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In 1978 Ishaq and two of her students, Muhammad Hamid Shaddad and Nayla El Tayib, started the conceptual art movement called Crystalist Group that broke away from traditional practices in the Sudanese art scene.<ref name=":2">[[Werner Daum]] and [[Rashid Diab]] (2009). [https://books.google.com/books?id=a4q3AwAAQBAJ&pg=PA453&dq=Kenana+Handbook+Of+Sudan+werner+daum&hl=de&sa=X&ved=2ahUKEwiv6deu_MjuAhVp8OAKHWh1BOoQ6AEwAHoECAMQAg#v=onepage&q=Kenana%20Handbook%20Of%20Sudan%20werner%20daum&f=false Modern Art in Sudan] In Hopkins, Peter G. (ed.) ''Kenana Handbook of Sudan''. New York: Routledge, pp. 463-464. {{ISBN|0-7103-1160-5|}}</ref><ref>{{Cite web |date=2017-10-29 |title=Crystalist Group {{!}} Tate |url=http://www.tate.org.uk:80/learn/online-resources/glossary/c/crystalist-group |archive-url=https://web.archive.org/web/20171029222606/http://www.tate.org.uk:80/learn/online-resources/glossary/c/crystalist-group |archive-date=2015-03-11 |access-date=2022-02-15 |website=www.tate.org.uk}}</ref> Their intention was to distinguish themselves from the Khartoum School of painting and their traditional male-centred outlook. This new approach in Sudanese painting was marked by a public declaration in the form of the so-called Crystalist Manifesto. First published in Arabic as ''Al-Bayan al-Kristali'', the document presented an artistic vision that attempted to work beyond the Sudanese-Islamic framework of the Khartoum School. Moreover, the Crystalists sought to internationalize their art by embracing an existentialist avant-garde, more akin to European aesthetics.<ref name=":1">{{Cite web|last=Crenn|first=Julie|title=Kamala Ibrahim Ishaq|url=https://awarewomenartists.com/en/artiste/kamala-ibrahim-ishaq/|access-date=21 March 2019|website=Aware Women artists / Femmes artistes}}</ref>{{Blockquote|text=The Cosmos is a project of a transparent crystal with no veil and eternal depth. The truth is that the Crystalists’ perception of time and space is different from that of others. The goal of the Crystalists is to bring back to life the language of the crystal and to transform language into something more transparent, in which no word can veil another – no selectivity in language. […] We are living a new life, and this life needs a new language and new poetry.|author=The Crystalist Group, Khartoum, 1971}}
In 1978 Ishaq and two of her students, Muhammad Hamid Shaddad and Nayla El Tayib, started the conceptual art movement called Crystalist Group that broke away from traditional practices in the Sudanese art scene.<ref name=":2">[[Werner Daum]] and [[Rashid Diab]] (2009). [https://books.google.com/books?id=a4q3AwAAQBAJ&pg=PA453&dq=Kenana+Handbook+Of+Sudan+werner+daum&hl=de&sa=X&ved=2ahUKEwiv6deu_MjuAhVp8OAKHWh1BOoQ6AEwAHoECAMQAg#v=onepage&q=Kenana%20Handbook%20Of%20Sudan%20werner%20daum&f=false Modern Art in Sudan] In Hopkins, Peter G. (ed.) ''Kenana Handbook of Sudan''. New York: Routledge, pp. 463-464. {{ISBN|0-7103-1160-5|}}</ref><ref>{{Cite web |date=2017-10-29 |title=Crystalist Group {{!}} Tate |url=http://www.tate.org.uk:80/learn/online-resources/glossary/c/crystalist-group |archive-url=https://web.archive.org/web/20171029222606/http://www.tate.org.uk:80/learn/online-resources/glossary/c/crystalist-group |archive-date=2015-03-11 |access-date=2022-02-15 |website=www.tate.org.uk}}</ref> Their intention was to distinguish themselves from the Khartoum School of painting and their traditional male-centred outlook. This new approach in Sudanese painting was marked by a public declaration in the form of the so-called Crystalist Manifesto. First published in Arabic as ''Al-Bayan al-Kristali'', the document presented an artistic vision that attempted to work beyond the Sudanese-Islamic framework of the Khartoum School. Moreover, the Crystalists sought to internationalize their art by embracing an existentialist avant-garde, more akin to European aesthetics.<ref name=":1">{{Cite web|last=Crenn|first=Julie|title=Kamala Ibrahim Ishaq|url=https://awarewomenartists.com/en/artiste/kamala-ibrahim-ishaq/|access-date=21 March 2019|website=Aware Women artists / Femmes artistes}}</ref>{{Blockquote|text=The Cosmos is a project of a transparent crystal with no veil and eternal depth. The truth is that the Crystalists’ perception of time and space is different from that of others. The goal of the Crystalists is to bring back to life the language of the crystal and to transform language into something more transparent, in which no word can veil another – no selectivity in language. […] We are living a new life, and this life needs a new language and new poetry.|author=The Crystalist Group, Khartoum, 1971}}


[[Aesthetics|Aesthetically]], the Crystalist manifesto understood the cosmos as a "project of a transparent crystal with no veils, but an eternal depth". Crystalist paintings often contain distorted human faces, trapped within clear cubes or spheres, and, as stated in their manifesto, "oppose[d] the trend which calls for skill and craftsmanship as a measure of good work." Inherent in the notions of the Crystalists was the feminist notion of unveiling — a significant facet amid the increasing Islamization of postcolonial Sudan.<ref name=":0">{{Cite web |title=Kamala Ishaaq |url=http://emergingsudan.com/kamala-ishaaq/ |url-status=dead |access-date=21 March 2019 |website=Sudan: Emergence of Singularities}}</ref> Further, they rejected the ''Hurufiya'' movement that used [[Arabic calligraphy]] in artworks, positing that letters do not lead to great works of art.<ref name=":2" />
[[Aesthetics|Aesthetically]], the Crystalist manifesto understood the cosmos as a "project of a transparent crystal with no veils, but an eternal depth". Crystalist paintings often contain distorted human faces, trapped within clear cubes or spheres, and, as stated in their manifesto, "oppose[d] the trend which calls for skill and craftsmanship as a measure of good work." Inherent in the notions of the Crystalists was the feminist notion of unveiling — a significant facet amid the increasing Islamization of postcolonial Sudan.<ref name=":0">{{Cite web |title=Kamala Ishaaq |url=http://emergingsudan.com/kamala-ishaaq/ |url-status=dead |access-date=21 March 2019 |website=Sudan: Emergence of Singularities}}</ref> Further, they rejected the ''Hurufiyya'' movement that used [[Arabic calligraphy]] in artworks, positing that letters do not lead to great works of art.<ref name=":2" />


== Collections ==
== Collections ==

Revision as of 17:58, 10 March 2023

Kamala Ibrahim Ishaq
كمالا إبراهيم اسحق
Born1939 (age 84–85)
Omdurman, Sudan
EducationCollege of Fine and Applied Art, Sudan University of Science and Technology,
Alma materRoyal College of Art, London
Known forPainter
StyleContemporary Art
MovementAfrican Modernism, Crystalist Movement

Kamala Ibrahim Ishaq (Template:Lang-ar, born 1939) is a Sudanese painter and art teacher, known as one of the founders of The Crystalist conceptual art group in Khartoum. This group rejected common conventions in Sudanese modern painting of the 1960s and strived to find "an aesthetic and critical language that would emphasise the notions of pleasure and knowledge in order to permanently abolish differences and boundaries".[1] Based on her artistic career spanning more than fifty years, Ishaq has been called one of the most important visual artists in Africa.

Biography

Ishaq was born in Omdurman and studied from 1959 to 1963 at the College of Fine and Applied Art of the Khartoum Technical Institute that later became the Sudan University of Science and Technology (SUST) in Khartoum. Further to this, she pursued her postgraduate studies in painting, illustration and lithography at the Royal College of Art in London between 1964 and 1969. After her stay in London, she returned to teach at her former college and also became dean of this art school.[2][3]

Artistic career

Influences and contributions

Ishaq's artistic and spiritual influences go back to the works of William Blake and the Zār spiritual rituals of Sudanese women.[4] These themes of existentialism and the culture of women served as central themes of Ishaq's work in the 1970s and 1980s. These influences distinguished Ishaq from her compatriots, who were inspired largely by notions of Sudan's post-colonial independence and Islamic themes. If Blake and Zar provided personal inspiration, it was as member of the Khartoum School of painting where Ishaq began to be known as an artist. The goal of that movement was a combination of African and Islamic cultural traditions with and Modernism. The Khartoum School's transcultural blending presented a new sense of Sudanese identity, expressed in abstract forms, earthy colors and Arabic calligraphy.[5] Along Ibrahim El-Salahi, Ishaq is considered to be one of Africa's most prominent painters, and her focus on women's lives has been called a challenge to the traditional male perspective in Sudanese art.[6]

The Crystalist Movement

In 1978 Ishaq and two of her students, Muhammad Hamid Shaddad and Nayla El Tayib, started the conceptual art movement called Crystalist Group that broke away from traditional practices in the Sudanese art scene.[5][7] Their intention was to distinguish themselves from the Khartoum School of painting and their traditional male-centred outlook. This new approach in Sudanese painting was marked by a public declaration in the form of the so-called Crystalist Manifesto. First published in Arabic as Al-Bayan al-Kristali, the document presented an artistic vision that attempted to work beyond the Sudanese-Islamic framework of the Khartoum School. Moreover, the Crystalists sought to internationalize their art by embracing an existentialist avant-garde, more akin to European aesthetics.[1]

The Cosmos is a project of a transparent crystal with no veil and eternal depth. The truth is that the Crystalists’ perception of time and space is different from that of others. The goal of the Crystalists is to bring back to life the language of the crystal and to transform language into something more transparent, in which no word can veil another – no selectivity in language. […] We are living a new life, and this life needs a new language and new poetry.

— The Crystalist Group, Khartoum, 1971

Aesthetically, the Crystalist manifesto understood the cosmos as a "project of a transparent crystal with no veils, but an eternal depth". Crystalist paintings often contain distorted human faces, trapped within clear cubes or spheres, and, as stated in their manifesto, "oppose[d] the trend which calls for skill and craftsmanship as a measure of good work." Inherent in the notions of the Crystalists was the feminist notion of unveiling — a significant facet amid the increasing Islamization of postcolonial Sudan.[8] Further, they rejected the Hurufiyya movement that used Arabic calligraphy in artworks, positing that letters do not lead to great works of art.[5]

Collections

Her works are present in private and public collections, such as the Sharjah Art Foundation and the Barjeel Art Foundation in Sharjah, UAE.[9][10]

Exhibitions

Along with other African artists, Ishaq's paintings have been shown at Saatchi Gallery in London in the exhibition titled Forests and Spirits: Figurative Art from the Khartoum School from September to November 2018, and one of her works from this exhibition was sold by auction house Sotheby's in London in 2020.[11] In October 2022, Serpentine South Gallery in London opened a retrospective exhibition covering works since her early years until the present.[12]

Major exhibitions include:

See also

References

  1. ^ a b Crenn, Julie. "Kamala Ibrahim Ishaq". Aware Women artists / Femmes artistes. Retrieved 21 March 2019.
  2. ^ "Sudan, Democratic Republic of the | IV. Painting, graphic arts and sculpture", The Grove Encyclopedia of Islamic Art and Architecture.
  3. ^ Tate. "Khartoum School". Tate. Retrieved 7 August 2022.
  4. ^ Bloom, Jonathan M.; Blair, Sheila S. (2009), "Sudan, Democratic Republic of the", The Grove Encyclopedia of Islamic Art and Architecture, Oxford University Press, doi:10.1093/acref/9780195309911.001.0001/acref-9780195309911-e-894?rskey=hdci1m&result=894, ISBN 978-0-19-530991-1, retrieved 7 August 2022
  5. ^ a b c Werner Daum and Rashid Diab (2009). Modern Art in Sudan In Hopkins, Peter G. (ed.) Kenana Handbook of Sudan. New York: Routledge, pp. 463-464. ISBN 0-7103-1160-5
  6. ^ "projects - Sharjah Art Foundation". sharjahart.org. Retrieved 2 December 2022.
  7. ^ "Crystalist Group | Tate". www.tate.org.uk. 29 October 2017. Archived from the original on 11 March 2015. Retrieved 15 February 2022. {{cite web}}: |archive-date= / |archive-url= timestamp mismatch; 29 October 2017 suggested (help)
  8. ^ "Kamala Ishaaq". Sudan: Emergence of Singularities. Retrieved 21 March 2019.{{cite web}}: CS1 maint: url-status (link)
  9. ^ Sharjah Art Foundation. "Kamala Ibrahim Ishaq". sharjahart.org. Retrieved 8 December 2018.
  10. ^ "Kamala Ibrahim Ishaq". Barjeel Art Foundation. Retrieved 2 December 2022.
  11. ^ "Kamala Ibrahim Ishaq | The Seat - Zar ceremony". www.sothebys.com/. 2020. Retrieved 15 February 2022.{{cite web}}: CS1 maint: url-status (link)
  12. ^ "Kamala Ibrahim Ishag: States of Oneness". Contemporary And. Retrieved 28 October 2022.

Further reading

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