Category Archives: Contemporary Art

God is my co-sniper

Afghanistan, Apocalypse Watch, Bible and Holy Land, Contemporary Art, Islam and Christianity, Terrorism Issue

Not since Tammy Faye Baker embroidered Bible verses on her underwear has there been as eye-opening a scriptural scandal as the recent revelation that an American manufacturer routinely engraves Bible verses on U.S. military gun sights. As reported earlier this week, the Michigan-based corporation Trijicon has supplied the gun sights used by American marines to aim at and shoot the Taliban and their sympathizers in Afghanistan. The company may now be in quite a few critics’ sights given the new publicity. The Wikipedia entry already details the controversy. But the main company website has nothing to say. In the detailed descriptions of the gun sights on the website the biblical abbreviations are nowhere in sight. But it does say that “Trijicon self-luminous night sights are proven to give shooters five times greater night fire accuracy- with the same speed as instinctive shooting.” Five times, got it? Try MARK 6:38 (do look this up) and don’t forget the fishes. It may very well be that the procurement officers never noticed the addition of gospel acronyms after the serial numbers, but the company is not shy about its Christian views: “We believe that America is great when its people are good. This goodness has been based on biblical standards throughout our history and we will strive to follow those morals.”

The actual verses are not inscribed, only the chapter and verse in code. It appears that all of the verses are from the New Testament, so at least it cannot be claimed to be a Zionist plot (or perhaps it could be said to be a very clever Zionist plot…). I have no idea how many verses have appeared on the 800,000 units contracted for $660 million by the U.S. Marine Corps. I suspect that MATT 5:44 (do look it up) is not one of them. Perhaps the Sermon on the Mount is not part of what the company defines as “biblical standards.” Continue reading God is my co-sniper →

M F Hussain’s Aesthetic View on Islam

Contemporary Art, India, Pakistan


Hussain’s painting courtesy of Dr. Bruce Lawrence

One of the most famous, and at times infamous, painters in modern India is M.F. Hussain, who was born in 1915 and currently resides in London. He is perhaps best known for the controversy over his nude paintings, especially one that depicted “Mother India” and caused such a major backlash that he removed it from view. Less known, perhaps, are his paintings about Islam. Bruce Lawrence recently sent me several illustrations of paintings by Hussain on Islamic themes. Several of these were commissioned by Sheikha Mouza of Qatar for the Islamic museum in Doha. The picture above portrays the three monotheisms as “People of the Book.” As a painter it is clear that Mr. Hussain is less interested in promoting a particular religion than in celebrating the human spirit through his art.

Here is Bruce’s description of the painting above (this is an excerpt from a volume on Hussain, edited by Sumathi Ramaswamy and to be published by Routledge in October 2010): Continue reading M F Hussain’s Aesthetic View on Islam →

Cartoonist in Yemen

Aden, Contemporary Art, Egypt, Yemen

“Return to Aden:” Rediscovering Yemen, the land of a thousand tales

By Dr. T.I.Farag, The Ambassadors Online Magazine, January, 2001

This issue’s megastar and renowned political cartoonist, Ahmed Toughan, is preparing a gallery illustrating his journeys in Yemen, through his artistic drawings. During his ten visits to the country over a period of 40 years, Toughan has compiled a library of works about Yemen and developed a strong bond with the tribes, the communities, the buildings, the environment, and all that he came in contact with. Since that time, Toughan has produced galleries of water paintings, sketches and cartoons about Yemen that have been published in seven books and presented in several international exhibitions. In true and genuinely-arousing colors and strokes, Toughan’s pieces presented here capture a Yemen that transcends time and space, whose ambiance is penetrative and transporting. His art exudes a mystique that penetrates materiality while embodying all that moves his aesthetic essence. We hope that these images will move you the same way they moved me. Continue reading Cartoonist in Yemen →

Picturing the Quran

Contemporary Art, Islam in America, Qur'an


TERROR: “Sura 44 (A–B)” shows the towers of the World Trade Center on Sept. 11. (Sandow Birk / Catharine Clark Gallery / March 26)

Long Beach artist’s illustrations of a new take on Koran

Sandow Birk’s ‘American Qur’an,’ heading to San Francisco and Culver City galleries, breaks away from Islamic tradition to examine the faith through contemporary images.

By Sharon Mizota, The Los Angeles Times, August 23, 2009

There’s a long tradition of illustrating scenes from the Bible — even a version of Genesis by alternative comics master R. Crumb. But the Koran, which Muslims consider to be the holy word of God, has never incorporated images of people or animals, according to Linda Komaroff, curator of Islamic art at the Los Angeles County Museum of Art.

“It simply wasn’t the kind of thing that would come up,” she said, “In Islam, like Judaism, there’s one invisible god that’s everywhere, that can’t be seen and can’t even be comprehended.” As a result, there was no need to develop figurative imagery for religious purposes. The Koran, said Komaroff, is regularly decorated with geometric or vegetal patterns, but she has seen only one example that contains more representational imagery. It depicts the facade of a mosque.

Now, Long Beach artist Sandow Birk has challenged that centuries-old tradition. His series of works on paper, “American Qur’an,” is an English-language version of the central text of Islam, illustrated with scenes from contemporary American life. Selections from the project, which is ongoing and will eventually include over 300 pages, will be on view at Catharine Clark Gallery in San Francisco starting Sept. 5 and at Koplin Del Rio gallery in Culver City as of Sept. 8. Continue reading Picturing the Quran →

Satanic or Silly: Does Yale Press Censorship of Cartoons Insult Muslims?

Anthropology/Sociology, Contemporary Art, Danish Cartoon Controversy, Humor and Satire, Islam in Europe, Terrorism Issue


The Prophet Muhammad, 17th century Ottoman copy of an early 14th century (Ilkhanate period) manuscript of Northwestern Iran or northern Iraq (the “Edinburgh codex”). Illustration of AbÅ« Rayhān al-BÄ«rÅ«nÄ«’s al-Âthâr al-bâqiyah ( الآثار الباقيةة ; “The Remaining Signs of Past Centuries”). Source: Wikipedia article on Muhammad

Satanic or Silly: Does Yale Press Censorship of Cartoons Insult Muslims?
By Daniel Martin Varisco, Religion Dispatches, September 8, 2009

Two decades ago, the publication of Salman Rushdie’s The Satanic Verses caused a tsunami of protest in the Muslim world. The author was forced into hiding for nearly a decade after Ayatollah Khomeini called on Muslims to kill him and his publishers. Rushdie was accused of blasphemy, both for slandering the prophet Muhammad by subverting his character to Mahound (a medieval English term synonymous with the devil) and for reducing the holy city of Mecca to Jahiliya (a term used by Muslims to refer to the pagan past of Arabia). It was only a novel, but the fact that it was written by an Indian-born Muslim and published in the West was enough to frustrate even moderate Muslims.

Academic books rarely cause riots in the streets, but a forthcoming study on the recent Danish cartoon controversy may come close. Continue reading Satanic or Silly: Does Yale Press Censorship of Cartoons Insult Muslims? →

Iranians in The Mist

Contemporary Art, Film and Video, Iran, Journalism and Media, Literature

Demystifying Iran

by Noor Iqbal, Foreign Policy in Focus, July 29, 2009

Post-election turmoil in Iran has brought the country closer to the top of America’s foreign policy concerns. More importantly, though, it has piqued the interests of the American public. Green is the new black, Moussavi and Khamenei have become household names, and tweeting about Iranian politics has never been more popular.

But what is Iran like beyond its politics and the Western media hype? Iranian-born filmmaker Maryam Habibian tackles this question in her most recent documentary, The Mist. The film delves into the lives of young artists, poets, playwrights, and intellectuals in Iran whose creative energy flourishes alongside fundamentalist traditions. It explores the balance they reach between artistic expression and the limitations of a conservative political regime. Habibian shows her viewers another side to Iran, one that has been largely overlooked by conventional media. She is committed to showing her audience that a society cannot be defined solely by its political system and that when it comes to Iran, we are not facing a clash of civilizations.

Her film was recently screened in New York City as part of the NewFilmmakers Summer Festival.

NOOR IQBAL: What motivated you to make this film? Continue reading Iranians in The Mist →

Poster Martyrs

Arab-Israeli Conflict, Books You Should Read, Contemporary Art, Lebanon, Shi'a


A poster commemorating the second anniversary of the assassination of Sheikh Ragheb Harb, by Merhi Merhi, 1986 (Hizballah Media Office)

by Hicham Safieddine, The Electronic Intifada, July 6

Author Christopher Hitchens might have saved himself a beating had he read Zeina Maasri’s book Off the Wall: Political Posters of the Lebanese Civil War. Hitchens, a self-proclaimed expert on all matters theological and Middle Eastern, was attacked in the streets of Beirut last February after defacing a political poster. The power of posters apparently touched Hitchens himself, who felt compelled to express his vindictiveness by attacking an image. But in a war-ravaged place like Lebanon, images can be a lot more than mere symbols. As Fawwaz Traboulsi explains in Off the Wall’s forward, they can serve as weapons, and Hitchens’ attackers must have understood that quite well.

The power of posters, as not merely symbolic weapons but also sites of hegemonic struggle during Lebanon’s civil war, is a central theme of Maasri’s book. A mix of text and image, the book is a rich and visually engaging work that tackles a dimension of war long-neglected by Lebanese historians. A sample of 150 posters (out of 700 the author has examined) in full color and printed on laminated paper occupies the center of the book and it is hard to begin reading before going through them: portraits of “heroic” leaders of all factions, clenched fists facing enemy guns, silhouettes of martyrs and landscapes of religious and nationalist symbols overlooked by dominant war figures, many marked with slogans that range from the racist to the revolutionary. But the book is a lot more than a slideshow of images summing up defining moments of the war or a straightforward critical review of the posters. Maasri delves into questions of theory, representation and meaning that shaped and defined the art of poster-making and the politics of their interpretation during times of conflict.

For the rest of this article, click here.