Washington/Canadian-Media: Women’s fashion's long and colorful history in the 20th century was fully captured by the newspapers with full newspaper pages with photographs of the latest fashions from Paris, department store advertisements with drawings of the popular frocks of the day, and articles covering social events and what fashionable people in attendance were wearing, Library of Congress (LoC) reported.
In this part 1 of a 3-part series that will span fashion history from 1900 to 1960, starting with the time period 1900 to 1920.
The San Francisco Call (San Francisco, CA), August 17, 1902. Image credit: LoC
1900 to 1910
With significant technological advancements seen in the first decade of the 20th century, women’s fashion remained largely similar to the looks of the preceding century. The structured silhouette of the Gibson Girl was popular during the beginning of the decade, and had the idealized look of Edwardian era style, with lace and other embellishments as essential. women’s fashion in those days was dominated by modest dresses, bodies molded by corsets, and garish ornamentation.
“The Girl of 1900,” Daily Inter Mountain (Butte, MT), January 6, 1900. Image credit: LoC
“Embroidery from Neck to Hem.” The Savannah Morning News (Savannah, GA), April 19, 1903.
The fashionable silhouette, for a large part of the decade, was the S-shape created by a new “health corset,” which removed pressure from the abdomen, but resulted in the bust being pushed forward and the hips pushed back. Tops were loose and blousy helping to emphasize a top-heavy shape. Sleeves were also dramatic and long, heavy skirts were enhanced with frilly petticoats.
Modesty was emphasized by day dresses covering the body from neck to the floor with long sleeves covering the arms, and bell-shaped skirts adorned with lace made typically out of rich fabrics such as silk satin, damask, and chiffon, usually in light, soft colors. The fashionable look overall was that of a mature and sophisticated woman.
Evening dress with the same silhouette and these gowns were more revealing with low necklines and short sleeves, often offset by wearing long gloves. Sleeves were also sometimes draped off the shoulder.
An evening gown, 1909. The Daily Missoulian (Missoula, MT), March 21, 1909. Image credit: LoC
During the latter end of this period, many women started to work outside the home for the first time and had “tailor-made” woman’s skirt suit which were more functional and stylish became a symbol of independence.
Though the prevailing style favored embellished day and evening dresses, women began to focus on dressing for the occasion. There was an increased importance placed on event-specific dressing. Wealthy women tended to have many costumes, ranging from theatre and evening gowns to morning and afternoon dresses and practical costumes for outdoor and sporting pursuits.
Also during this period, sports such as golf, tennis, cycling and motoring began to have influence on fashion and inspired new styles.
Here is a side-by-side view of women’s fashion over the course of the decade, 1900 to 1910:
Fashion began to soften as the decade progressed. The rigid S-shape popular in the early part of the decade gradually straightened out into a more natural shape. Billowy blouses hanging over the waist in front were replaced with narrower loose tops, sleeves, and skirts. Waists were higher and a tubular silhouette began to emerge as fashion moved into the 1910s.
Here is a side-by-side view of women’s fashion over the course of the decade, 1900 to 1910:
[Images of dresses throughout 1900-1910, cropped from separate newspapers; click the linked citations below to view.] From left to right: Image credit: LoC
1900. The San Francisco Call (San Francisco, CA), February 11, 1900.
1902. The San Francisco Call (San Francisco, CA), August 10, 1902.
1904. The Birmingham Age-Herald (Birmingham, AL), August 6, 1904.
1906. The San Francisco Call (San Francisco, CA), April 8, 1906.
1908. Los Angeles Herald (Los Angeles, CA), November 22, 1908.
1910. Los Angeles Herald (Los Angeles, CA), October 23, 1910.
Fashion of the 1910s can be split into two periods: before the war and during the war. The First World War had a fundamental effect on society and culture, and fashion was no exception.
[Images of dresses throughout 1910-1920, cropped from separate newspapers; click the linked citations below to view.] From left to right. Image credit: LoC
1910. Omaha Daily Bee (Omaha, NE), January 2, 1910.
1912. The Washington Herald (Washington, DC), February 18, 1912.
1914. The Times Dispatch (Richmond, VA), October 25, 1914.
1916. The Sunday Telegram (Clarksburg, WV), January 2, 1916.
1918. The Ogden Standard (Ogden City, UT), May 11, 1918.
1920. Richmond Times-Dispatch (Richmond, VA), September 19, 1920.
#GigiBarrettFineArt; #nationallyAcclaimedInUS; #CharcoalPastelOilAndMixedMedia; #StamfordArtAssociation; #CarriageBarnArtsCenter; #StamfordHistoryCenter; #RowaytonArtCenter; #VirtualArtShow
Connecticut/Canadian-Media: With a belief that everyone should be able to afford original art, and has pieces available at all price points and in almost all media, Gigi Barrett's Fine Art is dedicated to bringing joy to all through her Art.
Image: Colorful Sails. Image credit: Gigi Barrett
Colorful Sails is the most recent won 1st Place in the Vivian & Stanley Reed Marine Show.
Having won national acclaim for her work in the United States (US) for Charcoal, Pastel, Oil and Mixed Media, her work has been showcasing in both the US and Europe; and her work has been published multiple times.
Ever evolving, and diverse, Gigi’s Stamford, Connecticut studio, is a wonderland of original pieces in watercolor, acrylic, charcoal, pastel and oil.
Image credit: Gigi Barrett
Her work is currently being how at the Stamford Art Association, Carriage Barn Arts Center Stamford History Center and Rowayton Art Center. Her work is also in many private collections throughout the United States. Her first piece known as “Stella’s Last Day” was a Charcoal piece that was published in the 2015 Williams Prize Winners’ Catalog.
Image. Stella's Last Day. Image credit: Gigi Barrett
A sampling of her work can be seen on her website, GigiBarrett.com.
Her work can also be seen in her studio by appointment, or a virtual art show can be curated by contacting Gigi by emailing Gigi@GigiBarrett.com.
#Toronto; #ROM; #GalleryofChineseArchitecture
Toronto/Canadian-Media: Royal Ontario Museum (ROM) hosts the largest collection of Chinese architectural artifacts outside of China and contains approximately 200 artifacts, including roof tiles, architectural features and embellishments, statuary and tomb-related objects from approximately 300 BC to AD 1900.
ROM. Image credit: Website
China's iconic architectural style being is as old as the civilization itself, China's legacy of building and architecture is told through the largest and best collection of Chinese architectural artifacts outside of China. The focal points of the collection that includes architectural features, embellishments, statuary and more. are the mighty Ming Tomb, the Tombs of Han and Tang, and the reconstruction of a corner of a Chinese Imperial Palace building collection
Known simply as "the Ming Tomb", for generations of ROM visitors, recent research has revealed that this tomb, with its large domed burial mound, at one time contained the remains of legendary Chinese general Zu Dashou (ca. 1565-1656). Image credit: ROM
Reserved exclusively for buildings built for the Emperor. Yellow glazed roof tiles were assembled a life-sized component of a Chinese Imperial Palace building here in the traditional style by Chinese artisans from the National Museum of Chinese Architecture in Beijing. Image credit: ROM
Artistry revealing mastery of detail of Chinese artisans. Image credit: ROM
Founded in 1914, and among the top 10 cultural institutions in North America, ROM is Canada’s largest and most comprehensive museum and home to a world-class collection of 13 million artworks, cultural objects and natural history specimens, featured in 40 gallery and exhibition spaces. Situated as cultural destination in the heart of Toronto that showcases art, culture and nature from around the world and across the ages, ROM is the country’s preeminent field research institute and an international leader in new discoveries and plays a vital role in advancing our understanding of the artistic, cultural and natural world. Combining its original heritage architecture with the contemporary Daniel Libeskind-designed Michael Lee-Chin Crystal, the ROM serves as a national landmark, and a dynamic for all to enjoy.
#BrooklynMuseaum; #Artifacts; #NewYork
New York/Canadian-Media: Brooklyn Museum in New York City, for the second time has returned pieces, some older than 2,000 years, including an unfinished tombstone, a large ceramic vase painted with beeswax, human representations and ancient tools to process corn are artifacts of a collection to the central American country, media reports said.
Brooklyn Museum. Image credit: Website.
Located in the New York City borough of Brooklyn, the Brooklyn Museum is art museum and covers 560,000 square feet (52,000 m 2 ), and is New York City 's third largest in physical size and holds an art collection with roughly 1.5 million works.
“The tombstone is a piece we have only seen as illustrations in study books here,” Daniela Meneses, a researcher at the National Museum of Costa Rica, said at a viewing for the media. “It’s amazing to see that piece now. It’s very emotional," National Post reported
Believed to have been part of a tomb of an important person from a now-extinct civilization, the tombstone is almost half a meter high.
One of the largest pieces in the shipment is a vase, adorned with human figures and peculiar geometric lines, painted with beeswax, presumably used to store seeds or water.
There are still more artifacts from Costa Rica in Brooklyn and in other museums in the United States.
Seven years ago, four sites in the southern part of the country were recognized as World Heritage by the United Nations Educational, Scientific and Cultural Organization.
#LibraryOfCongress; #JoyWillams; #2021LoCPrizeforAmericanFiction; #CarlaHayden
Washington/Canadian-Media: Joy Williams, the novelist, short-story and non-fiction author, known for works such as “State of Grace” and “The Quick and the Dead,” wins the 2021 Library of Congress (LoC) Prize for American Fiction, Librarian Carla Hayden announced today.
Joy Williams, wearing her trademark prescription sunglasses, accepts the 2021 Prize for American Fiction from Librarian of Congress Carla Hayden. Image credit: Rob Casper.
Presented annually for a lifetime of outstanding work, the award will be presented during this year’s National Book Festival in September.
“This is a wonderful award and one that inspires much humility,” said Williams, who now resides primarily in Arizona, but who also is known for her cross-country road trips. “The American story is wild, uncapturable and discomfiting, and our fiction — our literature — is poised to challenge and deeply change us as it becomes ever more inclusive and ecocentric,” Library of Congress reported.
The Prize for American Fiction is one of the Library’s most prestigious awards and honors an American author whose work is distinguished not only for its mastery of the art but also for its originality of thought and imagination.
Colson Whitehead was last year’s winner. Toni Morrison, Philip Roth, Don DeLillo and Louise Erdrich are some of the previous awardees.
Hayden said that she was both pleased and honored to confer this prize on Joy Williams, in celebration of her almost half-century of extraordinary work and continued,
“Her work reveals the strange and unsettling grace just beneath the surface of our lives. In a story, a moment, a single sentence, it can force us to reimagine how we see ourselves, how we understand each other — and how we relate to the natural world.”
The selection of Williams by Hayden as this year’s winner was based on nominations from more than 60 distinguished literary figures, including former winners of the prize, acclaimed authors and literary critics from around the world.
Williams is the author of four short story collections, two works of nonfiction and five novels, including the upcoming “Harrow.”
“Harrow,” by Joy Williams, will be published in September.
“We are American writers, absorbing the American experience,” she once said at a literary conference, as quoted by the Paris Review in 2014. “We must absorb its heat, the recklessness and ruthlessness...its greedy optimism and dangerous sentimentality. And we must write with a pen—in Mark Twain’s phrase—warmed up in hell. We might have something then, worthy, necessary; a real literature instead of the Botox escapist lit told in the shiny prolix comedic style that has come to define us.”
Best known for her short stories, different offbeat characters often middle-class and on their way down, related in grim and darkly comic narratives populate all of her works. Her essays, particularly about the environment, are fierce and uncompromising.
#LoC; #MusicDivision; #OnlineReserchGuides; #Covid19Pandemic
Washington/Canadian-Media: Since the beginning of the pandemic, Library of Congress (LoC)'s Music Division’s specialists have been compiling and publishing online research guides to various subjects and composers represented in the music collections of LoC, LoC reports said.
Bert Grant, composer. A. Seymour Brown, lyricist. “That Broadway Glide.” 1912. Image credit: Library of Congress Music Division.
Three new guides that were recently published are: Musicals of Stage and Screen: A Research Guide; Johannes Brahms: A Guide to Primary and Secondary Resources at the Library of Congress; and Clara Schumann: A Guide to Resources.
The first guide 'Musicals of Stage and Screen: A Research Guide' orients researchers to the Library’s musical theater holdings as well as connects you with our digitized collections and catalogs for research, video webcasts of lectures and concerts, or discover related collections in other Library reading rooms.
Holdings for two 19th-century musical figures, Johannes Brahms and Clara Schumann with special ties to one another are described in the next two research guides. and highlights most significant collections in the world for composer Johannes Brahms (1833-1897).
The research guide Johannes Brahms: A Guide to Primary and Secondary Resources at LoC outlines those extraordinary holdings and learn about the 1983 International Brahms Conference hosted by the Music Division.
Clara Schumann: A Guide to Resources connects researchers with digitized holdings, cataloged materials, blog posts, and webcasts related to Clara Schumann (1819-1896), one of the greatest piano virtuosi of the 19th century. Johannes Brahms was deeply connected with the Schumann family, and provided emotional as well as financial support to Clara after Robert’s suicide attempt led him to an asylum. She and Brahms remained close friends and confidants until her death.
As of today, 25 research guides have been published by the Music Division highlighting topics from Jazz Research to Film Music, as well as composers ranging from big names like Beethoven and Stravinsky to lesser-known composers such as Eleanor Everest Freer and Gena Branscombe.
The LoC's Musical Division is the preeminent repository of musical theater-related collections in the world. The Performing Arts Reading Room holds scores of books, periodicals, and special collections related to musical theater. Additionally, the Rare Book & Special Collections Reading Room houses the Rouben Mamoulian Collection of theater, film and concert programs for performances in New York, Washington, DC, Los Angeles, London, England and other locations, many annotated by Armenian American film and theater director Rouben Mamoulian. Collection of Rouben Mamoulian Papers, includes the director's personal papers and is served in the Manuscript Reading Room.
#LibraryOfCongress; #RalphEllison; #Juenteenth; #AfricanAmericanculture
Washington/Canadian-Media: The posthumous work of Ralph Ellison's unfinished a long time coming second novel Juneteenth (1999) not published until after his death in 1994 was compiled from Ellison’s thousands of manuscript drafts and notes that are now preserved for researchers in the Ralph Ellison Papers in the Manuscript Division of the Library of Congress (LoC) by Ellison’s literary executor, John F. Callahan, with the active support of Ellison’s widow, Fanny McConnell Ellison, LoC reports said.
Draft manuscript page, Ellison’s “Juneteenth.” Image credit: Ralph Ellison Papers, Manuscript Division. Image credit: LoC
Rooted in folklore fieldworker with the U.S. Works Progress Administration Federal Writers Project in the 1930s encouraged towards a literary life from Langston Hughes, the novel is based on his many essays, his love of jazz and blues, his observations of the Black family and the Black church, the civil rights' awareness of the 1950s and 1960s, and his correspondence with close colleagues like Albert Murray.
Following the great success of his first novel, Invisible Man (1952), Ellison worked on his second novel for decades, and lost some of his manuscript in a disastrous 1967 fire and had to reconstitute passages from memory and published excerpts of the work in progress in literary journals, teasing at the longer work still to come.
Ellison’s second novel, American and national in its character, reflects about the rifts in American society, the strife of racial prejudice and discrimination, the ongoing struggle to assert that Black lives matter, in civil status and before God, about the deep pervasiveness and strength of African American culture and experience.
One of the novel’s main characters, Bliss, a boy of indeterminate race who looks white and later in life becomes a member of Congress, is raised and schooled in revivalism by the other major protagonist of the novel, Reverend “Daddy” Alonzo Hickman, Ellison examines not only the pain and the identity crises and failed promise of emancipation, but also freedom’s restorative and transformative powers.
Like Ellison’s novel, the idea of Juneteenth as a national holiday has been a long time coming. It marks the moment that the news of the end of slavery was proclaimed in Texas, on June 19, 1865 and has long been celebrated in Texas, where it has been an official state holiday since 1980, a day for African American rejoicing, family reunion, picnics, and storytelling.
Supported by the White House, Juneteenth was declared an official federal holiday with on June 17, 2021 for the whole nation and is a milestone in the long history of emancipation.
Image: Page from working draft, Ellison’s “Juneteenth.” Manuscript Division. Image credit: LoC
#UNHCR; #UNRefugeeAgency; #Twitter; #EmojiDesign
NEW YORK – UNHCR, the UN Refugee Agency, and Twitter have teamed up with a refugee to design an emoji honoring the millions of people forced to flee war and persecution.
Hangama Amiri, the designer of the 2021 World Refugee Day Twitter emoji, in her studio in New Haven, Connecticut, USA. © UNHCR/Ashley Le
UNHCR and Twitter commissioned Afghan-Canadian artist Hangama Amiri to create the emoji for World Refugee Day, celebrated each year on 20 June. It is the first time the emoji has been designed by a refugee. The design features a blue heart cupped between two hands to symbolize protection and solidarity. It goes live today and will be activated on any tweet that uses the hashtags #WorldRefugeeDay, #WithRefugees and #RefugeeDay, in any of 12 languages, through 23 June.
“Twitter is pleased to continue our partnership with UNHCR with the creation of this emoji honouring those who are forced to flee war and persecution,” said Twitter’s Director of Public Policy, Government and Philanthropy for Middle East and North Africa, George Salama. “We are especially proud that this year for the first time, the emoji has been designed by a refugee, Afghan-Canadian artist Hangama Amiri. We hope that Hangama’s story will inspire others and the emoji will help to raise awareness and demonstrate solidarity with the refugee community worldwide.”
Hangama Amiri was born in a refugee camp in Pakistan and displaced multiple times as a child due to the conflict raging in her native Afghanistan. As a young refugee, Amiri said drawing helped her feel safe and make sense of things around her.
While living in Tajikistan, she received a scholarship after winning an art competition held by UNHCR. In 2005, she and her family were resettled in Nova Scotia, Canada. She recently completed a graduate degree at the Yale School of Art in the United States. Her colourful textile work explores issues related to feminism, geopolitics and memory and has been exhibited across Europe, Canada and the United States.
“I decided to come up with an idea around hope, togetherness and love,” Amiri said. “As a refugee, the love around me was the only thing I held on to.” She created a tangible version of the digital emoji by sewing together scraps of colourful fabric, a technique she uses frequently in her artwork.
More than 80 million people around the world have been forced to flee their homes, seeking refuge within their own country or across borders.
The United Nations designated 20 June as World Refugee Day 20 years ago to mark the 50th anniversary of the 1951 Convention on the Status of Refugees. Twitter has worked with UNHCR for several years to raise awareness of the rights, needs and hopes of forcibly displaced people.
This World Refugee Day, UNHCR calls for the greater inclusion of refugees in our communities, and especially access to health care, education and sport.
“The shared experience of COVID-19 has taught us that we are stronger when we work together,” said Gisella Lomax, Head of Social Media at UNHCR. “This year’s World Refugee Day emoji is about togetherness and love, and we encourage Twitter users to share it as a sign of solidarity for all people forced from home.”
Throughout the pandemic, social media has been a lifeline to many for vital health information, for news, for interactions with friends and family and more. It has also been important to organisations like UNHCR, where social media - and especially Twitter - is a central part of our communications and external outreach, enabling us to inform, inspire and mobilise action. UNHCR is grateful to Twitter for their long-standing partnership and support for our work and the refugee cause.
#LibraryOfCongress; #BudhistCarving; #PathToNirvana
Washington/Canadian-Media: John Hessler, a specialist in the Library of Congress' Geography and Map Division, and curator of the Jay I. Kislak Collection. focuses on computational geography and geographic information science.
The top of the 31 levels of existence, as seen on the cosmography. Photo: John Hessler. Geography and Map Division. Image credit: Lib of Congress
A rare 18th-century carving of a Theravãda Buddhist cosmography that originated in Myanmar (formerly known as Burma) was recently acquired by the Library’s Geography and Map Division.
More than 9 feet high when all its three parts are fully assembled, this panel shows the many levels that spiritual entities — humans, animals or gods – transmigrate to the temporary resting places for living beings as they make their way to the ultimate goal of nirvana.
Displaying these stations as floating palaces, the panel gives their names, the geography of the cosmos and the life of beings who temporarily reside in each of them.
The engravings on the panel have been ultimately derived from the teachings of the Gautama Buddha, are found in a series of writings that are known as the Pali Canon, which are the earliest written records of Buddhist scriptures.
Previously these had been handed down in the oral tradition. This large body of texts, written in the ancient Indian language of Pali, is divided into discourses of various lengths and treats the metaphysics, psychology and cosmology of the Buddhist path toward enlightenment through meditation.
“In the sky, there is no distinction of east and west; people create distinctions out of their own minds and then believe them to be true,” is one of the Buddha’s metaphysical sayings.
The information found on the engraving in the Library’s collections is not derived from a single source, but from a variety of texts in what is called the “Sutta Pitaka,” or Basket Discourse.
Most of the information inscribed on the panel can be traced to the “Majjhima Nikaya, Anguttara Nikaya, Samyutta Nikaya,” which are the middle length, numerical, and connected discourses of the Buddha, respectively.
Recently translated by Heller, the panel describes, both graphically, as temples, and in writing, the 31 levels of existence. It starts at the top of the panel with “neither-perception-nor-non-perception.”
This is the realm of beings that are formless and without physical or material structure and who have no perception. The engraving continues down through the various levels of “Arupaloka” (world of non-form), through “Rupaloka” (world of form) into “Kãmaloka” (world of desire) finally reaching “Manussa” (the level of human beings). Below that we find the levels occupied by animals and the fiery hells that are undesirable places for rebirth and reincarnation.
Carvings of temples signifying each of the levels rising from the base of Mount Meru, or the sacred mountain can be found in the center of the panel.
Palace at the base of Mount Meru. Photo: John Hessler. Geography and Map Division. Image credit: LoC.
Here, the engraving turns cartographic.
The myth of Mount Meru is common to almost all ancient Indian religions and is part of the foundations of Hindu, Jain and Buddhist cosmology. According to all three, it is located in the center of the universe. In Hinduism, it is the realm of the gods.
In this section of the panel, we see the various mountain ranges that surround Mount Meru. These seven “golden” ranges are known as the “Sattaparibhanda.” They are separated by vast oceans.
Moving out from the center of the panel in both directions, they extend great heights and distances:
Yugandhara 40,000 yojana high and thick
Isadhara 20,000 yojana high and thick
Karavika 10,000 yojana high and thick
Sudassana 5000 yojana high and thick
Nemindhara 2500 yojana high and thick
Vinataka 1250 yojana high and thick
Asskanna 625 yojana high and thick
An ancient Indian scale of measurement, “Yojana” equals the distance that a cow yoked to a cart can walk in one day, although no one knows how far that actually is. The scale of these distances is not terrestrial, but cosmic. The distance from the center of Mount Meru (itself being 80,000 yojana wide) to the edge of the map is approximately 795,300 miles.
The four continents of Buddhist geography that includes earth, the “Jumbudvipa,” is in a great ocean that lies far off the map.
Theravãda Buddhism is the oldest and the only surviving form that derives directly from the ancient Hinayaba School. The word Theravãda, in both Pali and in Sanskrit, means “the School of the Elders.” It was established in Sri Lanka in the third century BCE by the Indian Emperor Asoka. Asoka’s edicts survive as some of the oldest written inscriptions relating to Buddhism, carved on boulders, pillars and cave walls, written in the ancient Brahmi script, according to Richard Salomon’s book “Indian Epigraphy.”
In the classical Western sense this may not seem to be a “map”, but the Geography and Map Division strives to collect a wide range of cartography, cosmography and the mapmaking arts from around the world. This panel, and many others like it from cultures around the world, constantly remind us how difficult it is to actually answer the question: What is a map?
The lower realms representing the existence of animals. Photo: John Hessler. Geography and Map Division. Image credit: Library of Congress.
#ArtForumSF; VirtualSala, #LiveSeries
Toronto/Canadian-Media: In these “uncertain times,” ," Art Forum SF moves to host the Virtually SALA (South Asian Literature & Arts), Live Series Episode 3 on June 17, 2021, from 8:30 PM PST (Pacific Standard Time) featuring Salima Hashmi, acclaimed Pakistani artist and public intellectual, moderated by Mira Hashmi.
The live series would be available on Facebook: www.facebook.com/southasianartforumsf, and YouTube: www.youtube.com/channel/UC6An2QAz5Cfgrf-Ei1dqSTw
SALIMA HASHMI at Virtually SALA 2021 — Live Series Episode 3
Salima Hashmi is an artist, curator, and contemporary art historian. Professor Hashmi was the founding Dean of the Mariam Dawood School of Visual Art and Design at Beaconhouse National University, Lahore. She was Professor of Fine Art at National College of Arts [NCA] Lahore and was also Principal of the College.
Salima Hashmi has written extensively on the arts. Her book “Unveiling the Visible — Lives and Works of Women Artists of Pakistan” was published in 2002, and ‘Memories, Myths, Mutations — Contemporary Art of India and Pakistan’ co-authored with Yashodhara Dalmia for Oxford University Press, India in 2006. She has edited ‘The Eye Still Seeks — Contemporary Art of Pakistan for Penguin Books, India, in 2014.
She is a Council member of the Human Rights Commission of Pakistan and a founder member of the Women’s Action Forum. She is the eldest daughter of the renowned Pakistani poets Faiz Ahmad Faiz and Alys Faiz.
“ The world we live in sometimes may seem like it is enveloped in darkness and entangled in a web of chaos and suffering, especially in this past year of communal anguish,” asserted Ms. Kiran Malhotra, Board of Director, Art Forum SF. Furthermore, Ms. Malhotra refers to Joe Haldeman, American Film Director, News Writer, who once said, “Anyone who sees clearly, sees chaos. Art is a way of temporarily setting order to confusion.”
This virtual event is a conversation-style program with Mira Hashmi as the interviewer. Intro and outro by Dr. Robert Mintz, deputy director of the Asian Art Museum.
“Salima Hashmi is a true rarity in this world, an accomplished painter, a successful educator, a vocal change agent, a feminist, an activist, and inspiration. Her life and work mark a social change path and transformation from which she has never wavered or strayed. Her art, her words, and her actions all drive her quest for a better world,” said Dr. Robert Mintz.
MIRA HASHMI is a film study assistant professor at the Lahore School of Economics. A graduate of the Mel Hoppenheim School of Cinema at Concordia University in Montreal, Mira has over three decades of writing experience about film for various publications. Her interest includes the cinema of Alfred Hitchcock and Hindi masala movies. Her first book, Gulzar’s Ijaazat: Insights into the Film, was published in 2019.
MIRA HASHMI at Virtually SALA 2021 — Live Series Episode 3
DR. ROBERT MINTZ, Deputy Director, Asian Art Museum, San Francisco, is responsible for managing the curatorial, conservation, education, and museum services departments. With a B.A. (Art History) from the Michigan University (1989), his studies continued at the University of Washington, Seattle, earning an M.A. (1995) and Ph.D. (2002). His dissertation focused on the paintings and poetry of the 18th-century Japanese artist Yosa Buson. His most recent publications include work in Great Waves and Mountains (Pending), Kondo Takahiro Catalog of Recent Work (2021), Faberge and the Russian Crafts Tradition: An Empire’s Legacy (2017), Japanese Ceramics for the 21st Century (2014), and Japanese Cloisonné Enamels (2010).
About SALA: In October 2019, Art Forum SF debuted the South Asian Literature and Art (SALA) festival with grand success at the Montalvo Arts Center’s picturesque site in Saratoga, California. The festival featured prominent experts experienced in the cultural-literary-artistic histories of South Asian countries and different aspects of the humanities to give talks, have exhibitions and performances, book reading for local audiences.
Follow us on Social Media @ArtForumSF, and for more information, visit www.artforumsf.org or contact Ambika Sahay, Executive Director, at email@example.com | 425.736.1779.
For sponsorship, media, and marketing, contact MUKTA Advertising at firstname.lastname@example.org | 416.716.8582.