Saudi Arabian Women Artists and Identity

This assignment delves into the relationship between art and identity for Saudi Arabian women. It examines how their artistic expressions, influenced by social and cultural contexts, contribute to understanding and shaping their identities. The analysis draws upon academic research, artistic works from various periods, and insights into the sociopolitical landscape of Saudi Arabia.

Running head: PROPOSAL
Table of contents
Research title:..................................................................................................................................3
Main keywords................................................................................................................................3
Executive Summary.........................................................................................................................3
Rationale..........................................................................................................................................4
Research questions...........................................................................................................................6
Methodology....................................................................................................................................6
Research design...........................................................................................................................6
Islamic geometric grid.................................................................................................................7
Materials......................................................................................................................................7
Professional artist’s quotation..........................................................................................................9
Position of research in terms of discipline and community practice.............................................11
1 Famous European pioneer artists and Grid pattern.....................................................................12
1.1 Piet Mondrian......................................................................................................................12
1.2 Victor vasarely.....................................................................................................................14
2. Contemporary artists and grid pattern.......................................................................................15
2.1 Peter Kogler.........................................................................................................................15
2.2 Rechel Garrad......................................................................................................................16
3. RMIT and grid pattern...............................................................................................................19

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3.1 Bin Dixon-WARD...............................................................................................................19
Initial literature review..................................................................................................................21
1. Saudi Female artists...............................................................................................................21
1.1 Indigenous Saudi female artists, Fatemah Abougahas (1920-2010)...............................21
1.2 Upper class artist, Safia Said Binzagr born in 1940........................................................23
1.3 Female academic artist, Eiman Elgibreen.......................................................................25
2. Female artist from the middle East........................................................................................26
2.1 Shirin Neshat...................................................................................................................27
2.2 Boushra Almutawakel.....................................................................................................29
3. Books.........................................................................................................................................30
3.1 Art and visual perception: a psychology of the creative eye by Rudolf Arnheim...............30
3.2 Women in Middle East: Past and present by Nikki Keddie................................................31
3.3 Arab Women: Between defiance and Restraint by Suhasabbagh........................................32
3.4 Women and Power in the Middle East by Suad Joseph and Susan Slyomovics (editors)...33
Outline of progress........................................................................................................................34
Year 1: 2017..............................................................................................................................34
Year 2: 2018..............................................................................................................................34
Year 3: 2019..............................................................................................................................34
Year 4: 2020..............................................................................................................................34
Bibliography..................................................................................................................................35
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Table of figures
Figure 1:Hannah Wilke..................................................................................................................12
Figure 2: Adrian Piper...................................................................................................................13
Position of research in terms of discipline and community practice.............................................13
Figure 3: Cave painting, Western Europe, created during the upper Palaeolithic between 45,000
and 20,000 years ago.....................................................................................................................14
Figure 4: Australia’s rock art heritage...........................................................................................14
Figure 5: Piet Mondrian.................................................................................................................15
Figure 6: Composition II in Red, Blue, and Yellow, 1930............................................................15
Figure 7: Piet, Mondrian, “Broadway Boogie-Woogie,” 1942-3. Oil on Canvas.........................16
Figure 8: Victor, Vasarely.............................................................................................................17
Figure 9: “Vega,” 1957. Acrylic on Canvas..................................................................................18
Figure 10: Peter, Kogler, “Photo/Foto Vincent Everarts,” 2016...................................................20
Figure 11: Rachel Garrard.............................................................................................................20
Figure 12: Rechel, Garrad, “Geometric Void: Oil paint on plastic,” 2010. Oil Paint..................21
Figure 13: Rachel, Garrard, “Geometric void Painting: Latex on plastic,” 2010..........................22
Figure 14: Dixon-Ward..................................................................................................................23
Figure 15: Dixon-Ward, Mix of traditional jewellery skills and digital technology.....................23
Figure 16: Mix of traditional jewellery skills and digital technology...........................................24
Figure 17: Fatima AbouGahas with her famous Alqat and Alnagash Paintings, Asir, South of
Saudia Arabia.................................................................................................................................25
Figure 18: Safeya Binzagr.............................................................................................................27
Figure 19: Nuptial Series, Jeddah, western Saudi Arabia.............................................................27
Figure 20: Binzagr. Safiya ."Zabun".1950....................................................................................28
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Figure 21: Eiman Elgibreen...........................................................................................................29
Figure 22: Does A Face Make a Difference? Mixed media on limestone bricks.Overall size:
60x200x100 cm. Private collection / Courtesy of the Artist.........................................................29
Figure 23: Eiman Elgibreen, What Are You Looking at? Mixed media on wood. 32x36.cm.
Private collection / Courtesy of the Artist.....................................................................................30
Figure 24: Shirin Neshat................................................................................................................31
Figure 25: Neshat. Shirin. Rapture, 1999......................................................................................31
Figure 26: Boushra Almutawakel..................................................................................................32
Figure 27: The Hijab Series: Mother,Daughter, and Doll, 2010...................................................33
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Research title:
Does your art look like you?; exploring the issues that have shaped women’s art in Saudi Arabia
in contemporary art.
Main keywords
 Saudi woman art
 Arts under the conservative society
 Geometric grid pattern
 Creativity
Executive Summary
This study attempts to examine a Saudi woman as an artist before and after the oil revolution
1980, exploring the ways that she expresses her thoughts, emotions, intuitions, and desires within
the Saudi Arabia conservative society. Along with this, the research also speculates the content
female artists of Saudi Arabia try to instill in her art for becoming paramount. Here, special
attention would be focused on three writers- Fatemah Abougahas, Safya Said Binzagr and Eiman
Elgibreen, who are the representatives of the indigenous Saudi female artist, Upper Saudi female
artists and Academic female artists as a whole. The three Saudi Arabian female artists represent
the categorists, into which the artists were grouped.
This thesis will contain two components: the creative practice and the written thesis.
Artworks will be expressed in paintings as well as sculptures, being tools of investigation and the
inquiry into the characteristics of the Saudi female art. The context accompanied by the
commentary model will be helpful in articulating the linkage between the written thesis and the
creativity in describing artifacts components in this paper. The paintings, digital designs, and the
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sculptures will be the main components in advancing this thesis, which will involve integration
with the concurrent theoretical investigation as well as studio developments. The artifacts will be
used as a manifestation of the experience in the native country.
The methodology of this study will be based on the principles of actionable research. A
system of a cyclic approach involving four steps, planning (visualization), acting (practices),
observing (impact), as well as reflecting (results) based on the developments of the studio
practices. The context model will be incorporated in the critical analysis of the Saudi woman
artworks. Using context model will ensure that the information is well organized, and expressed
in a simple and structured manner to the better understanding of the content as an interpretive
method of inquiry into the understanding of the nature and spirit of Saudi woman art.
The Commentary model, involves an annotation, explication on the artworks, as "the means
by which the investigation [entailed in the creative or production process] is explained or
described". This model proves advantageous in establishing the relationship between the
exegesis and the creative or production component of a research thesis - the exegesis is a
commentary on the creative work or production piece, to preserves the theory-practice divide. So
that creative and production practices are the primary terms and academic writing is the
supplement.
Rationale
As a Saudi female artist, I find this PhD program is an opportunity to explore the
experience of contemporary art in Saudi Arabia through woman artist perspective that belongs to
the same conservative society. Consideration of the contemporary period from a creative
perspective particularly draws my attention for carrying out this proposal. I think execution of
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the proposal would result in the outpour of my inner thoughts and memories, which I have
regarding the artistic masterpieces of the Saudi Arabian female artists in particular (Alhazza
1990). Optimizing the search, focus would be on Fatemah Abougahasm, Safia Said Binzagr and
Eiman Elgibreen, who represents the Saudi Arabian female artists as a whole. The obstacles,
which attaches a negative connotation to her art, gains an important position in the proposal for
the projecting their success story. Categorical descriptions can be given to each of the
highlighted female artist. The first category is the female artists, who explored nature through
artistic instincts. This process excavated their inner sense of beauty. Fatemah Abougahas can be
considered as one of the leaders of this category.
Oil revolution enhanced the social and economic support for the female artists. This was
an added advantage for them in terms of portraying their inner thoughts, emotions and feelings
through the means of paintbrush. One of the mentionable names here is Safia Said Binzagr.
The female artists belonging to the middle class possessed the desire to learn art. E,erging
successful in going abroad and studying art justifies the satisfaction of their desires in an
international context. Practicing in the western universities is the typical example of this fact.
Determined attitude of the female artists projects their intellectual background. Eiman Elgibreen
is the epitome of such female artists in Saudi Arabia.
Reviews in this regards depicts barriers into the women’s plight. Herein, the social, cultural and
emotional parameters merge to salute the magnificent masterpieces of female artists of Saudi
Arabia. In view of this connotation, the main theme of this paper is to projects the artistic
creation of these women in its exactitude.
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I, in this research, would portray the efforts put in by the Saudi Arabian women to create
masterpiece artworks by effectively and efficiently handling their challenges of life. Their
existentialist struggles motivate me to explore the art and experiences, which was witnessed by
the Saudi kingdom. In this context, I can metaphorically place my art, conjoining all my inner
thoughts and ideas. This invokes within me an urge to become an artists like the Saudi Arabian
female artists. For this, first I would have to adopt their artistic abilities, which includes
emerging successful out of an ambience full of challenges.
This research unveils the curtain of secrecy regarding the artistic skills among the Saudi
Arabian women. As a matter of specification, the fact of artistic skills among women will ignite
curiosity, which is simply a contrast of the stereotypical notions of the women. Researchers raise
may questions, which hover around the aspect of Saudi Arabian women holding painting brush
in their hands for achieving world recognition (Al‐Hariri 1987). Authenticity, validity and
reliability are the main components, which needs to be present in this research for the efficient
execution of this research proposal. Within this, the origin of their journey, motive and culture
within which the women picked up brush matters the most in the research. Along with this,
recognition of the efforts also gains an important position. However, the oil revolution (1938),
consumerism and conservative society as a whole, acts as a foundational background for the
speculation of the expression behind the struggles undertaken women to expose them to modern
art (Al Rawaf and Simmons 1991).
Research questions
Based on the rationale, the following questions can be raised for carrying out the
research:
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 What is the approach of the Saudi Arabian society towards the position of women as an
artist? What are the responses of the women towards these approaches?
 What are the reasons behind neglecting the contributions of Saudi women towards art?
 How does Saudi women artist express her thoughts to compensate the lack of visual and
artistic representations?
Methodology
Research design
The research centers on assessing the contribution of advanced knowledge on specific
knowledge. Along with this, the research also plays an important role in promoting the direct
features of visual art.
Creativity in the studio based research is my domain in this context. This creativity is
projected in the research project through excavation of women’s identity in art. Methodology
portion of this research project is based on the principles, which justifies the actions. In view of
this perspective, a cyclic approach can be applied to the research, which consists of the following
four steps-Planning or visualization; acting or practices; Observing the impact and reflecting
on the results (Arnheim, 2011).
Islamic geometric grid
Islamic geometric grid is one of an important ingredient of the Islamic art, which I would
use as a technique in my artworks. Metaphorical meaning of this grid pattern is more preferred
when it is done through intuitive basis. However, the pattern is widely accepted only as a grid
based work. Incorporation of contextual model would enhance the clarity of the readers in terms
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of efforts behind women’s journey towards being an artist. Contextualization of the facts would
align the concepts in place and sequence (Joseph and Slyomovics 2011).
Materials
The materials used for this research are categorized into different groups:
 Use of the studio research-painting, sculpture and mixed media
These materials have a substantial role in collection of data related to the pattern of Islamic
grid. In this experimentation, geometric grids enhance the purity of the art. Portrayal and analysis
of the expression and gaze on the grid places them on a perfect architecture, validating its
utilization.
Grids are an important element for analyzing the acquired data. This utilization would
include metaphorical meaning with an intuitive background. Here, the viewer’s perspective is
enhanced through deconstruction of the analysis.
The motive of this section is to assess the effectiveness of the materials and equipments
towards exploring and analyzing the factors, which were crucial in the formation of the Saudi
Arabian women artists. Herein lays the appropriateness of linking the research questions with the
subject matter of the research. On the other hand, acquiring the main component of all my
artworks as the grid pattern will be carried out regarding a visual structure (Allamezade 2016).
Such a process, according to Fischer, will be helpful in attaining the long term goal and objective
of this research. Thus, the main element of my artifact will be “Islamic geometric grid” and my
mission is how can I represent it in new ways that can enhance or change the stereotyping and
dissolve mental images about women's art in Saudi Arabia in contemporary art .
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Hamdan adds that to critically analyze any particular studio environment as will be done in
the research, the research questions to be used should relate to the research topic. Based on the
above, the questions on how I can convert the 2D grid to 3D grid contemporary sculpture by
using materials that e plasticity and flexibility for more chance to testify the power of
imagination and how this creative practice can be an effective way to answer my research
questions. It will be achieved, or rather it will be made possible thanks to the exploration of the
relationship between the primary mechanical structuring in Islamic art not only as a prop or a
basic scheme, but as an integral element in the total image (Baroni 2007).
The techniques to be used include repetitive symbolism and Grid philosophy. The techniques
will be utilized or rather used to capture the viewer’s full attention. Additionally, another
technique which will be used; which Smith advocates for in his book, involves acquiring
knowledge of more about others artist who interested in the similar area through the inquiry of
related studio research carried out by others internationally. Moreover, it will allow for more
research methods to be used and tried which can work in alignment o the major research
procedure.
Geometric Islamic techniques that use will include repetitive symbolism and Grid philosophy
to getting the attention of the viewer, which enhance his or her capability to ask on the
interrelationship between the research questions as well as artworks (Bixler 1980).
Unity and infinity are the main components of Islamic art. Thus this methodology will seek
to incorporate the two in trying to understand the Saudi society through thoughts and beliefs
(Unity), and the (Infinity) of the creative practices by itself as a tool of investigation to go
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through those boundaries of that conservative society. Finally, it seeks to encourage one to think
about the impermanence of physical world and instability of material world sentiments.
Further, there are anticipations of gaining new comprehensions of both materials as well as
conceptual practices, which involve multiple procedures for the research problem permitting
multiple techniques for exploration such as Mixed Methods Research Designs.
Professional artist’s quotation
Figure 1:Hannah Wilke
Hannah Wilke said that possession of talent is does not matter until and unless people are
aware of its effective utilization. It is clear from her statement that an artist needs to be
encouraged, so that she may be confronted to the avenues of success. Possession of adequate
knowledge about personal skills, abilities and capabilities is the primary step for an artist for
initiating the career.
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Figure 2: Adrian Piper
Adrian Piper is of the view that women’s identity is enhanced, once it gets public
recognition. Elongated version of this statement lies in the following quotation: "My work is an
act of communication, and it's important to me the way what I assert lands, and where it lands
within someone who sees it. On the other hand, I also recognize fully and live by the principle
that once the work leaves my studio, I cannot control the effects it has”.
Hannah and Adrian are the representatives of the women, who just need a push to
flourish their passions (Demerdash 2012).
Position of research in terms of discipline and community practice
Grid patterns have seen many transformations since the earlier phases. Storytelling was
the most common form of societal art. Typical examples in this direction are the merging of
Aboriginal art and the dot painting of the Arnhem land. In this, the inner life of the western
deserts came alive upon the Midas touch of the female artists. In-depth study of these grid
patterns enhanced the ease of the modern artists to understand the specifications. With the
passage of times, there has been many transformations, rather development in the grid designs.
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These developments are fully enriched with the creativity of the artists (Doaiji 2016). This
creativity is devoid of others learning from the projection of masterpiece, as creativity results
from the self expression of the inner thoughts, emotions and feelings. Herein, the limitations of
such paintings know no bound. Some of the examples are as follows:
Figure 3: Cave painting, Western Europe, created during the upper Palaeolithic between 45,000 and 20,000 years ago
Figure 4: Australia’s rock art heritage
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1 Famous European pioneer artists and Grid pattern
1.1 Piet Mondrian
Figure 5: Piet Mondrian
Figure 6: Composition II in Red, Blue, and Yellow, 1930
His most important development was an abstract painting and as a founding artist of the
modern movement in Dutch. Mondrian was among the artists who developed their paintings
based on grid pattern through creativity and innovations in their mind to appeal to the visible
world. In the early nineteenth century, Mondrian had mastered a grid pattern technique through
reducing his arts into lines and rectangle towards achieving abstract art as shown in figure 1
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below. His masters of artistic language in grid pattern have been one of the critical approaches
used and celebrated in the modern art. Mondrian art capture basic elements in the globe,
providing an opportunity to various society to understand the dynamic of the arts and its impact
on nature of people and nations. Perhaps, Mondrian art was successful in helping to the modern
society to have a positive perspective on the static elements such as gender and cultures.
Figure 7: Piet, Mondrian, “Broadway Boogie-Woogie,” 1942-3. Oil on Canvas
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1.2 Victor vasarely
Figure 8: Victor, Vasarely
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Figure 9: “Vega,” 1957. Acrylic on Canvas
One of the other important artists was Victor Vasarely who is considered the founding or
pioneer of op-art movement. His interest in geometric technique could be traced back to his
academic background where he showed interest in geometric styles in Budapest. His creativity
and masters of geometric shapes were evidenced in high black and white squares arts that were
commonly known as Zebras and checkers for the board in 1957 as shown in figure 2 below. The
arts were among the most influential in Europe and France but in the twentieth century an
egalitarian tool of op art. The artist played a great role in the development of the modern grid
pattern or geometric designs. He worked as a graphic designer and also as a poster artist. He
would use organic shapes which he mixed with chromatic patterns. These patterns had
fundamental elements which were of the optical themes and geometric patterns in the modern
world (Fluri 2005).
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The topic enters around the works of Saudi Arabian women. Mention of pioneer male
artists in this section deviates from the topic, acting as a distortion from the identified and the
specified objectives. On the other hand, it can be considered as an extension of the male
dominance. In this perspective, the topic of the research seems to a vague one, as it does not
promise any beneficial results. Herein, the entire structure of the research gets distorted. Viewing
it from the other perspective, mention of the male artists is also an extension of gender
inequality, which nullifies the aspect of women’s identity through artworks (Fischer 2003).
2. Contemporary artists and grid pattern
2.1 Peter Kogler
Peter Kogleris an artist who used the geometric grid in his work. Since the 1980s, he has
used architecture and the art trends in expressing his thoughts. In Figure 3, Peter Kogler has
brought out an idea through this art. Peter deals with the geometric grid as an art philosophy.
Through this technique, he can make to the reality his imagination and ideas. Such a unique
creativity that artists encouraged the power of human imagination to attend to the thoughts that
are in both the conscious and the subconscious minds and therefore helping in establishing a new
knowledge of life and making it visible.
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Figure 10: Peter, Kogler, “Photo/Foto Vincent Everarts,” 2016
This is an image that has been made by Kogler, which shows how he has used curvy lines
which intersect with each other. Typical example of this is the creation of floor and ceiling,
which in composition connect each other. This has brought out the dimensions that make it very
hard for any visitor or viewer to know where the beginning of the image is or where its ends. It
is through such pictures that Peter Kogler has shown the impact the societal changes.
2.2 Rechel Garrad
Figure 11: Rachel Garrard
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Figure 12: Rechel, Garrad, “Geometric Void: Oil paint on plastic,” 2010. Oil Paint
Reflection of the geometric grid pattern is also found in the works of Rechel Garrad
through the expression of the inner thoughts and emotions. One of the works is the images which
are shown in figure above. In the figure, the painting is an Oil Paint is represented, which has
been done on plastic (Alawad et al. 2015). Through the image, Rechel presents who she is. As a
woman, she wants to show the world that arts can be used to communicate one's desires.
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Figure 13: Rachel, Garrard, “Geometric void Painting: Latex on plastic,” 2010
It is the same case with this other image of the figure above. It is a painting, which is a
latex done on plastic. This artistic designwas performed in 2010 at Bruce High-Quality
Foundation which had a function titled Fields of Dreams. The painting shows a woman who is
eager with her tools of work. She has already done some parts of the painting, but it shows she is
still holding her pen to continue with the painting. In this image, the clear through that comes out
ones someone sees it is that women can also make an impact in the society. By Rachel showing
her expertise behind the artistic work, it is a clear message to the society that women are making
an impact. In the artistic world, women have made news headlines due to their great work.
They continue to show that they can not only be trusted, but they can also be instruments of
change in the society. Rachel Garrad is such an example (Hamdan 2005).
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3. RMIT and grid pattern
3.1 Bin Dixon-WARD
Figure 14: Dixon-Ward
Figure 15: Dixon-Ward, Mix of traditional jewellery skills and digital technology
Bin Dixon Ward is a new graduate PhD candidate/College of Design and Social Context/
School of art/ RMIT University. Her creative interest is in the creation of environment and my
focus is on transforming the abstract shapes of the city grid into wearable objects. Through her
way of expressing herself through geometric grid form, Bin has used city landscape as a source
of influence and motivation. She then has woven the thoughts she gets from this inspiration and
brings out marvelous work such as the one shown in the figure below (Mellor 2010). Her major
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focus has been to bring out a better urban living through art. It is clear from such images that she
has succeeded in that. Some of the examples of her jewellery artworks are as follows:
Figure 16: Mix of traditional jewellery skills and digital technology
Mix of traditional jewellery skills and digital technology
Therefore, it is clear that geometric grid pattern shared techniques through history right
from the rock art till the contemporary art has been used by artists through the conceptualization
of different styles. This indicates that the idea of the grid pattern is renewable and can never die.
Artists have a way of bringing it freshly throughout the era (Rajkhan 2014). In the same way my
research is a historical effort, aiming at bringing a new concept into the art philosophy. The
research will achieve the objective through the creation of a new understanding of how to use the
geometric grid art. To achieve this, my research will speculate into the impact of Islamic art on
the Saudi Arabian female artists.
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Initial literature review
1. Saudi Female artists
1.1 Indigenous Saudi female artists, Fatemah Abougahas (1920-2010)
Figure 17: Fatima AbouGahas with her famous Alqat and Alnagash Paintings, Asir, South of Saudia Arabia
Fatemah is the epitome of such artists, who literally began the ““Alqat and Alnagash
painting” which started in South of Saudi Arabia. She hails from Asir Province. During the time
of Fatima, around 70 to 80 years ago, women used to paint the majlis or the seating area of their
house with intricate geometric paintings. These provided them with a sense of pride that left their
mark and enhanced the beauty of the household. Fatima AbouGahas , a widow and mother of 4 ,
depended on the profession as a painter as a means of livelihood for herself and her children. Her
tools were even as simplistic as brushes made of goat hair. However her work was exceptional
and she rose to fame as a painter quickly. Geometric patterns of circles, diagonal lines
representing water and lightening, triangles representing mountains, squares, rectangles
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chronicled the lives of the surrounding people and sometimes replicated the nature (Zamberi
2011). Fatima Abou Gahas remains a pioneer in the area of Nagash painting and her paintings
have been preserved at famous landmarks for future generations to relish.
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Figure 1.1.1: Saudi innate artists in front of their Alqat and Alnagash paintings, Asir,
South of Saudi Arabia
1.2 Upper class artist, Safia Said Binzagr born in 1940
Figure 18: Safeya Binzagr
Figure 19: Nuptial Series, Jeddah, western Saudi Arabia
One of the other painters in this context is Safia Said Binzagr, who is a Saudi painter
representing the female artists of the upper class. After returning to Saudi Arabia in 1964,
Binzagr was disappointed with the modernization that overtook the country due to the economic
boom. It foreshadowed the earlier cultures and traditions- things she was proud of and wanted to
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reserve. She began to preserve and revive the traditional art by replicating old Saudi homes,
traditional outfits and attires, age old Saudi events and festivities etc. Her Art is featured in more
than 15 exhibitions and galleries and her works have attained worldwide attention. The society
now appreciates the complete worth of her role and effort to the 20th century art, precisely in the
Arab world. Binzagr’s heritage still lives and remains to be refined, reconnoitred, and relished by
people all around the world.
Figure 20: Binzagr. Safiya ."Zabun".1950
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Figure 21: Eiman Elgibreen
Figure 22: Does A Face Make a Difference? Mixed media on limestone bricks.Overall size: 60x200x100 cm. Private collection /
Courtesy of the Artist
The 21st century art representation in Saudi Arabia has been associated with another
woman artist Eiman Elgibreen. She represents the new generation of academic female artists
who now have a profound consideration of the actual purpose of Art as an instrument of
awareness. Elgibreen’s art efforts and academic research targets to challenge and debunk the
numerous stereotypes the world maintains on Saudi women, culture, tradition etc. She eloquently
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does this by partaking some of the hidden aspects of her country thereby making her Art unique.
She serves as an inspiration to all the Saudi Artists who not only want to pursue Art but also
shine in the field on international boundaries.
Figure 23: Eiman Elgibreen, What Are You Looking at? Mixed media on wood. 32x36.cm. Private collection / Courtesy of the
Artist
2. Female artist from the middle East
The book, Women in the Middle East: Past and present, written by Nikki Keddie, states
that in the process of categorizing outstanding individuals in the society, women definitely fall in
this category (Keddie 2007). In her book, Keddie focuses on the history of women from the
Middle East. She asserts that most of the women (who are artists in different fields) particularly
the likes of ShirinNeshat, BoushraAlmutawakel are key to social development. Their area of
specialization, when it comes to women empowerment and inspiration, falls largely on
femininity. They tackle the issue of femininity from different angles and the thing that is
common in all of their efforts is to advocate for motivation (Keddie 2007). Besides, in her book,
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Keddie presents a summary of the past history of Saudi women, as well as the present
developments that have occurred in their lives.
2.1 Shirin Neshat
Figure 24: Shirin Neshat
Figure 25: Neshat. Shirin. Rapture, 1999
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Shirin Neshat , for instance, takes stance on photography and movie production as her
tool for advocating women towards empowerment, justice and inspiration. Through her own
experiences, being an Iran-born artist who is in exile, she tries to advocate for social justice
especially on women through her photographs and movies (Mellor 2010). She advocates for
political change as well as societal change with the help of images of powerful women.
2.2 Boushra Almutawakel
Figure 26: Boushra Almutawakel
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Figure 27: The Hijab Series: Mother,Daughter, and Doll, 2010
BoushraAlmutawakel is a Yemeni photographer who speaks about femininity in her
works. She focuses on the foreign and domestic perceptions individuals have towards the Islam
religion especially women. She is well known for her works on Arab women and the way they
dress (Mellor 2010).
3. Books
3.1 Art and visual perception: a psychology of the creative eye by Rudolf Arnheim
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In the book, Art and Visual Perception: A Psychology of the Creative Eye, authored by
Rudolf Arnheim, presents the perception that a great deal of artists are not at liberty to explore
with freedom in their respective fields is brought up. The author explains that art should be about
expressions, and new artists coming up in various fields, ought to be able to express their ideas in
different forms and styles. However, according to Arnheim, the norms/traditions of society
undermine this factor. Furthermore, the author tends to lean towards bringing out the way artists
see the world by exploring people’s range of imagination and observation. Under the fields of art
and science, the book seeks to give an overview on how artists and scientists play a significant
role in influencing people’s opinions and imaginations (Alawad et al. 2015). Arnheim also uses
theoretical explanations and examples to explore perception. The book, thus, has the effect of
widening one’s outlook on composition, development and organization.
3.2 Women in Middle East: Past and present by Nikki Keddie
In this book, Keddie bases her argument on the fact that change is occurring in the
interaction of Islam with a variety of other fields particularly culture and politics. Keddie also
seeks to show how Islam, as a religion and a way of life, is incorporating a variety of ideas. The
stereotypic practices such as male superiority are addressed by the author in the book and, in
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PROPOSAL
addition, she provokes the shortcomings that come with the issue. Moreover, the book tries to
assess the level of involvement that women in the Middle East have in regards to social justice
and development. Keddie, in her book, also acknowledges the efforts that the Middle East
women, among other stakeholders, are making towards social, economic and political
development (Keddie 2007).
3.3 Arab Women: Between defiance and Restraint by Suhasabbagh
The author of this book, SubaSabbagh, addresses the challenges that women, particularly
in Arab nations, are facing. According to the book, although a lot needs to be done, Sabbagh
acknowledges the fact that there has been significant improvement in some of the issues such as
healthcare status, and political rights (Sabbagh, 2003). The book seeks to give a critical analysis
of the four issues that Islamic women face and the challenges that the issues bring about. One of
the other issues, which the book addresses are employment and legal status, which affect women
in the Middle East. However, according to Sabbagh, the intensity of these issues varies from
nation to nation.
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PROPOSAL
3.4 Women and Power in the Middle East by Suad Joseph and Susan Slyomovics (editors)
This book seeks to analyze ways in which economic, social, cultural and political factors
shape the gender system in some parts of North Africa and the Middle East. In their book, Joseph
and Slyomovics analyze these issues particularly in twelve Arab nations in an effort to depict the
similarities and differences of their effects as they vary from nation to nation (Rajkhan 2010).
Also, the seventeen essays that make up the book are quite clear on how diverse the gender
systems are and how they have seemingly disempowered women.
36

PROPOSAL
Outline of progress
Year 1: 2017
- First semester: Creative Practice Research Strategies Course.
- Second semester: prepare proposal.
- Experiment some artworks, painting & sculpture.
- Prepare for CoC.
Year 2: 2018
- Expand research.
- Exhibtion #1
- Review proposal and relationship to outcomes.
- Prepare for 2nd milestone review
- Write min. 7000 words towards dissertation.
Year 3: 2019
- 2nd milestone seminar
- Exhibtion #2
- Review proposal and relationship to outcomes.
- Prepare for 3nd milestone review
- Write min. 7000 words towards dissertation.
37

PROPOSAL
Year 4: 2020
- 3nd milestone seminar
- Focus work on final installation for and exhibition
- Write min. 7000 words towards dissertation.
- Prepare dissertation for examination
38

PROPOSAL
Bibliography
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journalCode=cced20
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&Theses Global.(1716404050).Retrieved from https://searchproquestcom.
Alawad, A., Aljoufie, M., Tiwari, A. and Daghestani, L., 2015. Beyond Geographical and
Cultural Barriers: The Concept of a Virtual Gallery for Arts, Design & Architecture Schools in
Saudi Arabia. Art and Design Review, 3(04), p.87.
Al-Gahtani, S.S., Hubona, G.S. and Wang, J., 2007. Information technology (IT) in Saudi
Arabia: Culture and the acceptance and use of IT. Information & Management, 44(8), pp.681-
691.http://www.sciencedirect.com/science/article/pii/S0378720607000973
Al‐Hariri, R., 1987. Islam's point of view on women's education in Saudi Arabia. Comparative
education, 23(1), pp.51-57.http://www.tandfonline.com/doi/abs/10.1080/0305006870230106?
journalCode=cced20
Alhazza, Hamad. "Social Marginalisation of Women in the Saudi Novel after the Gulf War in
1990." International Journal of Social Science and Humanity5, no. 3 (2015): 241
Allamezade, Sahar. "MEN WRITING WOMEN:“THE WOMAN QUESTION” AND MALE
DISCOURSE OF IRANIAN MODERNITY." Ph.D. diss., 2016.ProQuest(10159142). Available
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