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'''New Visions''' ({{lang-ar|نحو التجريب والإبداء}}) was a [[Palestinians|Palestinian]] [[art movement]] that was founded by the four artists [[Sliman Mansour]], [[Vera Tamari]], [[Tayseer Barakat]], and [[Nabil Anani]] in 1987.
'''New Visions''' ({{lang-ar|نحو التجريب والإبداء}}) was a [[Palestinians|Palestinian]] [[art movement]] that was founded by the four artists [[Sliman Mansour]], [[Vera Tamari]], [[Tayseer Barakat]], and [[Nabil Anani]] in 1987.


The movement was part of broader cultural resistance to the [[Israeli occupation]] of Palestine at the time of the [[First Intifada]], and it advocated for the [[boycotting]] of art supplies available in the Israeli market, in favour of local natural materials and traditional craftsmanship to produce works of fine art.<ref name=":0">{{Cite news |date=2020-03-23 |title=PALESTINIAN ART: RESILIENCE AND INSPIRATION |page=28 |publisher=ZAWYEH GALLERY |type=Exhibition Catalogue |url=https://zawyeh.net/wp-content/uploads/2020/02/PDF-ALSERKAL-AV..pdf |access-date=2023-12-02}}</ref><ref name=":5" /> It has been interpreted in terms of tying the process of the production of art to land and struggle. <ref name=":1">{{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|Boycott, Divestment and Sanctions (BDS)]], highlighting the continued centrality of nonviolent resistance to the Palestinian cause over time.<ref name=":5">{{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=":2">{{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>
The movement was part of broader cultural resistance to the [[Israeli occupation]] of Palestine at the time of the [[First Intifada]], and it advocated for the [[boycotting]] of art supplies imported from Israel in favour of local natural materials, and the New Vision artists (Mansour, Tamari, Barakat and Anani), chose to use traditional craftsmanship to produce works of fine art.<ref name=":0">{{Cite news |date=2020-03-23 |title=PALESTINIAN ART: RESILIENCE AND INSPIRATION |page=28 |publisher=ZAWYEH GALLERY |type=Exhibition Catalogue |url=https://zawyeh.net/wp-content/uploads/2020/02/PDF-ALSERKAL-AV..pdf |access-date=2023-12-02}}</ref><ref name=":5" /> It has been interpreted in terms of tying the process of the production of art to land and struggle. <ref name=":1">{{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|Boycott, Divestment and Sanctions (BDS)]]," highlighting the continued centrality of nonviolent resistance to the Palestinian cause over time.<ref name=":5">{{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=":2">{{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>


== Materials ==
== Materials ==
The First Intifada led the artists to question their use of Israeli art materials. 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}}</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=":2" /><ref name=":0" /><ref name=":3">{{Cite web |title=Sliman Manour's website |url=https://slimanmansour.com/about-the-artist-sliman-mansour/ |access-date=2023-12-02}}</ref><ref name=":9" />
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}}</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=":2" /><ref name=":0" /><ref name=":3">{{Cite web |title=Sliman Manour's website |url=https://slimanmansour.com/about-the-artist-sliman-mansour/ |access-date=2023-12-02}}</ref><ref name=":9" />


Both Mansour and Tamari worked with clay with added hay for consistency.<ref name=":2" /> Mansour considered mud "the basis for human life in many cultures and religions as well as an actual piece of Palestinian land." He also noted the symbolic resonances, seeing mud as "captur[ing] the essence of Palestinian rootedness as well as the fragmentation in the Palestinian political landscape and geography—echoed in the cracks growing in the mud as it dries."<ref name=":3" /> Tamari wrote of her relation with the land in working with clay: "The magical landscape as I ride daily from Ramallah to Birzeit casts a spell on me, repeated patterns of rolling hills softly blend one into another until they smoothly vanish in the horizon uniting within the infinite space of the Mediterranean. Earth and water unite. The magic is also in the broken surface of the rocks, in the dried bushes clinging to terraced ridges, in twisted olive-tree trunks telling textured stories of history and time. The magic is everywhere on my daily trip from Ramallah to Bierzeit giving boundless energy of inspiration. But paralleling this landscape is another one, ruptured and brutal, disfiguring the tranquillity of my vision. My clay images at this stage often reflect the duality of this ruffled reality."<ref name=":9" />
Both Mansour and Tamari worked with clay with added hay for consistency.<ref name=":2" /> Mansour considered mud as "captur[ing] the essence of Palestinian rootedness as well as the fragmentation in the Palestinian political landscape and geography—echoed in the cracks growing in the mud as it dries."<ref name=":3" /> Tamari wrote of her relation with the land in working with clay: "The magical landscape as I ride daily from Ramallah to Birzeit casts a spell on me, repeated patterns of rolling hills softly blend one into another until they smoothly vanish in the horizon uniting within the infinite space of the Mediterranean. Earth and water unite. The magic is also in the broken surface of the rocks, in the dried bushes clinging to terraced ridges, in twisted olive-tree trunks telling textured stories of history and time. The magic is everywhere on my daily trip from Ramallah to Bierzeit giving boundless energy of inspiration. But paralleling this landscape is another one, ruptured and brutal, disfiguring the tranquillity of my vision. My clay images at this stage often reflect the duality of this ruffled reality."<ref name=":9" />


Barakat, a painter, used wood and fire as his primary art materials. Barakat looked at the relationship between the cosmic, earthly and metaphysical and asks: "Can we always retain the spirit of things? Can we abridge time and find the missing chains in the development of the local [[plastic arts]], much of which has gone with the burning down of the [[House of Wisdom|library of Baghdad]] in the 13th century?"<ref name=":9" />
Barakat, a painter, used wood and fire as his primary art materials. Barakat looked at the relationship between the cosmic, earthly and metaphysical and asks: "Can we always retain the spirit of things? Can we abridge time and find the missing chains in the development of the local [[plastic arts]], much of which has gone with the burning down of the [[House of Wisdom|library of Baghdad]] in the 13th century?"<ref name=":9" />

Revision as of 22:27, 15 January 2024

  • 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 (Template:Lang-ar) was a Palestinian art movement that was founded by the four artists Sliman Mansour, Vera Tamari, Tayseer Barakat, and Nabil Anani in 1987.

The movement was part of broader cultural resistance to the Israeli occupation of Palestine at the time of the First Intifada, and it advocated for the boycotting of art supplies imported from Israel in favour of local natural materials, and the New Vision artists (Mansour, Tamari, Barakat and Anani), chose to use traditional craftsmanship to produce works of fine art.[1][2] It has been interpreted in terms of tying the process of the production of art to land and struggle. [3] 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.[4]

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?'."[5] 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.[4][1][6][7]

Both Mansour and Tamari worked with clay with added hay for consistency.[4] Mansour considered mud as "captur[ing] the essence of Palestinian rootedness as well as the fragmentation in the Palestinian political landscape and geography—echoed in the cracks growing in the mud as it dries."[6] Tamari wrote of her relation with the land in working with clay: "The magical landscape as I ride daily from Ramallah to Birzeit casts a spell on me, repeated patterns of rolling hills softly blend one into another until they smoothly vanish in the horizon uniting within the infinite space of the Mediterranean. Earth and water unite. The magic is also in the broken surface of the rocks, in the dried bushes clinging to terraced ridges, in twisted olive-tree trunks telling textured stories of history and time. The magic is everywhere on my daily trip from Ramallah to Bierzeit giving boundless energy of inspiration. But paralleling this landscape is another one, ruptured and brutal, disfiguring the tranquillity of my vision. My clay images at this stage often reflect the duality of this ruffled reality."[7]

Barakat, a painter, used wood and fire as his primary art materials. Barakat looked at the relationship between the cosmic, earthly and metaphysical and asks: "Can we always retain the spirit of things? Can we abridge time and find the missing chains in the development of the local plastic arts, much of which has gone with the burning down of the library of Baghdad in the 13th century?"[7]

Anani, also a painter, worked with leather from Al-Khalil dyed with tea, coffee, henna and spices. Anani described the process of material experimentation: "After a great deal of searching I chose leather as my new medium. It was an inspiration from the ancient Middle Eastern traditions. Stretching the leather on softly curved wood backgrounds, created an attractive surface to paint on. I use simple figures and decorative designs which I adapted from traditional motifs in embroidery, straw-work, pottery and rugs. For color, I use the warm red/brown gradations of the henna dye."[7]

All four artists utilized assemblages in their work, drawing from traditions of Islamic art and geometric patterns.[4][8]

Symbols

New Visions artists used symbols common in Palestinian culture and pastoral life. Artist and scholar Samia Halaby identified the following:

  • Horse = Revolution
  • Flute = Ongoing resistance
  • Wedding = the cause of the Palestinian people
  • Key = Right of return
  • Sun = Freedom
  • Gun with a dove = Peace after the struggle for liberation

Other common symbols include colors from the Palestinian flag, village scenes, Tatreez 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]

Influence

Dar El-Nimer for Arts and Culture and the Institute for Palestine Studies in Beirut call the New Visions artists "four of the founding members of the modern art movement in Palestine".[9] New Visions had an important influence on Palestinian art[3]. The movement was of influence to the larger movement of Palestinian art towards a more contemporary art practice.[4][3] 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. I believe that was the link between traditional and modern art that the younger generation is producing now.”[4]

In 2018 the A. M. Qattan Foundation (AMQF) honoured the New Visions art collective in a ceremony in Ramallah.[10][11] 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".[11]

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, East-Jerusalem. The art centre had both a permanent collection, a library as well as temporary exhibitions.[9][2][12][13] In 2002 the art centre lost its venue and closed. In 2005 its archive was donated to Al Hoash Gallery.[14]

Exhibitions

  • New Visions had three exhibitions in the occupied territories[7]
  • New Visions, 1989, Jerusalem[9][7]
  • New Visions, 1991, Jordan National Gallery of Fine Arts, Amman[15]
  • New Visions also travelled to Germany, Italy and the United States[9][7]
  • Rendezvous, 23 April - 7 May 2016, Zawyeh Gallery, Ramallah, Palestine[15]
  • There is a light that never goes out, 10 - 28 April 2018 at the Khalil Sakakini Cultural Center and Bab idDeir Art Gallery, Ramallah[16]
  • Challenges Of Identity, 30 April - 11 May, 2019, Dalloul Art Foundation (DAF), Beirut[9]

References

  1. ^ a b "PALESTINIAN ART: RESILIENCE AND INSPIRATION" (PDF) (Exhibition Catalogue). ZAWYEH GALLERY. 2020-03-23. p. 28. Retrieved 2023-12-02.
  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 Rogers, Sarah. "Sliman Mansour". Mathaf Encyclopedia of Modern Art and the Arab World. Retrieved 2023-02-12.
  4. ^ a b c d e f Kadi, Samar (12 May 2019). "How Palestinian art evolved under siege". The Arab Weekly.
  5. ^ Chaves, Alexandra (May 30, 2021). "How the watermelon became a symbol of Palestinian resistance". The National.
  6. ^ a b "Sliman Manour's website". Retrieved 2023-12-02.
  7. ^ a b c d e f g "NEW VISIONS" (PDF). Al Hoash Gallery. Retrieved December 14, 2023.
  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. ^ a b c d e Thawabeh, Omar (April 30, 2019). "CHALLENGES OF IDENTITY" (PDF). DAF Beirut.
  10. ^ "NABIL ANANI". Kristin Hjellegjerde Gallery.
  11. ^ a b Foundation, Qattan (August 9, 2018). "A. M. Qattan Foundation honours the New Visions collective". A. M. Qattan Foundation.
  12. ^ "Tayseer Barakat". The British Museum. Retrieved December 14, 2023.
  13. ^ "Al Wasiti Art Centre". Cityseeker. Retrieved December 14, 2023.
  14. ^ "Al-Wasiti Archive". Al Hoash Gallery (in Arabic). Retrieved December 14, 2023.
  15. ^ a b Sherwell, Tina. "Rendezvous" (PDF). Zawyeh Gallery. Retrieved December 14, 2023.
  16. ^ "Darat al Funun in Palestine". Universes in Universe - Worlds of Art. Retrieved December 14, 2023.
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