Description
Book SynopsisTrade ReviewScheid's knowledge of Lebanese art, its socio-political context and its historical unfolding are unequal. Her ethnographic immersion in that field is also unequal. What's more, a vast body of comparative and theoretical literature is brought to bear on the subject. The result is a genuinely important work, conceptually innovative, thoroughly educative, and highly stimulating.
-- Ghassan Hage, University of Melbourne Future Generations Professor of Anthropology, author of The Diasporic Condition: Ethnographic Explorations of the Lebanese in the World
Where there is no art, this book finds much that art does. In a place where the ontology of art is seen as belonging to an elsewhere, this book steams the tapestry of complex local art-acts into view. If concerned with the becoming of art and its social consequences in societies overlooked by high modernism and in turn self-belittling, read Kirsten Scheid's book.
-- Walid Sadek, Philippe Jabre Endowed Professor in Art, author of The Ruin to Come, Essays from a protracted war
A highly original, richly textured, and meticulously researched study of three major Lebanese artists and their reception in Beirut. The works of Moustapha Farrouk, Omar Onsi, and Saloua Raouda Choucair come alive in Scheid's evocative prose. Essential reading for scholars of modern art in postcolonial, postwar, and Muslim societies.
-- Sonal Khullar, W. Norman Brown Associate Professor of South Asian Studies, author of Worldly Affiliations: Artistic Practice, National Identity, and Modernism in India, 1930-1990
The most important book about middle eastern art and social life I've read, Fantasmic Objects gives Humanists and Social Scientists a uniquely intra-disciplinary tour de force, that produces new knowledge about Lebanon, its art, modern citizenships, double decolonization, and methods to rethink local art histories. Scheid's brilliant offering of taswir, the polysemic Arabic word for imagination, compels us to rethink what art is and does. You need this book; it will change the way you think. Beautifully written, breathtakingly observed, and nothing less than inspiring, this brilliant book will guide art historical enquires of the global for decades to come.
-- Hannah Feldman, author of From a Nation Torn: Decolonizing Art and Representation in France, 1945-1962
Table of ContentsPreamble
Acknowledgments
Notes on Language
Notes on Sources
1. Introduction: No Art Here
2. Exhibitions: Sociality as Fantasm
3. Nudes: The Citizen as Fantasm
4. Landscapes: The Nation as Fantasm
5. Art Lessons: Fantasmic Formations of the Lady-Artist
6. Portraits: Towards a Fantasmic Ontology of Art Acts
Conclusion: Between Art and Here
Bibliography
Index
