AzizArt Jan2020

Aziz Art
Jan 2020
Etel Adnan
John Baldessari
Competition
Nabil Nahas
Hamid Hashemi

http://www.aziz-anzabi.com
1-John Anthony
Baldessari
14-Review by
Professor Hamid
Hashemi
16-Competition
17-Nabil Nahas
20-Etel Adnan
Director: Aziz Anzabi
Editor : Nafiseh Yaghoubi
Translator : Asra Yaghoubi
Research: Zohreh Nazari
Iranian art department:
Mohadese Yaghoubi

John Anthony Baldessari (June 17,
1931 – January 2, 2020)was an
American conceptual artist known
for his work featuring found
photography and appropriated
images. He lived and worked in
Santa Monica and Venice,
California.
Initially a painter, Baldessari began
to incorporate texts and
photography into his canvases in
the mid-1960s. In 1970 he began
working in printmaking, film,
video, installation, sculpture and
photography.He created
thousands of works which
demonstrate—and, in many cases,
combine—the narrative potential
of images and the associative
power of language within the
boundaries of the work of art.
His art has been featured in more
than 200 solo exhibitions in the
U.S. and Europe. His work
influenced that of Cindy Sherman,
David Salle, Annette Lemieux, and
Barbara Kruger among others.
Early life and career
Baldessari was born in National
City, California,to Hedvig Marie
Jensen (1896-1950), a Danish
nurse,and Antonio Baldessari
(1877-1976), an Italian salvage
dealer. Baldessari and his elder
sister were raised in Southern
California.He attended Sweetwater
High School and San Diego State
College.Between 1960 and 1984,
he was married to Montessorian
teacher Carol Ann Wixom;[9] they
have two children.
In 1959, Baldessari began teaching
art in the San Diego school system.
He kept teaching for nearly three
decades, in schools and junior
colleges and community colleges,
and eventually at the university
level. When the University of
California decided to open up a
campus in San Diego, the new head
of the Visual Art Department, Paul
Brach, asked Baldessari to be part
of the originating faculty in 1968. At
UCSD he shared an office with
David Antin.In 1970, Baldessari
moved to Santa Monica, where he
met many artists and writers, and
began teaching at CalArts. His first
classes included David Salle, Jack
Goldstein, Mike Kelley, Ken
Feingold, Tony Oursler, James
Welling, Barbara Bloom, Matt
Mullican, and Troy Brauntuch.While
at CalArts, Baldessari taught "the
infamous Post Studio class" 1

which he intended to "indicate
people not daubing away at
canvases or chipping away at
stone, that there might be some
other kind of class situation."The
class, which operated outside of
medium-specificity, was influential
in informing the context for
addressing a student's art practice
at CalArts, and established a
tradition of conceptual critique at
CalArts that was carried on by
artists such as Michael Asher.He
quit teaching at CalArts in 1986,
moving on to teach at UCLA, which
he continued until 2008.At UCLA,
his students included Elliott
Hundley and Analia Saban.
Early text paintings
By 1966, Baldessari was using
photographs and text, or simply
text, on canvas.His early major
works were canvas paintings that
were empty but for painted
statements derived from
contemporary art theory. An early
attempt of Baldessari's included
the hand-painted phrase "Suppose
it is true after all? WHAT THEN?"
(1967) on a heavily worked
painted surface. However, this
proved personally disappointing
because the form and method
conflicted with the objective use of
language that he preferred to
employ. Baldessari decided the
solution was to remove his own
hand from the construction of the
image and to employ a commercial,
lifeless style so that the text would
impact the viewer without
distractions. The words were then
physically lettered by sign painters,
in an unornamented black font. The
first of this series presented the
ironic statement "A TWO-
DIMENSIONAL SURFACE WITHOUT
ANY ARTICULATION IS A DEAD
EXPERIENCE" (1967).
Another work, Painting for Kubler
(1967–68) presented the viewer
theoretical instructions on how to
view it and on the importance of
context and continuity with
previous works. This work
referenced art historian George
Kubler's seminal book, The Shape
of Time: Remarks on the History of
Things. The seemingly legitimate
art concerns were intended by
Baldessari to become hollow and
ridiculous when presented in such a
purely self-referential manner.

Disowning of early work
In 1970, Baldessari and five friends
burnt all of the paintings he had
created between 1953 and 1966 as
part of a new piece, titled The
Cremation Project. The ashes from
these paintings were baked into
cookies and placed into an urn, and
the resulting art installation
consists of a bronze
commemorative plaque with the
destroyed paintings' birth and
death dates, as well as the recipe
for making the cookies. Through
the ritual of cremation Baldessari
draws a connection between
artistic practice and the human life
cycle. Thus the act of disavowal
becomes generative as with the
work of auto-destructive artist Jean
Tinguely.
Juxtaposing text with images
Baldessari is best known for works
that blend photographic materials
(such as film stills), take them out
of their original context and
rearrange their form, often
including the addition of words or
sentences. Related to his early text
paintings were his Wrong series
(1966–1968), which paired
photographic images with lines of
text from an amateur photography
book, aiming at the violation of a
set of basic "rules" on snapshot
composition. In one of the works,
Baldessari had himself
photographed in front of a palm
precisely so that it would appear
that the tree were growing out of
his head.
His photographic California Map
Project (1969) created physical
forms that resembled the letters in
"California" geographically near to
the very spots on the map that they
were printed. In the Binary Code
Series, Baldessari used images as
information holders by alternating
photographs to stand in for the onoff
state of binary code; one
example alternated photos of a
woman holding a cigarette parallel
to her mouth and then dropping it
away.
Another of Baldessari's series
juxtaposed an image of an object
such as a glass, or a block of wood,
and the phrase "A glass is a glass"
or "Wood is wood" combined with
"but a cigar is a good smoke" and
the image of the artist smoking a
cigar.

These directly refer to René
Magritte's The Treachery of
Images; the images similarly were
used to stand in for the objects
described. However, the series
also apparently refers to Sigmund
Freud's famous attributed
observation that "Sometimes a
cigar is just a cigar",as well as to
Rudyard Kipling's "… a woman is
only a woman, but a good cigar
is a smoke."
In "Double Bill", a 2012 series of
large inkjet prints,Baldessari
paired the work of two selected
artists (such as Giovanni di Paolo
with David Hockney, or Fernand
Léger with Max Ernst) on a single
canvas, further altering the
appropriated picture plane by
overlaying his own hand-painted
color additions. Baldessari then
names only one of his two artistic
"collaborators" on each canvas's
lower edge, such as …AND MANET
or …AND DUCHAMP
Arbitrary games
Baldessari has expressed that his
interest in language comes from
its similarities in structure to
games, as both operate by an
arbitrary and mandatory system of
rules. In this spirit, many of his
works are sequences showing
attempts at
accomplishing an arbitrary goal,
such as Throwing Three Balls in the
Air to Get a Straight Line (1973), in
which the artist attempted to do
just that, photographing the
results, and eventually selecting the
"best out of 36 tries", with 36 being
the determining number just
because that is the standard
number of shots on a roll of 35mm
film. The writer eldritch Priest ties
John Baldessari's piece Throwing
four balls in the air to get a square
(best of 36 tries) as an early
example of post-conceptual art.This
work was published in 1973 by a
young Italian publisher: Giampaolo
Prearo that was one of the first to
believe and invest in the work of
Baldessari. He printed two series
one in 2000 copies and a second
more precious reserved to the
publisher in 500 copies. Following
Baldessari's seminal statement "I
will not make any more boring Art",
he conceived the work The Artist
Hitting Various Objects with a Golf
Club (1972–73), composed of 30
photographs of the artist swinging
and hitting with a golf club objects
excavated from a dump,

as a parody of cataloging rather
than a thorough straight
classification.
Pointing
Much of Baldessari's work
involves pointing, in which he
tells the viewer not only what to
look at but how to make
selections and comparisons, often
simply for the sake of doing so.
Baldessari's Commissioned
Paintings (1969) series took the
idea of pointing literally, after he
read a criticism of conceptual art
that claimed it was nothing more
than pointing. Beginning with
photos of a hand pointing at
various objects, Baldessari then
hired amateur yet technically
adept artists to paint the pictures.
He then added a caption "A
painting by " to each finished
painting. In this instance, he has
been likened to a choreographer,
directing the action while
having no direct hand in it, and
these paintings are typically read
as questioning the idea of artistic
authorship. The amateur artists
have been analogized to sign
painters in this series, chosen for
their pedestrian methods that
were indifferent to what was being
painted.Baldessari critiques
formalist assessments of art in a
segment from his video How We Do
Art Now (1973), entitled
"Examining Three 8d Nails", in
which he gives obsessive attention
to minute details of the nails, such
as how much rust they have, or
descriptive qualities such as which
appears "cooler, more distant, less
important" than the others.
Dots
Circular adhesive dots covering up
the faces of photographed and
painted portraits are a prevailing
motif in Baldessari's work from the
mid-1980s onward.The artist
himself suspected that, despite the
broad array of approaches he's
taken over the course of his career,
he will be best remembered as "the
guy who puts dots over peoples
faces."Examples of the "dot
portraits" would include—for
example—Bloody Sunday (1987) or
Stonehenge with Two Persons
(2005), though these works are
numerous and it is difficult to
identify an exemplar. The dots in
these paintings evoke brightly
colored price-stickers sometimes
seen at garage sales,

thrift stores or placed on retail
items during a sale. Indeed, these
stickers appear to have been the
inspiration for the method..
Describing his initial intuitive leap
in this direction, Baldessari said, "I
just had these price stickers I was
using for something else, in some
graphic way and I put them on all
the faces and I just felt like it
leveled the playing field."The dotfaced
works may sometimes be
described as paintings, collages, or
may be released as print editions.
Prints
Baldessari began making prints in
the early 1970s and continued to
produce editions. He created his
first print – I Will Not Make Any
More Boring Art (1971) - as an
edition to raise funds for the Nova
Scotia College of Art and Design,
Halifax. The lithograph was created
in conjunction with the now
renowned exhibition for which – at
Baldessari's request – students
endlessly wrote the phrase "I will
not make any more boring art" on
the gallery walls. The artist has
since worked internationally with
premier publishers including Arion
Press of San Francisco, Brook
Alexander Editions of New York,
Cirrus Editions of Los Angeles,
Crown Point Press of San Francisco,
Edition Jacob Samuel of Santa
Monica, Gemini G.E.L. of Los
Angeles, Mixografia of Los Angeles,
Multiples, Multi Editions of Los
Angeles, Inc. of New York, and
Peter Blum Editions of New York.
His 1988 prints, The Fallen Easel
and Object (with Flaw),
represented a major shift in
Baldessari's approach to
presentation, allowing a more
complex relationship between his
found imagery. In both prints,
Baldessari expertly contrasts
unrelated photographs to suggest a
mysterious and/or ominous
undercurrent. In the 1990s
Baldessari began working with
Mixografia Workshop to create
three-dimensional prints utilizing
their unique process of printing
from metal molds. Baldessari's
interest in dimensionality has
carried over to recent editions from
Gemini G.E.L., including the Person
with Guitar series (2005) and the
print series Noses & Ears, Etc.
(2006–2007) in which screenprinted
images are constructed in
three layers on sintra with hand
painting.

A 2007 publication from Gemini is
God Nose, a cast aluminum piece
that is designed to hang from the
ceiling.Baldessari also contributed
to the 2008 Artists for Obama
portfolio, a set of prints in a
limited edition of 150 published
by Gemini G.E.L..
Performance and film
Originally conceived in 1970,
Unrealised Proposal for Cadavre
Piece would have visitors look
through a peep-hole and see a
dead male body laid out with its
feet towards them inside a
climate-controlled vitrine,made to
resemble Andrea Mantegna’s
painting, The Lamentation over
the Dead Christ (1480). Hans
Ulrich Obrist, the co-director of
London’s Serpentine Gallery and
Klaus Biesenbach, the director of
MoMA PS1, first attempted to
realize Baldessari’s idea in 2011
and the resulting paperwork of
failed attempts to procure a
willing male cadaver was
displayed in the exhibition "11
Rooms" at the Manchester
International Festival.
Sculpture
Baldessari created his first ever
sculpture, Beethoven's Trumpet
(with Ear) Opus # 127, 130, 131,
132, 133, 135 (2007), a series of 6
resin, fiberglass, bronze, aluminum,
and electronics components in the
form of a gigantic bronze trumpet
extending off an oversized ear
sculpted on the wall.When the
viewer speaks into the trumpet, the
sounds causes a short recital of a
phrase from a Beethoven string
quartet. Baldessari has gone on to
create sculptural works that often
incorporate resin, bronze, and
steel, such as the approximately 2.4
m carrot (Fake Carrot, 2016) and an
elongated bronze figure trapped
wearing a wooden barrel in a nod
to Giacometti (Giacometti
Variation, 2018).
Baldessari's film Police Drawing
documents a 1971 performance,
Police Drawing Project. In this
piece, the artist walked into a class
of art students who had never seen
him, set up a video camera to
document the proceedings, and left
the room. Subsequently, a police
artist entered and, based on the
students' testimony, sketched a
likeness of the artist.In the blackand-white
video I Am Making Art
(1971), Baldessari stands facing the
camera; for nearly 20 minutes

he strikes and then holds various
poses — crossing his arms over his
chest or swinging one arm out to
one side or pointing directly at the
lens, for example — and with each
new gesture, he states "I am
making art."In a 1972 tribute to
fellow artist Sol LeWitt, Baldessari
sang lines from LeWitt's thirty-five
statements on conceptual art
to the tune of popular songs.
Other films include Teaching a
Plant the Alphabet and the
Inventory videos, also from 1972.
Exhibitions
Baldessari has been in over 200
solo shows and 1,000 group
shows in his six-decade career.
He had his first gallery solo
exhibition at the Molly Barnes
Gallery in Los Angeles in 1968.His
first retrospective exhibition in
the U.S. in 1981 was mounted by
the New Museum of
Contemporary Art in New York
,and traveled to the Contemporary
Arts Center, Cincinnati, the CAM,
Houston, the Van Abbemuseum,
Eindhoven, and the Museum
Folkwang, Essen.
His work has since been exhibited
in:
Documenta V (1972) and VII (1982)
the Whitney Biennial (1983)
the Carnegie International (1985–
86)
the 47th Venice Biennial (1997)
Solo presentations of his work at
museums have included exhibitions
at:
the Albertina, Vienna (1999)
Sprengel Museum, Hannover
(1999–2000)
Museo d'Arte Moderna
Contemporanea di Trento e
Rovereto, Trento (2000–2001)
Museum Moderner Kunst Stiftung
Ludwig Wien, the Kunsthaus Graz,
and Deutsche Guggenheim Berlin
(2004)
Museo Jumex, Mexico City (2017)
Retrospectives of his work was
shown at MOCA, Los Angeles,
which traveled to SFMOMA, the
Hirshhorn Museum and Sculpture
Garden, the Whitney Museum and
the Musée d'Art Contemporain,
Montreal in 1990-92; at
Cornerhouse, Manchester, and
traveled to London, Stuttgart,
Ljubljana, Oslo, and Lisbon in 1995-
96 entitled

"This Not That"; and Pure Beauty
opened at the Tate Modern,
London, in 2009 and travelled to
MACBA, Barcelona; LACMA, Los
Angeles; and The Metropolitan
Museum of Art, New York, through
2011.
There was an "Artist's Choice:
John Baldessari" at the Museum
of Modern Art in 1994, and the
artist was invited to curate the
exhibition "Ways of Seeing: John
Baldessari Explores the Collection"
at the Hirshhorn Museum and
Sculpture Garden in 2006, and he
created the exhibition design for
"Magritte and Contemporary Art:
The Treachery of Images"
at the Los Angeles County
Museum of Art.
For the 2017/2018 season at the
Vienna State Opera he designed
the large-scale image (176 m²)
"Graduation" for the ongoing series
"Safety Curtain", conceived by
museum in progress.
Collections
Baldessari's works are part of major
public and private collections,
including the Museum of Modern
Art, the Guggenheim Museum, the
Los Angeles County Museum of Art,
the Hirshhorn Museum and
Sculpture Garden and the Broad
Collection.
Position in the art market
Baldessari set a personal auction
record when his acrylic-on-canvas
piece Quality Material (1966–1968)
was sold for $4,408,000 at
Christie's New York in 2007.
In 1972, Ileana Sonnabend agreed
to represent him worldwide. In
1999, after twenty-six years with
the Sonnabend Gallery, Baldessari
went to Marian Goodman.He has
also been represented by Margo
Leavin (1984-2013),[8] and Sprüth
Magers (since 1998)

@hamid_hashemihh555

Aziz Anzabi's style is unique in
comparison to the works of other
artists in Iran. His brave use of
browns which is present in most
of his works with the use of cold
colours produces a feeling of
imprisonment within the
viewer,illustrating the power of
Anzabi's works. Talking about the
techniques of his works, it is clear
Anzabi has clear strength in
perspective, maintaining a visual
balance and organising the scene
in his artworks. In all his works
it is obvious that there is clear
intention behind every placement
of each character within a
perspective that inspires beauty
within the artwork and
immediately captures the
attention of the audience. The
characters placed within a
reasonable equation with the
horizon line , while Anzabi plays
with the placement of the
characters within the painting,
without tiring the eye, allows the
viewer to focus on the individual
aspects of the work without
forgetting about the main
character. Furthermore, our
focus should be drawn to
Anzabi's intentions and thoughts
behind his works.Today art is
moving towards more innovation.
Anzabi's works which at first might
seem effortlessly created take a lot
of time, clearly illustrating the
artists talent. The likeable paradox
of looking at a creative creation in
the moment vs the time that has
been put into it, demonstrates the
value of thought process behind
every one of Anzabi's works. His
unique world view creates a
thought in the current times, which
he tries to convey to others, which
is why the audience can appreciate
the conceptualisation behind his
works. To conclude it is clear that
his four series are completely
created out of knowledge and
thoughts .His marriage of the
Surrealist style with the Qajar
symbols in a contemporary world
demonstrate his fluency on
society,politics, culture and history
which are present in his work.
Finally, if people are looking to
appreciate high value art in today's
Iran, which is filled with colours and
thoughts they have to see it in
Anzabi's works.
Review by Professor university of
art Hamid Hashemi
14

16

17

Nabil Nahas born 18 September
1949 in Beirut, Lebanon
is a Lebanese artist and painter
living in New York.
Biography
Nabil grew up in Cairo and Beirut,
before moving to the United States
for college to study at Louisiana
State University. He is the younger
brother of the Lebanese/Brazilian
businessman Naji Nahas.
He earned a BFA in 1971 and an
MFA from Yale University in 1973.
Encounters with contemporary
painters at Yale influenced
Nahas to move to New York after
graduation
Painting career
He exhibited regularly at important
New York galleries and received
critical acclaim for his work. Usually
working "in" an abstract idiom,
Nahas repeatedly reinvented
himself.
Nahas’ paintings have made use of
geometric motifs and decorative
patterns inspired Levantine art
architecture. Nahas also employs
traditional Western abstract
painting, pointillistic and
impressionistic techniques.
Sometimes he combines these
traditions in brightly colored
paintings, suggestive of the
richness of nature and of the
imagination. One of Nahas’ motifs
is starfish, sometimes cast in acrylic
paint, on top of which he layered
high-chroma acrylic paint.
In his most recent work, Nahas
introduced recognizable Lebanese
cedar, pine and olive trees in his
most direct references yet to his
native land. In 2018, Nahas was
commissioned to produce a cedar
painting to be featured on a new
stamp in Lebanon.

Solo Exhibitions
1973 Yale University, Connecticut
1977 Ohio State University, Ohio
1978 Robert Miller Gallery, New York
1979 Robert Miller Gallery, New York
1980 Robert Miller Gallery, New York
1987 Holly Solomon Gallery, New York
1988 Galerie Montenay, Paris
1988 Holly Solomon Gallery, New York
1994 Baldwin Gallery, Aspen, Colorado
1997 Sperone Westwater, New York
1998 Baumgartner Galleries, Washington, DC
1998 Milleventi, Milan
1999 Sperone Westwater, New York
2002 25th Bienal De São Paulo
2002 J. Johnson Gallery, Jacksonville Beach, Florida
2005 Galerie Xippas, Paris
2005 Sperone Westwater, New York
2009 Galerie Tanit, Munich, Germany
2010 FIAF Gallery, New York
2010 Beirut Exhibition Center (BEC), Beirut, Lebanon
2011 Lawrie Shabibi Gallery, Dubai, United Arab Emirates
2011 Ben Brown Fine Arts, London, England
2013 Sperone Westwater
2013 Lawrie Shabibi, Dubai, UAE
2014 Ben Brown Fine Arts, London
2016 Saleh Barakat Gallery, Beirut, Lebanon
2019 Saleh Barakat Gallery, Beirut, Lebanon

20

Etel Adnan
born 24 February 1925 in Beirut,
Lebanonis a Lebanese-American
poet, essayist, and visual artist. In
2003, Adnan was named "arguably
the most celebrated and
accomplished Arab American
author writing today" by the
academic journal MELUS: Multi-
Ethnic Literature of the United
States.
Besides her literary output, Adnan
continues to produce visual works
in a variety of media, such as oil
paintings, films and tapestries,
which have been exhibited at
galleries across the world.
She lives in Paris and Sausalito,
California.
Life
Etel Adnan was born in 1925 in
Beirut, Lebanon. Adnan's mother
was a Christian Greek from Smyrna
and her father was Muslim Syrian
and a petty officer.Though she grew
up speaking Greek and Turkish in a
primarily Arabic-speaking society,
she was educated at French
convent schools and French
became the language in which her
early work was first written. She
also studied English in her youth,
and most of her later work has
been first written in this language.
At 24, Adnan traveled to Paris
where she received a degree in
philosophy from the University of
Paris.She then traveled to the
United States where she continued
graduate studies at the University
of California, Berkeley and at
Harvard University.From 1952 to
1978, she taught philosophy of art
at the Dominican University of
California in San Rafael. She has
also lectured at many universities
throughout the United States.
Adnan returned from the US to
Lebanon and worked as a journalist
and cultural editor for Al-Safa
(newspaper0, a French-language
newspaper in Beirut. In addition,
she also helped build the cultural
section of the newspaper,
occasionally contributing cartoons
and illustrations. Her tenure at Al-
Safa was most notable for her
front-page editorials, commenting
on the important political issues of
the day.
In her later years, Adnan began to
openly identify as lesbian.

Visual art
Adnan also works as a painter, her
earliest abstract works were
created using a palette knife to
apply oil paint onto the canvas –
often directly from the tube – in
firm swipes across the picture's
surface. The focus of the
compositions often being a red
square, she remains interested in
the "immediate beauty of
colour".In 2012, a series of the
artist's brightly colored abstract
paintings were exhibited as a part
of documenta 13 in Kassel,
Germany.
In the 1960s, she began
integrating Arabic calligraphy into
her artworks and her books, such
as Livres d’Artistes . She recalls
sitting for hours copying words
from an Arabic grammar without
trying to understand the meaning
of the words. Her art is very much
influenced by early hurufiyya
artists including; Iraqi artist, Jawad
Salim, Palestinian writer and artist,
Jabra Ibrahim Jabra and Iraqi
painter Shakir Hassan al Said, who
rejected Western aesthetics and
embraced a new art form which
was both modern and yet
referenced
traditional culture, media and
techniques.
Inspired by Japanese leporellos,
Adnan also paints landscapes on to
foldable screens that can be
"extended in space like freestanding
drawings".
In 2014, a collection of the artist's
paintings and tapestries were
exhibited as a part of the Whitney
Biennial at the Whitney Museum of
American Art.
Adnan's retrospective at Mathaf:
Arab Museum of Modern Art in
Doha, titled "Etel Adnan In All Her
Dimensions" and curated by Hans
Ulrich Obrist, featured eleven
dimensions of Adnan's practice. It
included her early works, her
literature, her carpets, and other.
The show was launched in March
2014, accompanied by a 580-page
catalog of her work published
jointly by Mathaf and Skira. The
catalog was designed by artist Ala
Younis in Arabic and English, and
included text contributions by
Simone Fattal, Daniel Birnbaum,
Kaelen Wilson-Goldie, as well as six
interviews with Hans-Ulrich Obrist.

In 2017, Adnan's work was
included in "Making Space:
Women Artists and Postwar
Abstraction," a group exhibition
organized by MoMA, which
brought together prominent
artists including Ruth Asawa,
Gertrudes Altschul, Anni Albers,
Magdalena Abakanowicz, Lygia
Clark, and Lygia Pape, among
others.
In 2018, MASS MoCA hosted a
retrospective of the artist, titled
"A yellow sun A green sun a
yellow sun A red sun a blue sun",
including a selection of paintings
in oil and ink, as well as a reading
room of her written works.The
exhibition explored how the
experience of reading poetry
differs from the experience of
looking at a painting.
the artist's work as a shaman and
activist.
Awards and recognition
1977: Awarded the France-Pays
Arabes award for her novel Sitt
Marie Rose.
2010: Awarded the Arab American
Book Awards for Master of the
Eclipse.
2013: Her poetry collection Sea and
Fog won the California Book Award
for Poetry.
2013: Awarded the Lambda Literary
Award.
2014: Named a Chevalier des Arts
et des Lettres by the French
Government.
Adnan also has a RAWI Lifetime
Achievement Award from the
Radius of Arab-American Writers.
Published in 2018, "Etel Adnan", a
biography of the artist written by
Kaelen Wilson-Goldie, inquires into

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