ongoing resistance, weddings symbolising the cause of the Palestinian people, keys referring to the [[right of return]] of the Palestinians to their homes, the sun implying freedom and a gun and dove pairing implying peace after the struggle for liberation.{{Citation needed|date=December 2024}}

Other common symbols include colors from the [[Palestinian flag]], village scenes, [[Tatreez]] (embroidery) motifs, chains and prison bars. Works commemorating [[Martyr|martyrs]] would sometimes depict specific deceased individuals or would collage images related to their lives, and were often hung at their grave or home.<ref name="Farhat-2012" />

== References ==
{{Reflist}}

{{Authority control}}



{{Drafts moved from mainspace|date=December 2023}}

Latest revision as of 08:33, 13 December 2024


  • Comment: Many of the inappropriate citations are from Zawyeh Gallery, in Ramallah and Al Hoash Gallery. Possible COI history. PigeonChickenFish (talk) 01:40, 13 December 2024 (UTC)
  • Comment: This draft was inappropriately tagged with templates for issues with "primary sources" in December 2023, and "unreliable sources" in September 2024; these template tags are for articles and not drafts. Part of the clean up that is needed is the replacement of commercial gallery citations with more reliable sources, see WP:RS. PigeonChickenFish (talk) 00:35, 13 December 2024 (UTC)
  • Comment: None of the sources discuss the art movement in any depth, they're brief mentions from sources which usually focus on Mansour. It might make more sense to add this there. BuySomeApples (talk) 18:02, 10 December 2023 (UTC)

________

New Visions
نحو التجريب والإبداء
Years active1987–present
LocationPalestine
Major figuresSliman Mansour,
Vera Tamari,
Tayseer Barakat,
Nabil Anani
InfluencedBoycott, Divestment and Sanctions

New Visions (Arabic: نحو التجريب والإبداء, romanized: Nahwa al-Tajrib wa al-Ibda') was a Palestinian art movement that was founded in 1987 by the four artists Sliman Mansour, Vera Tamari, Tayseer Barakat, and Nabil Anani.[1]

History

[edit]

The movement was part of cultural resistance to the Israeli occupation of Palestine at the time of the First Intifada.[1] The four New Visions artists (Mansour, Tamari, Barakat and Anani) chose to boycott art supplies imported from Israel in favor of local natural materials, and began use traditional methods of craftsmanship to produce works of fine art such as paintings, posters, mixed media assemblage, and earthworks.[2][3] It has been interpreted in terms of tying the process of the production of art to land and struggle. It is lauded with bringing the political in symbolic form of the land (e.g. as mud, hay, leather) into the artwork.[1][4] It has been described as an "artists' precursor to Boycott, Divestment and Sanctions (BDS)," highlighting the continued centrality of nonviolent resistance to the Palestinian cause over time.[2] The art created within New Visions moved away from the symbolic to more abstract art. Its audience was broad and included targeting an international audience as well as the Palestinian public.[5] Although not widely known, New Visions became a model for political art in Palestine, and has had a lasting impact on contemporary art practice.[1]

Influence

[edit]

The New Visions had an important influence on Palestinian art.[4] Dar El-Nimer for Arts and Culture and the Institute for Palestine Studies called the New Visions artists "four of the founding members of the modern art movement in Palestine".[3] The movement is considered to have ushered Palestinian fine art towards a more contemporary art practice.[5][4] In 2018 the A. M. Qattan Foundation (AMQF) honoured the New Visions art collective in a ceremony in Ramallah.[6] During the ceremony artist Khaled Hourani spoke about the impact and accomplishments of New Visions, which AMQF describes as having "set the foundations for contemporary practices of Palestinian visual arts".[6]

For Mansour, the New Visions movement was a turning point in his art production. He said of the shift:

"The intifada mainly liberated us. Our art became more expressive of ourselves and more abstract. We were no longer limited to the traditional way of doing art to please a specific public. For example, I began working with clay and this made me engage in sculpture.”[5]

Materials

[edit]

The First Intifada led the artists to question their use of art materials imported from Israel. Mansour recounts: "People were planting vegetables in their gardens so as not to buy anything from Israel. We thought, 'Why don’t we do the same as artists? Why should we buy paint from Israeli shops and then use it to paint against them?'."[7] The artists instead started using materials found in nature such as clay, chalk, animal glue, straw, mud, leather and plant-based dyes such as coffee, henna, tea and spices.[5]

Both Mansour and Tamari worked with clay with added hay for consistency.[5] Barakat, a painter, used wood and fire as his primary art materials. Anani, also a painter, worked with leather from Al-Khalil dyed with tea, coffee, henna and spices.[citation needed]

All four artists utilized assemblages in their work, drawing from traditions of Islamic art and geometric patterns.[5][8]

Exhibitions

[edit]

The New Visions collective began holding group exhibitions inspired by the potential of a free Palestine, and the role that art could play in civic resistance, in 1989. In total, they had three exhibitions in the Occupied Palestinian Territories.

Al-Wasiti Art Centre

[edit]

In 1994, the New Visions movement founded the Al-Wasiti Art Centre in a renovated traditional Arab-style house in Sheikh Jarrah, East Jerusalem. The art centre had both a permanent collection, a library as well as temporary exhibitions.[3][2][11][12] The inauguaral exhibition was, From Exile to Jerusalem, and it included the works of Jabra Ibrahim Jabra, Laila Shawa, Kamal Boullata and Vladimir Tamari.[3] In 2002, the art centre closed down; in 2005, its archive was donated to Al Hoash Gallery.[citation needed]

Themes and symbolism

[edit]

New Visions artists focused on iconic representations of Palestinian culture and pastoral life. Yazid Anani asserts that these included representations of the Palestinian "village, Jerusalem, refugees, the Israeli militaristic machine, prisoners, olive trees, women in embroidered traditional dresses".[1]

Artist and scholar Samia Halaby identified that when certain themes were depicted, they symbolised broader meanings to the Palestinian viewer, for example: horses signifying revolution, flutes signifying ongoing resistance, weddings symbolising the cause of the Palestinian people, keys referring to the right of return of the Palestinians to their homes, the sun implying freedom and a gun and dove pairing implying peace after the struggle for liberation.[citation needed]

Other common symbols include colors from the Palestinian flag, village scenes, Tatreez (embroidery) motifs, chains and prison bars. Works commemorating martyrs would sometimes depict specific deceased individuals or would collage images related to their lives, and were often hung at their grave or home.[8]

References

[edit]
  1. ^ a b c d e Anani, Yazid; Toukan, Hanan (2014). "On Delusion, Art, and Urban Desires in Palestine Today: An Interview with Yazid Anani". The Arab Studies Journal. 22 (1): 208–229. ISSN 1083-4753. JSTOR 24877904.
  2. ^ a b c Halasa, Malu (2022-12-26). "The Creative Resistance in Palestinian Art". The Markaz Review. Retrieved 2023-12-11.
  3. ^ a b c d e f Thawabeh, Omar (April 30, 2019). "Challenges of Identity: A Talk and Art Exhibition by Four of the Founding Members of the Modern Art Movement in Palestine" (PDF). Dalloul Art Foundation (DAF Beirut).
  4. ^ a b c Rogers, Sarah. "Sliman Mansour". Mathaf Encyclopedia of Modern Art and the Arab World. Retrieved 2023-02-12.
  5. ^ a b c d e f Kadi, Samar (12 May 2019). "How Palestinian art evolved under siege". The Arab Weekly.
  6. ^ a b Foundation, Qattan (August 9, 2018). "A. M. Qattan Foundation honours the New Visions collective". A. M. Qattan Foundation.
  7. ^ Chaves, Alexandra (May 30, 2021). "How the watermelon became a symbol of Palestinian resistance". The National.
  8. ^ a b Farhat, Maymanah (June 22, 2012). "On "Liberation Art" and Revolutionary Aesthetics: An Interview with Samia Halaby". Jadaliyya جدلية. Retrieved 2023-12-04.
  9. ^ "Darat al Funun in Palestine". Universes in Universe - Worlds of Art. April 2018. Retrieved December 14, 2023.
  10. ^ "Gaza: Recalling The Collage Of A Place' By Tayseer Barakat". Selections Arts Magazine. July 2024.
  11. ^ "Tayseer Barakat". The British Museum. Retrieved December 14, 2023.
  12. ^ "Al Wasiti Art Centre". Cityseeker. Retrieved December 14, 2023.



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