About

BACKGROUND

Lalla Essaydi, is a Moroccan contemporary artist, primarily known for her carefully constructed photographs of women. Born in 1956, the artist spent her formative years in Marrakesh and eventually moved to the United States, where she studied painting and photography at the School of Museum of Fine Arts at Tufts University. Currently, the New-York based artist divides her time between Morocco and the United States.

Essaydi’s draws from her own cross-cultural experience to investigate the complex roles of Arab women in contemporary and past societies. Many of the artist’s staged photographs depict Arab women adorned with calligraphic Arabic script the artist applies in henna and set in spaces that have been historically reserved for women. This calligraphy is intentionally illegible, making it impossible to decipher. Integral to artist’s work is the iconography of Orientalist art. By subverting popular imagery found in Orientalist paintings, Essaydi draws attention to the fantasies and stereotypes embedded in depictions of North African, Middle Eastern, and Asian women. Some examples of Orientalist motifs Essaydi appropriates and deconstructs are the veil, harem, and odalisque.

Les Femmes Du Maroc: La Grande Odalisque
Lalla Essaydi (born 1956)
2008
photographic print, edition of 10
43 1/2 x 54 1/2 inches (110.5 x 138.4 cm)
2011.1
La Grande Odalisque
Jean-Auguste-Dominique Ingres
1814
Oil on canvas
36″ x 63″
Musée du Louvre, Paris

Activity 1

Using images from magazines, students will create a collage inspired by Essaydi’s work that challenges media representations of men and/or women.

INSTRUCTIONS

  1. Before looking at art, have the students define what a “stereotype” is and have them discuss some of the issues with stereotypes.
  2. Briefly discuss the history of Orientalist painting before showing the student Jean-Auguste-Dominique Ingres’s La Grande Odalisqu (You can also show the students Jean-Léon Gérôme’s Bashi-Bazouk, Jean-Léon Gérôme’s Snake Charmer, Eugène Delacroix’s Women of Algiers in their Apartment (1834).
  3. Ask the students what these images tell us about places and people they depict and if they think the painting is depicting these places accurately. Use the discussion questions to support conversation.
  4. Show the students Lalla Essaydi’s work. Have them compare Essaydi’s work to Ingres’ and discuss why they think she choose to change the work.
  5. After comparing Essaydi and Ingres artworks, Students will use images from magazines to create a collage that changes a stereotype they often hear or see in popular culture.
  6. When they are finished, have students show their collages and discuss how their image challenges or deconstructs a stereotype.
Rembrandt Peale, Portrait of George Washington, undated
Located in Gallery 1

I wonder... Does this look familiar to you?

Many of George Washington’s portraits and profiles look the same. Take a look at a selection of George Washington’s portraits at the National Portrait Gallery in Washington, D.C. Washington Everywhere | National Portrait Gallery

Why do you think so may artists would use the same image over and over again? How did this contribute to new Americans learning about the founding of the United States?

Think of other portraits you have seen and look at other images below—what does each one tell us about the person featured? What has the artist shared with us about the subject of the painting?

SSP.01
Gather information from a variety of sources
SSP.05
Develop historical awareness by: Sequencing past, present, and future in chronological order and Understanding that things change over time
SS.4.08
Determine the importance of different groups to the American Revolution

Thomas Sully, Juvenile Ambition (also known as Grandfather’s Hobby), 1825
Located in Gallery 1
Fritz Scholder, Bicentennial Indian (from the Kent Bicentennial Portfolio: Spirit of Independence), 1974-1975
Located in Gallery 1
No items found.

Fritz Henry Lane, The "Constitution" in Boston Harbor, circa 1848-1849
Located in Gallery 1
Edward Moran, Burning of the Philadelphia, circa 1897
Located in Gallery 1
Currier & Ives, The Battle of Chattanooga, Tenn., Nov. 24th & 25th, 1863, undated
Not on view

Something to consider: STEM Connection

Artists were key players in documenting conflicts both to share with the public and to create a record of events. Do some research about the methods used in the artworks from the Hunter Museum. How would an etching or lithograph reach a different group of people than a painting? How would these inventions (and others like photography and film) affect the ways in which Americans learned about and responded to conflict?

SSP.01  Gather information from a variety of sources, including media and technology sources

No items found.

Asher Brown Durand, A Symbol, 1856
Located in Gallery 4
Thomas Allen, Evening Market, 1878-1879
Located in Gallery 4
Anna Mary Robertson Moses, Over the River to Grandma's House on Thanksgiving Day, 1947
Located in Gallery 14

Art can be an expression of identity and culture. Some communities have had these important personal representations threatened because they were different or were in opposition to new ideas being brought by expanding frontiers.

Look at the following 3 artworks that respond to the impact on the people and the land during the Westward Expansion of the United States.

Consider: what emotions do you see represented? Can you find examples of how it felt to lose something very important? Can you also find examples of resilience? What symbols, colors, and details did the artist use to share these emotions?

SS.3.22 Examine how American Indian cultures changed as a result of contact with European cultures, including: decreased population, spread of disease (smallpox), increased conflict, loss of territory, and increase in trade.

James Earle Fraser, End of the Trail, 1915 (cast 1965)
Located in Gallery 5
Laurie Brown, On the Edge, with Las Vegas, 1991
Located in Gallery 5
Kay WalkingStick, We're Still Dancing / Taos Variation, 2006
Located in Gallery 5

Cities also expanded rapidly during the mid 19th century. People came to the United States from all over the world! In cities like New York, many diverse groups of people lived very close together. Trains, trolleys, and streets showcased the many ways lives overlapped.

Look at the images below:  Find people who are working, resting, excited, nervous, and confident. What are they doing? Where do you think they are going?

SSP.03 Organize data from a variety of sources in order to: Compare and contrast multiple sources, Recognize differences between multiple accounts, and Frame appropriate questions for further investigation
R.1. Cornerstone Read closely to determine what a text says explicitly and to make logical inferences from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text.

Charles F. Blauvelt, The Immigrants, circa 1850
Located in Gallery 3
George Benjamin Luks, Allen Street, circa 1905
Located in Gallery 12
Thomas Hart Benton, The Wreck of the Ole '97, 1943
Located in Gallery 14

Located in Gallery 18

Listen to the song Poor Old Joe by Paul Robeson, a renowned singer during the early 1900s and the Harlem Renaissance. During the Great Migration, many African Americans travelled to cities in the North in search of new opportunities and equality while others remained and worked in agriculture in the South.  How do the lyrics connect to the artwork?*

*This is an artwork about migration by someone who was an immigrant (rather than a migrant) but has overlapping themes for both experiences as discussed above

Left: Hung Liu (1948-2021), I Hear Their Gentle Voice Calling, 2017, mixed media, multi-layer resin, 82 x 82 in. Toledo Museum of Art. Purchased with funds from the Libbey Endowment, Gift of Edward Drummond Libbey.

Francis Luis Mora, An Out of Town Trolley, 1916
Located in Gallery 12
Reginald Marsh, Subway - 14th Street, 1930
Located in Gallery 15

Activity: What Were They Thinking?

Immerse yourself in the world of Reginald Marsh's Subway - 14th Street and consider the variety of intersecting lives featured in the painting. Using the attached guide, write what do you think these New York City subway-goers were thinking at that moment in time.

Download activity
Immigrants have been crucial in shaping American history and culture. Many of America’s most celebrated artists were immigrants or the children of immigrants who chose to build their lives in the U.S.
Gajin Fujita, Fight, 2016
Located in Gallery 18
Jiha Moon, Yellow Wave, 2013
Located in Gallery 18

Look at the artworks above and at left: Think about how these two artists combine images from American culture with historical Japanese and Korean art to create something new.

Mimi Herbert, Celebration Flag, 2002-2004
Located in Gallery 1

Activity: Celebration Flag

Mimi Herbert left half of the work Celebration Flag blank, suggesting an opportunity for viewers to add their own ideas to complete the flag. Flags are used to identify a place using colors and symbols—The United States flag uses 50 stars for the 50 states, 13 stripes for the 13 original colonies, blue for justice, red for valor and bravery, and white for purity and innocence. Use the blank space provided in the activity below to share how you would complete Mimi’s flag.

Download activity
Audrey L. Flack, Fourth of July Still Life (from the Kent Bicentennial Portfolio: Spirit of Independance, 1975
Located in Gallery 13
Contemporary art continues to address themes of identity, conflict, movement and our changing world. Contemporary can be defined as “right now.” All artwork is contemporary at the time it is made and reflects the social, political and personal impacts of the artist’s environment. Look at the works below. How do these artworks reflect on history as well as the “right now”?
Carl Corey, 11672 - Oswaldo in the Studio, 2019
Not on view
Fabiola Jean-Louis, Madame Leroy, 2016
Not on view
Dawoud Bey, The Birmingham Project: Janice Kemp and Triniti Williams, 2012
Not on view
No items found.
Video thumbnail

Activity Examples

1

Bring some art to your inbox

Thank you! Your submission has been received!
Oops! Something went wrong while submitting the form.