The Museum as an Egalitarian Space?
This article discusses the role of the Sursock Museum as a platform for the emancipation of women, and to what extent the Museum’s Salon d’Automne constituted an egalitarian space. Etel Adnan took part in two Salons, in 1964 and 1974. This paper will provide some context for the Beirut art scene in...
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| Format: | Article |
| Language: | deu |
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Bern Open Publishing
2019-10-01
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| Series: | Manazir Journal |
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| Online Access: | https://bop.unibe.ch/manazir/article/view/6710 |
| _version_ | 1798027421969022976 |
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| author | Nadia von Maltzahn |
| author_facet | Nadia von Maltzahn |
| author_sort | Nadia von Maltzahn |
| collection | DOAJ |
| description | This article discusses the role of the Sursock Museum as a platform for the emancipation of women, and to what extent the Museum’s Salon d’Automne constituted an egalitarian space. Etel Adnan took part in two Salons, in 1964 and 1974. This paper will provide some context for the Beirut art scene in which she worked. The general institutional framework for women artists is highlighted before discussing the situation of women artists in Beirut’s Sursock Museum exhibitions of the 1960s and 1970s, the years Etel Adnan participated in the Salon. Brief portraits of four women artists show us that women artists were neither considered alike nor singled out for their gender. They treated very diverse subjects and styles, came from different social backgrounds and generations, and were often pioneers in their fields. |
| first_indexed | 2024-04-11T18:51:11Z |
| format | Article |
| id | doaj.art-dcc1d4a2f573477ea19ee8670d30ec99 |
| institution | Directory Open Access Journal |
| issn | 2673-4354 |
| language | deu |
| last_indexed | 2024-04-11T18:51:11Z |
| publishDate | 2019-10-01 |
| publisher | Bern Open Publishing |
| record_format | Article |
| series | Manazir Journal |
| spelling | doaj.art-dcc1d4a2f573477ea19ee8670d30ec992022-12-22T04:08:24ZdeuBern Open PublishingManazir Journal2673-43542019-10-01110.36950/manazir.2019.1.1.5The Museum as an Egalitarian Space?Nadia von Maltzahn0Orient-Institut Beirut (OIB)This article discusses the role of the Sursock Museum as a platform for the emancipation of women, and to what extent the Museum’s Salon d’Automne constituted an egalitarian space. Etel Adnan took part in two Salons, in 1964 and 1974. This paper will provide some context for the Beirut art scene in which she worked. The general institutional framework for women artists is highlighted before discussing the situation of women artists in Beirut’s Sursock Museum exhibitions of the 1960s and 1970s, the years Etel Adnan participated in the Salon. Brief portraits of four women artists show us that women artists were neither considered alike nor singled out for their gender. They treated very diverse subjects and styles, came from different social backgrounds and generations, and were often pioneers in their fields.https://bop.unibe.ch/manazir/article/view/6710BeirutSursock Museumwomen artistsArab apocalypseart salon |
| spellingShingle | Nadia von Maltzahn The Museum as an Egalitarian Space? Manazir Journal Beirut Sursock Museum women artists Arab apocalypse art salon |
| title | The Museum as an Egalitarian Space? |
| title_full | The Museum as an Egalitarian Space? |
| title_fullStr | The Museum as an Egalitarian Space? |
| title_full_unstemmed | The Museum as an Egalitarian Space? |
| title_short | The Museum as an Egalitarian Space? |
| title_sort | museum as an egalitarian space |
| topic | Beirut Sursock Museum women artists Arab apocalypse art salon |
| url | https://bop.unibe.ch/manazir/article/view/6710 |
| work_keys_str_mv | AT nadiavonmaltzahn themuseumasanegalitarianspace AT nadiavonmaltzahn museumasanegalitarianspace |