{"id":1820,"date":"2023-01-07T14:50:14","date_gmt":"2023-01-07T14:50:14","guid":{"rendered":"https:\/\/ghadaamer.com\/?p=1820"},"modified":"2023-10-09T16:23:30","modified_gmt":"2023-10-09T16:23:30","slug":"the-screen-ghada-amers-curtain-call-for-domesticity","status":"publish","type":"post","link":"https:\/\/ghadaamer.com\/sculpture\/the-screen-ghada-amers-curtain-call-for-domesticity\/","title":{"rendered":"The Screen: Ghada Amer\u2019s curtain call for domesticity"},"content":{"rendered":"\n
The shadowy outline of the two backlight figures gives them an air of mystery: these lovers\u2019 stories are as opaque as their silhouettes. The functional title of the artwork, The Screen<\/em>, does not give their story away either and leaves the viewer wondering who are these two <\/em>? Are they leaning in for a kiss? Are they exchanging confidences? Or — as we cannot see their faces — could something else entirely be going on? <\/p>\n\n\n\n The posture and profiles of the figures on The Screen<\/em> recall lifestyle images used by Ghada Amer in her work in the early 1990s and may provide some clues. In 1991 Ghada Amer began creating works that appeared to be line drawings of women or couples, but were actually neatly stitched embroidery on canvases. The act of declaring these works paintings, despite the fact they were created with thread instead of oils or acrylic paints was the start of what Ghada Amer has called her \u201cpainting manifesto\u201d and the development of her own feminine language of painting (1).<\/p>\n\n\n