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IMAGE Skincare products are dedicated to enhancing your skin's natural beauty. IMAGE Skincare’s mindful formulas deliver real results by blending science, innovation, and nature to create products that transform your skin and empower your confidence. This project is important because there is little scholarly work done on photography in the Middle East, and even less on women photographers. It focuses on gender representation in the photographs of Marie al-Khazen, a Lebanese amateur photographer, and Karimeh Abbud, a professional photographer in Palestine during the period between the 1920s and 1930s. Nachabe Taan provides a feminist reading of the images by analyzing the female photographer’s depiction of ‘modernity’ around Lebanon. ​

This time we bring you Every Building in Baghdad: The Rifat Chadirji Archives at the Arab Image Foundation exhibition with its rich itinerary at Arthur Ross Architecture Gallery, Graham Foundation and LAXART. This exhibition examines the work of Iraqi architect Rifat Chadirji through the collection of his original photographs and building documents held at the Arab Image Foundation in Beirut from 2012 to 2017, and that since then have moved to the Aga Khan Documentation Center at MIT which also houses the Rifat Chadirji Architecture Archive. The history of information finds its origins in the development of records and in particular in the documents that carry them (the support). From cave paintings (40,000 BCE), Tartaria tablets in Romania (5000 BCE), the library and archives of Ebla in modern Syria (2600 BCE), Sippar tablets in Iraq, to the classical and medieval worlds (Phoenician alphabet, public and private libraries of Rome and Greece, papyrus rolls, the codex, the great library of Alexandria), to the age of print, the 20th century and the advent of the digital computer and the internet.While Palestine before ’ 48, Albums Marocains 1900–1960, and Arts et couleurs were clearly conceived as exhibitions, Mapping Sitting was labeled as “a project by Walid Raad and Akram Zaatari.” Rather than taking on the role of curators or mediators, Raad and Zaatari made use of the exhibition as a form of artistic expression to “raise questions about portraiture, performance, photography, and identity in general.” [14] Simultaneously, they made their authorship as artists and their position as members of the AIF in relation to its collection a crucial topic. In the words of art critic Kaelen Wilson-Goldie, Mapping Sitting thus “proposed a fourfold challenge to what exhibitions are, troubling the status of artists, artworks, curators, and institutions along the way.” [15] Although Mapping Sitting exhibited a group of photographers and focused on the specific characteristics of their practices, Raad and Zaatari clearly suggested that the photographers themselves should not be considered artists. The photographs were not to be regarded as art, but rather as the “content” and the “topic” of an artistically generated display. According to Wilson-Goldie, Raad and Zaatari thus “turned curating into art making, and transposed the building of installations, exhibitions, collections, and institutions into art, as well.” [16] Arab Image Foundation Residency Program 2011". Institute for Foreign Cultural Relations (ifa), Germany, Elke aus dem Moore, in cooperation with Universes in Universe - Worlds of Art. 2010. Archived from the original on 10 February 2012 . Retrieved 20 January 2012. We have been graciously accompanied by so many supporters since news of the August Beirut port explosion rippled across the world. We are grateful to the latest foundations and institutes: Pardoe-Westermann Family Fund, American Institute for Conservation of Historic & Artistic Works, Savvy Wood Photography, Centre de la Photographie, Benevity, PhotoArts Studio, Robert Rauschenberg Foundation, and Stanley Thomas Johnson Stiftung. What is very precious is their unrestricted funding that allows AIF the flexibility to prioritise. Arthur Ross Architecture Gallery, Graham Foundation, LAXART View of “Every Building in Baghdad: The Rifat Chadirji Archives at the Arab Image Foundation", 2016, Graham Foundation, Chicago. Photos by: RCH | EKH. Two years ago, I was encouraged to apply to the call for director by a member of the board of directors and I could not refuse this wonderful temptation. My experience at the Arab Image Foundation has been replete with intense moments of joy and learning but also frustration and anxiety. There is a lot of weight to carry in this geographic region and in this particular period of history, making it futile to escape our realities. This heavy existence, however, is punctured by an insistence to create possibilities. Much like the photographs in our care that are fluid in their transformation across time, we are compelled to transform and engage in meaningful ways.

This publication is made possible with the support of the Arab Fund for Arts and Culture (AFA According to Zaatari himself, the video installation is meant “to juxtapose two lives and two worlds that photographs in the collection of the Arab Image Foundation experienced: once in the hands of their original owners and once in the custody of the AIF.” [19] This juxtaposition highlights the materiality of the photographs while also dealing with their remediation as images and their transition from a private to a public, institutional context. Traversées photographiques. Le journal du docteur Cottard , edited by Gregory Buchakjian and Clémence Cottard Hachem (Arab Image Foundation, 2017) [13] Hashem el Madani: Studio Practices. Edited by Karl Bassil, Lisa Le Feuvre and Akram Zaatari, (Arab Image Foundation, Mind the Gap and the Photographers' Gallery, 2004) Header image: # 0273ma00011 . Hand Colored family portrait, Zarganifard, “Photo Pardis”, Mid 20th century. Studio Marjan Collection , courtesy of the Arab Image Foundation, BeirutIn-kind donations – institutions: Institut National d'Histoire de l'Art ▪ Middle East Photograph Preservation Initiative ▪ Musée Français de la Photographie ▪ Klug-Conservation ▪ Centre de la Photographie In her role at the AIF, Rana will work closely with the board of directors – who will collectively be responsible for the foundation’s artistic vision and direction. The board of directors is excited that Rana will join the foundation in this pivotal moment, and looks forward to a fruitful and enriching collaboration. In the context of shrinking liberties across the Arab region and beyond, Yasmine Eid-Sabbagh, Kristine Khouri and Vartan Avakian - all three board members of the Arab Image Foundation - invite students to think beyond this precarity. They put together a hands-on remote Practitioners-in-Residence for the upcoming Spring semester at the Hagop Kevorkian Center for Near Eastern Studies at NYU to challenge researchers, conservationists, archivists, artists, and writers to reflect on collective work practices and governance as well as custodianship and rights. Using the diverse collections at AIF, they prod us to imagine ways of taking care of a collective inheritance and to think critically about it in relation to our times. The Foundation has become internationally and regionally recognized as the leading photographic institution in the Middle East. In addition to housing and conserving hundreds of thousands of photographs, the Foundation has spearheaded conservations and preservation projects in the Middle East, co-sponsoring workshops to disseminate the knowledge and skills needed to identify, restore, and conserve the Arab world's large photographic archive. [7] The Arab Image Foundation along with Ashkal Alwan were invited to give a presentation to the group, speaking about our specific areas of work related to cultural heritage protection but also highlighting the challenges and possibilities in a stifling socio-political and economic context.