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dc.contributor.advisorNasser Rabbat.en_US
dc.contributor.authorTakesh, Suheylaen_US
dc.contributor.otherMassachusetts Institute of Technology. Department of Architecture.en_US
dc.date.accessioned2018-10-15T20:25:36Z
dc.date.available2018-10-15T20:25:36Z
dc.date.issued2018en_US
dc.identifier.urihttp://hdl.handle.net/1721.1/118568
dc.descriptionThesis: S.M., Massachusetts Institute of Technology, Department of Architecture, 2018.en_US
dc.description"June 2018." Cataloged from PDF version of thesis.en_US
dc.descriptionIncludes bibliographical references (pages 76-80).en_US
dc.description.abstractOut of Iraq's most noteworthy modernist artists, Mahmoud Sabri was perhaps the most attuned to human suffering. Subjects of political martyrdom, social injustice, and the plight of the dispossessed permeate his work throughout the 1950s and 1960s. The period of Iraq's rapid modernization and chaotic political transition from a monarchical regime to a republic in 1958, followed by a Ba'ath military coup in 1963, left the artist with no shortage of tragic events to reflect upon and respond to in his work. His Communist beliefs and a sensitivity to social and economic inequality guided his artistic vision, presenting the world through a lens of human pain caused by political repression. This thesis argues that Sabri's practice in the 1950s and 1960s combined an abhorrence of discrimination with a constant desire to reach the people, especially the working-class, through his art. In light of this, his engagement with Iraqi heritage was not conceived around a formalist or a historicized line of inquiry, but around an exploration of the deep roots of a national identity through popular practices and vernacular customs. As an active contributor to modernist experiments in Baghdad's artistic milieu, Sabri drew from local traditions associated with the notion of martyrdom in the 1950s, which was bolstered by his turning to international iconographies of pain and oppression in the 1960s, to create realist images that condemned injustice exercised by the country's ruling elite. A paradoxical figure in many ways, Sabri combined in his work an interest in the local and the universal, the religious and the secular, in Iraq's past and its political present. Being both a man of the people and a member of the intelligentsia, an Iraqi and a long-time exile, an outspoken supporter of realism and a later convert to abstractionism, Sabri was no stranger to contradiction and internal conflict. What remained consistent in his early practice, however, was a political drive and a heightened sensitivity to the plight of the oppressed, which was layered with a belief that an answer to the predicaments of the disadvantaged could lie in Communism.en_US
dc.description.statementofresponsibilityby Suheyla Takesh.en_US
dc.format.extent127 pagesen_US
dc.language.isoengen_US
dc.publisherMassachusetts Institute of Technologyen_US
dc.rightsMIT theses are protected by copyright. They may be viewed, downloaded, or printed from this source but further reproduction or distribution in any format is prohibited without written permission.en_US
dc.rights.urihttp://dspace.mit.edu/handle/1721.1/7582en_US
dc.subjectArchitecture.en_US
dc.titleIconographies of pain in Mahmoud Sabri's worken_US
dc.title.alternativeDepictions of martyrdom in Mahmoud Sabri's worken_US
dc.typeThesisen_US
dc.description.degreeS.M.en_US
dc.contributor.departmentMassachusetts Institute of Technology. Department of Architecture.en_US
dc.identifier.oclc1055764445en_US


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