Mohammad Sadoun


Born 1956 in Nasriyah a city in the south of Iraq , Mohammed Al sadoun is one of the few artists whom I have the chance to meet and be a friend with for a long time. I got to know Sadoun on a personal level and we became good friends. I can describe him in many different ways but one word may hold all the meanings, basically he is a good human being.

Sadoun was born to a Shi’ite mother and a Sunni father, he was also educated in Baghdad during the Ba’ath party regime therefore he grew up to understand that Iraq was never a nation that was structured on the division between people according to their religious believes. Iraqis were divided as groups of Saddam’s supporters or non supporters and Sadoun was the last group. The non supporter.

Like many Iraqis during Saddam’s ruling Sadoun rejected the goverment and fled Iraq In 1989 to live in Spain and then Japan. Sadoun remembers from that period, Iraq with the Golden age of art when Iraq produced great artists like Shaqer Hassan and many others. He still until now weeps over the destruction of the ancient Babylon civilization and the looting of the Iraqi Museums before the eyes of the American troops and their Europeans Allies. “as if the west wanted Iraq to lose it’s history and it’s roots”.
I believe he understands the magnitude of the destruction because he is an artist and an educator.

In his series of conceptual artworks ” burning doors of Baghdad”, Sadoun saw the Iraqi Iranian war as a ” destruction of life”. He also saw the burning doors of Baghdad as art with a very sad perception. He saw the doors before his eyes were burning when the Iranian bombed to his city.Again few years later history repeated itself with George Bush’s believe that it is in the best interest of America and the world to remove Saddam Hussein. In the process Iraq was ‘being destroyed’ and still it is until now.
In an Arabic Culture doors are the only way to enter some ones sanctuary. They are the only Passages to the individuals world. It is everyone holy place. Therefore to have the doors burned down, it means that the whole existence of ones being is vanished.

To the credit of other artists, Robert Overby (1935 – 1993) a California artist has used doors in the 70’s as an aesthetic objects in which he fund beauty in the old surface, the ruff structure and the pealed color of unwanted doors, but Sadoun used the doors to symbolize the distruction of a nation.

Naim Farhat

Marino Marini (Italian, 1901-1980)

Marino Marini (February 27, 1901 — August 6, 1980) was an Italian sculptor.

Born in Pistoia, Marini is particularly famous for his series of stylised equestrian statues, which feature a man with outstretched arms on a horse. Probably the most famous example is The Angel of the City at the Peggy Guggenheim Collection, Venice.

He attended the Accademia Di Belle Arti in Florence in 1917. Although he never abandoned painting, Marini devoted himself primarily to sculpture from about 1922. From this time his work was influenced by Etruscan art and the sculpture of Arturo Martini. Marini succeeded Martini as professor at the Scuola d’Arte di Villa Reale in Monza, near Milan, in 1929, a position he retained until 1940.

During this period Marini traveled frequently to Paris, where he associated with Massimo Campigli, Giorgio de Chirico, Alberto Magnelli, and Filippo Tibertelli de Pisis. In 1936 he moved to Tenero-Locarno, in Ticino Canton, Switzerland; during the following few years the artist often visited Zürich and Basel, where he became a friend of Alberto Giacometti, Germaine Richier and Fritz Wotruba. In 1936 he received the Prize of the Quadriennale of Rome. He accepted a professorship in sculpture at the Accademia di Belle Arti di Brera, Milan, in 1940.

In 1946 the artist settled permanently in Milan. He participated in Twentieth-Century Italian Art at the Museum of Modern Art in New York in 1944. Curt Valentin began exhibiting Marini’s work at his Buchholz Gallery in New York in 1950, on which occasion the sculptor visited the city and met Jean Arp, Max Beckmann, Alexander Calder, Lyonel Feininger, and Jacques Lipchitz. On his return to Europe, he stopped in London, where the Hanover Gallery had organized a solo show of his work, and there met Henry Moore. In 1951 a Marini exhibition traveled from the Kestner-Gesellschaft Hannover to the Kunstverein in Hamburg and the Haus der Kunst of Munich. He was awarded the Grand Prize for Sculpture at the Venice Biennale in 1952 and the Feltrinelli Prize at the Accademia dei Lincei in Rome in 1954. One of his monumental sculptures was installed in the Hague in 1959.

Retrospectives of Marini’s work took place at the Kunsthaus Zürich in 1962 and at the Palazzo Venezia in Rome in 1966. His paintings were exhibited for the first time at Toninelli Arte Moderna in Milan in 1963–64. In 1973 a permanent installation of his work opened at the Galleria d’Arte Moderna in Milan, and in 1978 a Marini show was presented at the National Museum of Modern Art in Tokyo.

Marini died in Viareggio. There is a museum dedicated to his work in Florence (in the former church of San Pancrazio); his work may also be found in museums in Italy and around the world, such as the Civica Galleria d’Arte Moderna in Milan and the Hirshhorn Museum and Sculpture Garden in Washington, D.C. Marini’s work is authenticated by the experts at the Marino Marini Foundation in Pistoia, Italy.


Fritz Wotruba (1907 – 1975)

Fritz Wotruba was born on 23rd of April 1907 in Vienna
As the youngest of eight children. He is considered as one of the most significant Austrian sculptors of the 20th century. Many of his statues are exhibited in parks in Vienna. His father was a tailor’s assistant from Bohemia and his mother a servant girl from Hungary. As a trainee in the engraver and blanking atelier of Josef Schatin he made an apprenticeship between 1921 and 1925. Afterwards he attended free evening classes in life drawing at the Austrian Art School of the Museum of Applied Art and Industry in Vienna in 1926. In the fall semester of 1926 he began his studies for sculpting in the art school. Until the end of his studies 1928 he was a student of Anton Hanak. In Hanak´s course he met his future wife Marian Fleck, the daughter of a Jewish merchant form Düsseldorf. He married her at 27th of December 1929. After he lived from 1938 to 1945 in exile in Switzerland he worked as a professor for the Academy of Fine Arts in Vienna. His greatest work was the planning of the Church of the Most Holy Trinity in Vienna which is named Wotruba Church, where he worked on until his death. Unfortunately he couldn’t experience the finishing of the church since he died unexpectedly in August 1975 in Vienna.

Cyrus Edwin Dallin

Artist: Cyrus Edwin Dallin (1861 - 1944) Titled: Sacajawea, cast from a model by Cyrus Dallin  Signed and date: inscribed '© C. E. Dallin 1915'  Medium: bronze with light brown patina on a marble base Size: height with base: 39in Farhat Art Museum Collection
Artist: Cyrus Edwin Dallin (1861 – 1944)
Titled: Sacajawea, cast from a model by Cyrus Dallin
Signed and date: inscribed ‘© C. E. Dallin 1915’
Medium: bronze with light brown patina on a marble base
Size: height with base: 39in
Farhat Art Museum Collection

Cyrus Dallin was born in Springville, Utah in 1861 the son of a covered wagon pioneer. The tribe of friendly Ute Indians that came each Spring and Fall to trade with the newly founded town of Springville was incentive to the young man to dedicate himself to Native American subjects. He befriended the Indian boys and grew to admire them and have a tremendous respect for their culture. By 1884 he was sent in Boston to study sculpture with Truman Howe Bartlett. His studies there, and at the Julien Academy in Paris further inspired him to execute his compositions relating the predicament of the American Indian. He was one of the first sculptors to recognize the plight of the American Indian and to devote his life and art to making dramatic and heroic monuments which proclaimed the Indian point of view.

He was very successful in his early years with a series known as the Indian cycle. This series was intended to show the cycle of the American Indian’s relation with the white man. It included his popular subjects, The Signal of Peace, The Medicine Man, The Protest and The Appeal to the Great Spirit. For Dallin it provided a means to utilize the preliminary studies that he made from visiting Buffalo Bill’s camp at Neuilly, France while he was studying in Paris in 1888. However, it also made a statement for the artist that commanded the attention of a broad collector ship as well. His creations were later commissioned in heroic size for institutions or the towns of Salt Lake City, Boston, Washington DC, Plymouth, Massachusetts, Kansas City, Philadelphia and others.

Throughout his life he was an eloquent defender of the American Indian. His intimate knowledge of them gave his work an authenticity and a reality heretofore unknown. His personal involvement with their cause gave his statures a dramatic impact which has retained its strength through the years. The simplicity of his sculptural style with its emphasis on the essentials rather than the decorative gives Dallin’s statures a special appeal to the aesthetic taste of the modern world.

Jack Zajac (1929- ) American

Farhat Cultural Center

Education : Scripps College and with Millard Sheets, Henry McFee and Sueo Serisawa; American Academy in Rome.

Holdings : Whitney Museum of American Art; Museum of Modern Art; Los Angeles Museum of Art; Pennsylvania Academy of Fine Arts; Israel Museum in Jerusalem; Hirshhorn Museum and Sculpture Garden.

Commissions : Reynolds Metals Company 1968; Wells Fargo Bank Plaza; University of California at Sant Cruz; Civic Center Mall in Inglewood, California; Civic Center Plaza at Huntington Beach, California.

Exhibits : Whitney Museum Annual 1959; Recent Sculpture USA at the Museum of Modern Art 1959; American painting at Virginia Museum of Fine Arts 1962; Fifty California Artists at the Whitney Museum of American Art 1962-1963; Pittsburgh International at the Carnegie 1965; retrospective at Newport Harbor Art Museum in Balboa, California 1965; Temple University in Rome 1969; Santa Barbara Museum 1975; Fine Arts Gallery in San Diego 1975; Stephen Wirtz Gallery in San Francisco…

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Donald Lipski (1947 – )

Farhat Cultural Center

Artwork images are copyright of the artist or assignee Title:Untitled (Broken wing #20), 1986 55" x 52" x 9.50" (139.70cm x 132.08cm x 24.13cm) Created: 1986 Electrical wire and leather belts mounted to steel frame Farhat Art Museum Collection Artwork images are copyright of the artist or assignee
Title:Untitled (Broken wing #20), 1986
55″ x 52″ x 9.50″
(139.70cm x 132.08cm x 24.13cm)
Created: 1986
Electrical wire and leather belts mounted to steel frame
Farhat Art Museum Collection

Biography from Butler Institute of American Art:
American sculptor. He received a BA from University of Wisconsin in 1970, and an MFA from Cranbrook Academy of Art, Bloomfield Hills, MI, in 1973. From 1973 to 1977 he was Assistant Professor of Art at The University of Oklahoma in Tulsa. While his first interests were in the video and behavioural art of the 1970s, he became known in the early 1980s for large installations of sculptures made from objects found discarded in the street.

In “Passing Time”, exhibited in 1980 at The Butler Institute, he employed various large and small objects to produce an installation with abstract formal concerns, but a light…

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