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Available in 19 languages" > <label id="p-lang-btn-label" for="p-lang-btn-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--action-progressive mw-portlet-lang-heading-19" aria-hidden="true" ><span class="vector-icon mw-ui-icon-language-progressive mw-ui-icon-wikimedia-language-progressive"></span> <span class="vector-dropdown-label-text">19 languages</span> </label> <div class="vector-dropdown-content"> <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li class="interlanguage-link interwiki-ar mw-list-item"><a href="https://ar.wikipedia.org/wiki/%D8%BA%D8%A7%D8%AF%D8%A9_%D8%B9%D8%A7%D9%85%D8%B1" title="غادة عامر – Arabic" lang="ar" hreflang="ar" data-title="غادة عامر" data-language-autonym="العربية" data-language-local-name="Arabic" class="interlanguage-link-target"><span>العربية</span></a></li><li class="interlanguage-link interwiki-cy mw-list-item"><a href="https://cy.wikipedia.org/wiki/Ghada_Amer" title="Ghada Amer – Welsh" lang="cy" hreflang="cy" data-title="Ghada Amer" data-language-autonym="Cymraeg" data-language-local-name="Welsh" class="interlanguage-link-target"><span>Cymraeg</span></a></li><li class="interlanguage-link interwiki-de mw-list-item"><a href="https://de.wikipedia.org/wiki/Ghada_Amer" title="Ghada Amer – German" lang="de" hreflang="de" data-title="Ghada Amer" data-language-autonym="Deutsch" data-language-local-name="German" class="interlanguage-link-target"><span>Deutsch</span></a></li><li class="interlanguage-link interwiki-es mw-list-item"><a href="https://es.wikipedia.org/wiki/Ghada_Amer" title="Ghada Amer – Spanish" lang="es" hreflang="es" data-title="Ghada Amer" data-language-autonym="Español" data-language-local-name="Spanish" class="interlanguage-link-target"><span>Español</span></a></li><li class="interlanguage-link interwiki-fa mw-list-item"><a href="https://fa.wikipedia.org/wiki/%D8%BA%D8%A7%D8%AF%D9%87_%D8%B9%D8%A7%D9%85%D8%B1" title="غاده عامر – Persian" lang="fa" hreflang="fa" data-title="غاده عامر" data-language-autonym="فارسی" data-language-local-name="Persian" class="interlanguage-link-target"><span>فارسی</span></a></li><li class="interlanguage-link interwiki-fr mw-list-item"><a href="https://fr.wikipedia.org/wiki/Ghada_Amer" title="Ghada Amer – French" lang="fr" hreflang="fr" data-title="Ghada Amer" data-language-autonym="Français" data-language-local-name="French" class="interlanguage-link-target"><span>Français</span></a></li><li class="interlanguage-link interwiki-hy mw-list-item"><a href="https://hy.wikipedia.org/wiki/%D4%B3%D5%A1%D5%A4%D5%A1_%D4%B1%D5%B4%D5%A5%D6%80" title="Գադա Ամեր – Armenian" lang="hy" hreflang="hy" data-title="Գադա Ամեր" data-language-autonym="Հայերեն" data-language-local-name="Armenian" class="interlanguage-link-target"><span>Հայերեն</span></a></li><li class="interlanguage-link interwiki-ig mw-list-item"><a href="https://ig.wikipedia.org/wiki/Ghada_Amer" title="Ghada Amer – Igbo" lang="ig" hreflang="ig" data-title="Ghada Amer" data-language-autonym="Igbo" data-language-local-name="Igbo" class="interlanguage-link-target"><span>Igbo</span></a></li><li class="interlanguage-link interwiki-it mw-list-item"><a href="https://it.wikipedia.org/wiki/Ghada_Amer" title="Ghada Amer – Italian" lang="it" hreflang="it" data-title="Ghada Amer" data-language-autonym="Italiano" data-language-local-name="Italian" class="interlanguage-link-target"><span>Italiano</span></a></li><li class="interlanguage-link interwiki-he mw-list-item"><a href="https://he.wikipedia.org/wiki/%D7%A8%D7%90%D7%93%D7%94_%D7%A2%D7%90%D7%9E%D7%A8" title="ראדה עאמר – Hebrew" lang="he" hreflang="he" data-title="ראדה עאמר" data-language-autonym="עברית" data-language-local-name="Hebrew" class="interlanguage-link-target"><span>עברית</span></a></li><li class="interlanguage-link interwiki-ht mw-list-item"><a href="https://ht.wikipedia.org/wiki/Ghada_Amer" title="Ghada Amer – Haitian Creole" lang="ht" hreflang="ht" data-title="Ghada Amer" data-language-autonym="Kreyòl ayisyen" data-language-local-name="Haitian Creole" class="interlanguage-link-target"><span>Kreyòl ayisyen</span></a></li><li class="interlanguage-link interwiki-arz mw-list-item"><a href="https://arz.wikipedia.org/wiki/%D8%BA%D8%A7%D8%AF%D9%87_%D8%B9%D8%A7%D9%85%D8%B1" title="غاده عامر – Egyptian Arabic" lang="arz" hreflang="arz" data-title="غاده عامر" data-language-autonym="مصرى" data-language-local-name="Egyptian Arabic" class="interlanguage-link-target"><span>مصرى</span></a></li><li class="interlanguage-link interwiki-no mw-list-item"><a href="https://no.wikipedia.org/wiki/Ghada_Amer" title="Ghada Amer – Norwegian Bokmål" lang="nb" hreflang="nb" data-title="Ghada Amer" data-language-autonym="Norsk bokmål" data-language-local-name="Norwegian Bokmål" class="interlanguage-link-target"><span>Norsk bokmål</span></a></li><li class="interlanguage-link interwiki-pl mw-list-item"><a href="https://pl.wikipedia.org/wiki/Ghada_Amer" title="Ghada Amer – Polish" lang="pl" hreflang="pl" data-title="Ghada Amer" data-language-autonym="Polski" data-language-local-name="Polish" class="interlanguage-link-target"><span>Polski</span></a></li><li class="interlanguage-link interwiki-ru mw-list-item"><a href="https://ru.wikipedia.org/wiki/%D0%90%D0%BC%D0%B5%D1%80,_%D0%93%D0%B0%D0%B4%D0%B0" title="Амер, Гада – Russian" lang="ru" hreflang="ru" data-title="Амер, Гада" data-language-autonym="Русский" data-language-local-name="Russian" class="interlanguage-link-target"><span>Русский</span></a></li><li class="interlanguage-link interwiki-fi mw-list-item"><a href="https://fi.wikipedia.org/wiki/Ghada_Amer" title="Ghada Amer – Finnish" lang="fi" hreflang="fi" data-title="Ghada Amer" data-language-autonym="Suomi" data-language-local-name="Finnish" class="interlanguage-link-target"><span>Suomi</span></a></li><li class="interlanguage-link interwiki-sv mw-list-item"><a href="https://sv.wikipedia.org/wiki/Ghada_Amer" title="Ghada Amer – Swedish" lang="sv" hreflang="sv" data-title="Ghada Amer" data-language-autonym="Svenska" data-language-local-name="Swedish" class="interlanguage-link-target"><span>Svenska</span></a></li><li class="interlanguage-link interwiki-ta mw-list-item"><a href="https://ta.wikipedia.org/wiki/%E0%AE%95%E0%AE%BE%E0%AE%9F%E0%AE%BE_%E0%AE%8F%E0%AE%AE%E0%AE%B0%E0%AF%8D" title="காடா ஏமர் – Tamil" lang="ta" hreflang="ta" data-title="காடா ஏமர்" data-language-autonym="தமிழ்" data-language-local-name="Tamil" class="interlanguage-link-target"><span>தமிழ்</span></a></li><li class="interlanguage-link interwiki-tr mw-list-item"><a href="https://tr.wikipedia.org/wiki/Ghada_Amer" title="Ghada Amer – Turkish" lang="tr" hreflang="tr" data-title="Ghada Amer" data-language-autonym="Türkçe" data-language-local-name="Turkish" class="interlanguage-link-target"><span>Türkçe</span></a></li> </ul> 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May 22, 1963, in <a href="/wiki/Cairo" title="Cairo">Cairo</a>, <a href="/wiki/Egypt" title="Egypt">Egypt</a><sup id="cite_ref-Phaidon_Editors_1-0" class="reference"><a href="#cite_note-Phaidon_Editors-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup>) is a contemporary artist, much of her work deals with issues of gender and sexuality.<sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> Her most notable body of work involves highly layered embroidered paintings of women's bodies referencing pornographic imagery.<sup id="cite_ref-3" class="reference"><a href="#cite_note-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> </p><p>Amer had previously emigrated from Egypt to France<sup id="cite_ref-4" class="reference"><a href="#cite_note-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> at the age of 11 and was educated in <a href="/wiki/Paris" title="Paris">Paris</a> and <a href="/wiki/Nice" title="Nice">Nice</a>.<sup id="cite_ref-:0_5-0" class="reference"><a href="#cite_note-:0-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-:3_6-0" class="reference"><a href="#cite_note-:3-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> She is currently living and working in <a href="/wiki/New_York_City" title="New York City">New York City</a>. </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Early_life_and_education">Early life and education</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Ghada_Amer&action=edit&section=1" title="Edit section: Early life and education"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Amer was born in Cairo, Egypt she has lived in France for twenty years, and doesn't consider herself singularly Egyptian, African or French.<sup id="cite_ref-:5_7-0" class="reference"><a href="#cite_note-:5-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> When she was growing up in Cairo, her mother, an <a href="/wiki/Agronomist" class="mw-redirect" title="Agronomist">agronomist</a>, made business suits for herself, and local women would often gather to sew.<sup id="cite_ref-8" class="reference"><a href="#cite_note-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> Amer's father, Mohamed Amer, was a <a href="/wiki/Diplomat" title="Diplomat">diplomat</a> and moved the family many times, not only to France but to such countries as <a href="/wiki/Libya" title="Libya">Libya</a>, <a href="/wiki/Morocco" title="Morocco">Morocco</a> and <a href="/wiki/Algeria" title="Algeria">Algeria</a>. For her, this exposure to different cultures are ultimately the most important biographical details needed to understand her art.<sup id="cite_ref-:5_7-1" class="reference"><a href="#cite_note-:5-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> Amer's art practice began in a fascination with sentimental, romantic postcards and illustrations. Her favored theme remains idyllic images of women in love.<sup id="cite_ref-:5_7-2" class="reference"><a href="#cite_note-:5-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> After having total art freedom in Egypt, Amer decided to become an artist after experiencing what it is like to have your art controlled. ‘We had to learn perspective, representation, and it was completely controlled,’<sup id="cite_ref-:7_9-0" class="reference"><a href="#cite_note-:7-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> Ghada stated in an interview. </p><p>Amer studied at the <a href="/wiki/Villa_Arson" title="Villa Arson">Villa Arson</a> École Nationale Supérieure d’Art in <a href="/wiki/Nice" title="Nice">Nice</a>, <a href="/wiki/France" title="France">France</a> where she received her B.F.A. degree in painting in 1986 and in 1989, she received her M.F.A. degree from the same institution.<sup class="noprint Inline-Template Template-Fact" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed"><span title="This claim needs references to reliable sources. (September 2020)">citation needed</span></a></i>]</sup> She met Iranian artist Reza Farkhondeh while studying in France, they became friends and later worked together.<sup id="cite_ref-:10_10-0" class="reference"><a href="#cite_note-:10-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-:11_11-0" class="reference"><a href="#cite_note-:11-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> While receiving her degrees, Amer studied abroad at the <a href="/wiki/School_of_the_Museum_of_Fine_Arts_at_Tufts" title="School of the Museum of Fine Arts at Tufts">School of the Museum of Fine Arts at Tufts</a> in Boston, Massachusetts in 1987.<sup id="cite_ref-:6_12-0" class="reference"><a href="#cite_note-:6-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> She also studied at <a href="/wiki/Institut_des_hautes_%C3%A9tudes_en_arts_plastiques" title="Institut des hautes études en arts plastiques">Institut des hautes études en arts plastiques</a> for some time as well.<sup id="cite_ref-:6_12-1" class="reference"><a href="#cite_note-:6-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> In 1996, Amer and Farkhondeh moved to New York City.<sup id="cite_ref-:12_13-0" class="reference"><a href="#cite_note-:12-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Work">Work</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Ghada_Amer&action=edit&section=2" title="Edit section: Work"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>A multimedia artist, Amer is known for her abstract canvases that combine painting with needlework.<sup id="cite_ref-:0_5-1" class="reference"><a href="#cite_note-:0-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> Her work frequently addresses issues of femininity, sexuality, postcolonial identities, and Islamic culture.<sup id="cite_ref-:9_14-0" class="reference"><a href="#cite_note-:9-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> She is most famous for her large-scale paintings wherein embroidered images of women in autoerotic poses (traced from porn magazines) are layered over abstract monochromatic drips and washes of acrylic paint.<sup id="cite_ref-15" class="reference"><a href="#cite_note-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> </p><p>As a student in the BFA and MFA programs, she was informed that her art school's painting classes were reserved for male students, at which point she became committed to finding her own feminine artistic language with which to speak about women, as a woman.<sup id="cite_ref-:6_12-2" class="reference"><a href="#cite_note-:6-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> “It was then that, suddenly, I realized I was a woman. I decided to speak about this – and to make painting at the same time. This is what I’m doing. It’s painting with the conscience that I’m a woman.’<sup id="cite_ref-:7_9-1" class="reference"><a href="#cite_note-:7-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> Innovative and provocative, she used sewing and embroidery—skills learned from her mother and grandmother and typically associated as "women's work"—as a medium for celebrating and asserting women into the art world. Amer's approach to mediums and subjects from an emphatically female perspective manifest itself throughout her career.<sup id="cite_ref-:6_12-3" class="reference"><a href="#cite_note-:6-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> </p><p>She specifically looks for women who are posing erotically and/or involved in explicit pornographic acts. Once she makes her selection, she traces the women onto <a href="/wiki/Vellum" title="Vellum">Vellum</a> paper with pencil for future use, when she eventually transfers them onto a canvas or uses them as source material for works on paper.<sup id="cite_ref-:6_12-4" class="reference"><a href="#cite_note-:6-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> Her most prominent and signature formal style is <a href="/wiki/Embroidery" title="Embroidery">Embroidery</a>, a medium taken up by feminist artist since the 1970s as a political tool.<sup id="cite_ref-:6_12-5" class="reference"><a href="#cite_note-:6-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> Her work is feminist,<sup id="cite_ref-:3_6-1" class="reference"><a href="#cite_note-:3-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-Third_Text_16-0" class="reference"><a href="#cite_note-Third_Text-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> subverting the traditionally masculine genre of painting, and its rejection of the norms of female sexuality.<sup id="cite_ref-Third_Text_16-1" class="reference"><a href="#cite_note-Third_Text-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> Her oeuvre includes examples of painting, drawing, <a href="/wiki/Sculpture" title="Sculpture">sculpture</a>, performance, and <a href="/wiki/Installation_art" title="Installation art">installation</a>.<sup id="cite_ref-Border_Crossings_17-0" class="reference"><a href="#cite_note-Border_Crossings-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> When Amer returned to France from Boston, she became fascinated with <a href="/wiki/Rosemarie_Trockel" title="Rosemarie Trockel">Rosemarie Trockel</a>. “She had successfully invented a language for women using knitting, and I liked her use of commercial and political symbols, as well.”<sup id="cite_ref-:7_9-2" class="reference"><a href="#cite_note-:7-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> Amer's multiple geographic relocations are reflected in her work. Her painting is influenced by the idea of shifting meanings and the appropriation of the languages of abstraction and expressionism. Her work adopts "politically incorrect" imagery for subversive purposes. </p> <div class="mw-heading mw-heading3"><h3 id="RFGA">RFGA</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Ghada_Amer&action=edit&section=3" title="Edit section: RFGA"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Together friends Amer and Reza Farkhondeh collaborated on art drawings and prints, under the name "RFGA" starting in the early 2000s.<sup id="cite_ref-:11_11-1" class="reference"><a href="#cite_note-:11-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-:10_10-1" class="reference"><a href="#cite_note-:10-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> Amer would create visual explorations of female sexuality, and Farkhondeh would add imagery of forms and the beauty of nature.<sup id="cite_ref-:12_13-1" class="reference"><a href="#cite_note-:12-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> The collaboration came about after Farkhondeh painted on one of Amer's canvases, she liked his contribution and while it started as a game it later turned into a mutual agreement.<sup id="cite_ref-:10_10-2" class="reference"><a href="#cite_note-:10-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Embroidery_paintings">Embroidery paintings</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Ghada_Amer&action=edit&section=4" title="Edit section: Embroidery paintings"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>In 1991, Amer's <i>Cinq Femmes Au Travail</i> embroidery stitching techniques to show women performing tasks that had been advertised for women in magazines—childcare, house cleaning, and cooking. The quadriptych is constructed as neatly stitched line drawings on unprimed canvases.<sup id="cite_ref-:7_9-3" class="reference"><a href="#cite_note-:7-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> This was a turning point for Amer because by using embroidery and gel on canvas as her medium, she was developing her own feminine language of painting.<sup id="cite_ref-:7_9-4" class="reference"><a href="#cite_note-:7-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> <i>Cinq Femmes Au Travail</i> begins a series of narrative works that present women performing daily chores or <a href="/wiki/Quotidian" title="Quotidian">quotidian</a> activities, demonstrating Amer's continued interest in the themes of “bored women” as she characterizes it.<sup id="cite_ref-:6_12-6" class="reference"><a href="#cite_note-:6-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> In 1993, Amer's interest in the subject of women in domestic imagery ended abruptly.<sup id="cite_ref-:7_9-5" class="reference"><a href="#cite_note-:7-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> A year later, she began to depict pornographic subject matter, images of naked women in ecstasy or with other women to overthrow ideas of exploitation and objectification that have long been associated with these images. “Sexuality has always been on my mind because one should not forget that I come from a society where sexuality is completely taboo and never mentioned. And since everything forbidden is always desired, I have always been attracted to this notion. Therefore, talking about love in my art implied a very sexual aspect.”<sup id="cite_ref-18" class="reference"><a href="#cite_note-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> In 2000, she continued her work extracting images of women from magazines such as <i>Hustler</i> and <i>Club.</i> In works such as <i>Coleurs Noires</i> and <i>The Slightly Smaller Colored Square Painting</i> she traced and stitched serially masturbating or bound figures and partially covered the erotic images behind tangled threads and gel medium. She explained that "pornography is the starting point of the image, then it becomes something else." Her radical re-imagination of pornography, which comes from a tradition of being made by men for men, show<sup id="cite_ref-:4_19-0" class="reference"><a href="#cite_note-:4-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> s erotic female desires and fantasies.<sup id="cite_ref-:4_19-1" class="reference"><a href="#cite_note-:4-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> A second-order transformation in Amer's work, which might be linked with her early interest in the politics and aesthetics of the written and printed text, began with sculptural objects and installations covered with repetitive embroidered texts.<sup id="cite_ref-:8_20-0" class="reference"><a href="#cite_note-:8-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Sculpture">Sculpture</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Ghada_Amer&action=edit&section=5" title="Edit section: Sculpture"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Although best known for her embroidered canvases, Amer also works with printing, drawing, sculpture and installation. For example, in 2001, Ghada Amer created <i>Encyclopedia of Pleasure</i>, a sculptural installation that features fifty-four boxes, covered in canvas, and embroidered with texts about women beauty and sexuality. The installation shares a name with a twelfth-century Arabic text by Ali Ibn Nasr Al Katib,<sup id="cite_ref-:3_6-2" class="reference"><a href="#cite_note-:3-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> a literary and medical manual that catalogues sexual pleasure for both men and women that was produced during a progressive period of Islamic culture, but the <a href="/wiki/Encyclopedia_of_Pleasure" title="Encyclopedia of Pleasure">Encyclopedia of Pleasure</a> is forbidden today. To make the work, Amer selected passages of the text that talk about women sexuality and beauty. She then embroidered a gold thread on fifty-four stacked canvas-covered boxes.<sup id="cite_ref-:4_19-2" class="reference"><a href="#cite_note-:4-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> Another example of her sculpture is <i>100 Words of Love</i>. It is a globular, openwork sculpture the structure of which consists of a web of flat, linear, flowing elements that are, in fact, one hundred different words for love in the Arabic language, written also in the Arabic script.<sup id="cite_ref-:8_20-1" class="reference"><a href="#cite_note-:8-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> It is perhaps appropriate, given that Amer is still at an early stage of exploring the possibilities of her new sculptural language, that 100 Words of Love, Baiser #1 and Baiser #2, and Blue Bra Girls propose different ways in which the manipulation of line, shape, and color can yield an infinite range of compositional and design effects, even within the limitation of globular form.<sup id="cite_ref-:8_20-2" class="reference"><a href="#cite_note-:8-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> Following well-established feminist art practices of the 1970s, she translated this quintessentially women's craft into an elite art form that often shares, within the compositional space of the canvas, a fraught optical neighborliness with abstract painterly gestures. The facture and medium of her new sculpture demands a different perspective on this subject, precisely because the casting technique it requires is a traditionally male craft.<sup id="cite_ref-:8_20-3" class="reference"><a href="#cite_note-:8-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> To be sure, her use of resin, stainless steel, and bronze casting to make these sculptures does not suggest the kind of dramatic intervention in the gendering of the arts that her abstract expressionist gestures did in her canvases a decade ago.<sup id="cite_ref-:8_20-4" class="reference"><a href="#cite_note-:8-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Installations">Installations</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Ghada_Amer&action=edit&section=6" title="Edit section: Installations"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>She has created public works such as <i>Love Park</i> (1999) in Santa Fe, New Mexico. It is one of her garden projects, a series of outdoor installations she began as an attempt to translate her idea of “women’s work” from embroidery on canvas to an outdoor, sculptural equivalent.<sup id="cite_ref-:6_12-7" class="reference"><a href="#cite_note-:6-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> For example, <i>Women’s Qualities</i> consists of floral inscriptions in eight flowerbeds on the grounds of the Metropolitan Art Museum. Amer asked people passing by the museum what qualities they would attribute to women. Words like “docile,” “sweet,” “long-lashed,” and “virgin” were a few of the most common adjectives used to describe “women’s qualities.”<sup id="cite_ref-:6_12-8" class="reference"><a href="#cite_note-:6-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> Following the events of <a href="/wiki/September_11_attacks" title="September 11 attacks">September 11, 2001</a>, Amer's work began to explore the charged topic of Islamic terrorism. <i>Language of Terror</i> (2005) consisted of a bright pink wallpaper adorned with gold crowns and a lattice pattern into which she inscribed numerous definitions of the word terrorism. In the Arabic language, there is no definition of terrorism. She made plates, cups, napkins, and tray liners with the phrase "Terrorism is not indexed in Arabic dictionaries." <i>La Salon Courbé</i> (2007) dealt with similar controversial topics. She installed an elaborately decorated drawing room typically found in elegant homes across Egypt. However, the domestic scene was not as inviting as it seemed. The pattern of the carpet was inscribed with the only Arabic meaning of the word terrorism that Amer could find.<sup id="cite_ref-:4_19-3" class="reference"><a href="#cite_note-:4-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> Amer's adoption of naked or semi-naked female figures as a recurring pictorial element in her work assumes an ideological and political dimension that is anything but discreet or ambiguous.<sup id="cite_ref-:2_21-0" class="reference"><a href="#cite_note-:2-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> </p><p>Over her career spanning more than twenty years, Amer's work as addressed the subject of women and stereotypes associated with women, as well as the American-Muslim identity. Despite the differences between her Islamic upbringing and Western models of behavior, Amer's work addresses universal problems, such as the oppression of women, which are prevalent in many cultures. “ I was in Cairo in the midst of August [1988] and I was downtown with my mother when I saw a magazine called Venus. It attracted my attention because the cover read: "Special Edition for Veiled Women - month of August." The entire 1980s was a big draw back for women's rights in Egypt. Each summer I was there I witnessed the rising number of veiled women. Women in the street, then my relatives, my aunts, mother, cousins, friends, every women I know was choosing to return to the traditional veil. It was very upsetting,”<sup id="cite_ref-:2_21-1" class="reference"><a href="#cite_note-:2-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> Ghada states. Amer's work follows a long modernist tradition of critical practices against <a href="/wiki/Veiling" class="mw-redirect" title="Veiling">veiling</a>, which, as Qassem Amin, Huda Sha'rawi, and Duriyah Shafiq argued decades before, represents a most visible symbol of the forces arrayed against women's emancipation.<sup id="cite_ref-:2_21-2" class="reference"><a href="#cite_note-:2-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> By encouraging women to use their bodies as vehicles of pleasure and instruments of power, Amer allies herself with a brand of gender politics whose very name remains hotly contested. Sometimes referred to as <a href="/wiki/Third-wave_feminism" title="Third-wave feminism">Third Wave Feminism</a> or <a href="/wiki/Postfeminism" title="Postfeminism">Postfeminism</a>, or decried as no feminism at all, the wish to reclaim the sexuality of the female body for female pleasure has been gaining currency in Anglo-American gender criticism. Hoping to move past the aesthetic tradition (first identified by <a href="/wiki/Laura_Mulvey" title="Laura Mulvey">Laura Mulvey</a>) in which men are the bearers of the erotic gaze and women merely its object, critics have sought to reintegrate sexuality into the female subject. In the 1990s, <a href="/wiki/Johanna_Drucker" title="Johanna Drucker">Johanna Drucker</a>, <a href="/wiki/Amelia_Jones" title="Amelia Jones">Amelia Jones</a>, and Mulvey herself, among others, sought new ways to think about visual pleasure without sacrificing female sexuality. Moving beyond voyeurism to embrace exhibitionism, Amer has said, "I think women like to show their bodies and men like to look at them. [In these works] there is an allusion to masturbation for women, to pleasure."<sup id="cite_ref-:9_14-1" class="reference"><a href="#cite_note-:9-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> The submission of women to the tyranny of domestic life, the celebration of female sexuality and pleasure, the incomprehensibility of love, the foolishness of war and violence, and an overall quest for formal beauty, constitute the territory that she explores and expresses in her art.<sup id="cite_ref-22" class="reference"><a href="#cite_note-22"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Exhibitions">Exhibitions</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Ghada_Amer&action=edit&section=7" title="Edit section: Exhibitions"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading3"><h3 id="Solo_exhibitions">Solo exhibitions</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Ghada_Amer&action=edit&section=8" title="Edit section: Solo exhibitions"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Amer's work has been presented in numerous solo exhibitions at such venues as Cheim & Read, New York; <a href="/wiki/Deitch_Projects" class="mw-redirect" title="Deitch Projects">Deitch Projects</a>, New York; <a href="/wiki/P.S.1_Contemporary_Art_Center" class="mw-redirect" title="P.S.1 Contemporary Art Center">P.S.1 Contemporary Art Center</a>, New York; the 2000 <a href="/wiki/Gwangju_Biennale" title="Gwangju Biennale">Gwangju Biennale</a>, South Korea; <a href="/wiki/SITE_Santa_Fe" title="SITE Santa Fe">SITE Santa Fe</a>, New Mexico; the 1999 <a href="/wiki/Venice_Biennale" title="Venice Biennale">Venice Biennale</a>; Gagosian Gallery, London; and Gagosian Gallery, <a href="/wiki/Beverly_Hills" class="mw-redirect" title="Beverly Hills">Beverly Hills</a>.<sup id="cite_ref-:1_23-0" class="reference"><a href="#cite_note-:1-23"><span class="cite-bracket">[</span>23<span class="cite-bracket">]</span></a></sup> She is the first <a href="/wiki/Arab" class="mw-redirect" title="Arab">Arab</a> artist to have a one-person <a href="/wiki/Art_exhibition" title="Art exhibition">exhibition</a> at the <a href="/wiki/Tel_Aviv_Museum_of_Art" title="Tel Aviv Museum of Art">Tel Aviv Museum of Art</a>. </p><p>A detail of her work, <i>Knotty but Nice</i>, was used on the cover of the September 2006 issue of <i><a href="/wiki/ARTnews" title="ARTnews">ARTnews</a></i> magazine, as part of a focus on <a href="/wiki/Erotic_art" title="Erotic art">erotic art</a>.<sup id="cite_ref-24" class="reference"><a href="#cite_note-24"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup> Some more of her solo exhibitions include the 1996 Hanes Art Center, <a href="/wiki/UNC-Chapel_Hill" class="mw-redirect" title="UNC-Chapel Hill">UNC-Chapel Hill</a>, 2001 <i>Ghada Amer: Pleasure</i>, Contemporary Art Museum, Houston, the 2004 <a href="/wiki/Valencia" title="Valencia">Valencia</a>, Spain, and the 2007 <i>Ghada Amer and Reza Farkhondeh: Collaborative Drawings</i>, Kukje Gallery in Seoul.<sup id="cite_ref-25" class="reference"><a href="#cite_note-25"><span class="cite-bracket">[</span>25<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-26" class="reference"><a href="#cite_note-26"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-27" class="reference"><a href="#cite_note-27"><span class="cite-bracket">[</span>27<span class="cite-bracket">]</span></a></sup> </p><p>In 2010 Amer and Farkhondeh showed The Gardens next door at Galeria in Lisbon, Portugal. </p><p>Ghada Amer's exhibited at Montreal's <a href="/wiki/Mus%C3%A9e_d%27art_contemporain_de_Montr%C3%A9al" title="Musée d'art contemporain de Montréal">Musee d'Art Contemporain</a> in 2012. </p><p>Amer exhibited <i>Rainbow Girls</i> at Cheim & Read, New York in 2014<sup id="cite_ref-28" class="reference"><a href="#cite_note-28"><span class="cite-bracket">[</span>28<span class="cite-bracket">]</span></a></sup> This multi-layered body of work included ornate metal sculptures as well as embroidery on canvas. This body of work drew on calligraphy from Arabic writing to 'modern' typeface woven to create tapestries of 'Rainbow girls' for whom the exhibition is named. </p><p>Amer exhibited a collection of ceramic works at the Dallas Contemporary in 2018. The exhibition was titled <i>Ceramics, Knots, Thoughts, Scraps</i>.<sup id="cite_ref-29" class="reference"><a href="#cite_note-29"><span class="cite-bracket">[</span>29<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-30" class="reference"><a href="#cite_note-30"><span class="cite-bracket">[</span>30<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-31" class="reference"><a href="#cite_note-31"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-32" class="reference"><a href="#cite_note-32"><span class="cite-bracket">[</span>32<span class="cite-bracket">]</span></a></sup> </p><p>Amer has exhibited at Cheim & Read in London in 2018.<sup id="cite_ref-33" class="reference"><a href="#cite_note-33"><span class="cite-bracket">[</span>33<span class="cite-bracket">]</span></a></sup> </p><p>Amer's <i>Women I know, Part I</i> was exhibited at the Kewenig Gallery in Berlin, Germany in 2021. This exhibition included ceramic works and portraits of women known to Amer.<sup id="cite_ref-34" class="reference"><a href="#cite_note-34"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup> </p><p>Also in 2021, <i>Women's Qualities,</i> a bio art / landscape / ' sculpture park' exhibition was viewed by members of the public at the Sunnylands Center and Gardens in California's Coachella valley.<sup id="cite_ref-35" class="reference"><a href="#cite_note-35"><span class="cite-bracket">[</span>35<span class="cite-bracket">]</span></a></sup> </p><p>In 2022, Ghada Amer presented <i>My Body, My Choice</i> at the <a href="/wiki/Goodman_Gallery" title="Goodman Gallery">Goodman Gallery</a> in London.<sup id="cite_ref-Goodman_Gallery_36-0" class="reference"><a href="#cite_note-Goodman_Gallery-36"><span class="cite-bracket">[</span>36<span class="cite-bracket">]</span></a></sup> This exhibition immersed the public in Amer's different artistic interests. A garden exhibition nodded to Amer's investment in natural art or <a href="/wiki/Bio_art" class="mw-redirect" title="Bio art">bio art</a> and canvases bore embroidered phrases explores the what the artist termed, "a regression of women's rights."<sup id="cite_ref-Goodman_Gallery_36-1" class="reference"><a href="#cite_note-Goodman_Gallery-36"><span class="cite-bracket">[</span>36<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Group_exhibitions">Group exhibitions</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Ghada_Amer&action=edit&section=9" title="Edit section: Group exhibitions"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>Her group work include New York; the 1997 Johannesburg Biennale, the 2000 <a href="/wiki/Whitney_Biennial" title="Whitney Biennial">Whitney Biennial</a>, the 2006 <i>Without Boundary: Seventeen Ways of Looking</i>, <a href="/wiki/Museum_of_Modern_Art" title="Museum of Modern Art">Museum of Modern Art</a>, New York, the 2008 <i>Demons, Yarns and Tales: Tapestry by Contemporary Artists</i>, The Dairy, London, the 2009 <i>Against Exclusion</i>, 3rd <a href="/wiki/Moscow_Biennale" title="Moscow Biennale">Moscow Biennale</a>.<sup id="cite_ref-:6_12-9" class="reference"><a href="#cite_note-:6-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> </p><p>In 2003, Amer's work was included in <i>Looking Both Ways: Art of the Contemporary African Diaspora</i> at The <a href="/wiki/Museum_for_African_Art" class="mw-redirect" title="Museum for African Art">Museum for African Art</a> in <a href="/wiki/Queens" title="Queens">Queens</a>.<sup id="cite_ref-37" class="reference"><a href="#cite_note-37"><span class="cite-bracket">[</span>37<span class="cite-bracket">]</span></a></sup> In early 2008, a retrospective of her work, curated by Maura Reilly, was exhibited at the <a href="/wiki/Brooklyn_Museum_of_Art" class="mw-redirect" title="Brooklyn Museum of Art">Brooklyn Museum of Art</a>,<sup id="cite_ref-38" class="reference"><a href="#cite_note-38"><span class="cite-bracket">[</span>38<span class="cite-bracket">]</span></a></sup> at the museum's <a href="/wiki/Elizabeth_A._Sackler_Center_for_Feminist_Art" title="Elizabeth A. Sackler Center for Feminist Art">Elizabeth A. Sackler Center for Feminist Art</a>. In the same year, she was featured in Chiara Clemente's documentary "Our City Dreams". In 2014 and 2015, her work was included in the traveling exhibition "The Divine Comedy: Heaven, Purgatory and Hell Revisited by Contemporary African Artists" curated by <a href="/wiki/Simon_Njami" title="Simon Njami">Simon Njami</a>.<sup id="cite_ref-39" class="reference"><a href="#cite_note-39"><span class="cite-bracket">[</span>39<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Recognition_and_awards">Recognition and awards</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Ghada_Amer&action=edit&section=10" title="Edit section: Recognition and awards"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>2009: Artist-in-Residence, Leroy Nieman Center for Print Studies, Columbia University, New York<sup id="cite_ref-:6_12-10" class="reference"><a href="#cite_note-:6-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> 2008: Artist-in-Residence, <a href="/wiki/University_of_North_Carolina,_Chapel_Hill" class="mw-redirect" title="University of North Carolina, Chapel Hill">University of North Carolina, Chapel Hill</a>, Artist-in-Residence, Pace Prints Chelsea, New York<sup id="cite_ref-:6_12-11" class="reference"><a href="#cite_note-:6-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> 2007: Smithsonian Artist Research Fellowship Program, Washington, D.C., Artist-in-Residence, Singapore Tyler Print Institute, Singapore<sup id="cite_ref-:6_12-12" class="reference"><a href="#cite_note-:6-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> 2005: Artist-in-Residence, H&R Block Artspace at <a href="/wiki/Kansas_City_Art_Institute" title="Kansas City Art Institute">Kansas City Art Institute</a>, Kansas City, Missouri <sup id="cite_ref-:6_12-13" class="reference"><a href="#cite_note-:6-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> 1999: Artist-in-Residence, <a href="/wiki/School_of_the_Art_Institute_of_Chicago" title="School of the Art Institute of Chicago">School of the Art Institute of Chicago</a>, Chicago, UNESCO Prize, 48th International Art Exhibition, La Biennale di Venezia, Venice, Italy<sup id="cite_ref-:6_12-14" class="reference"><a href="#cite_note-:6-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> 1997: Pollock-Krasner Foundation Grant, New York> 1996: Artist-in-Residence, University of North Carolina, Chapel Hill<sup id="cite_ref-:6_12-15" class="reference"><a href="#cite_note-:6-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Public_collections">Public collections</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Ghada_Amer&action=edit&section=11" title="Edit section: Public collections"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><a href="/wiki/Art_Institute_of_Chicago" title="Art Institute of Chicago">Art Institute of Chicago</a>, Chicago, Illinois, United States<sup id="cite_ref-Brooklyn_40-0" class="reference"><a href="#cite_note-Brooklyn-40"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup></li> <li><a href="/wiki/Birmingham_Museum_of_Art" title="Birmingham Museum of Art">Birmingham Museum of Art</a>, Birmingham, Alabama, United States <sup id="cite_ref-Brooklyn_40-1" class="reference"><a href="#cite_note-Brooklyn-40"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup></li> <li><a href="/wiki/Centre_Pompidou" title="Centre Pompidou">Centre Pompidou</a>, Paris, France<sup id="cite_ref-Brooklyn_40-2" class="reference"><a href="#cite_note-Brooklyn-40"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup></li> <li><a href="/wiki/Detroit_Institute_of_Arts" title="Detroit Institute of Arts">Detroit Institute of Arts</a>, Detroit, Michigan, United States<sup id="cite_ref-AmerBio_41-0" class="reference"><a href="#cite_note-AmerBio-41"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup></li> <li>Fond National d’Art Contemporain (FNAC), Paris, France<sup id="cite_ref-AmerBio_41-1" class="reference"><a href="#cite_note-AmerBio-41"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup></li> <li>Fonds Régional d’Art Contemporain (FRAC), Auvergne, France<sup id="cite_ref-AmerBio_41-2" class="reference"><a href="#cite_note-AmerBio-41"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup></li> <li>Fonds Régional d’Art Contemporain (FRAC), Provence-Alpes-Côte d’Azur, France<sup id="cite_ref-AmerBio_41-3" class="reference"><a href="#cite_note-AmerBio-41"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup></li> <li>Guggenheim Museum, Abu Dhabi, United Arab Ermites (UAE)<sup id="cite_ref-AmerBio_41-4" class="reference"><a href="#cite_note-AmerBio-41"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup></li> <li>Hood Art Museum, Dartmouth College, Hanover, New Hampshire, United States<sup id="cite_ref-AmerBio_41-5" class="reference"><a href="#cite_note-AmerBio-41"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup></li> <li>Indianapolis Museum of Art, Indianapolis, Indiana, United States<sup id="cite_ref-AmerBio_41-6" class="reference"><a href="#cite_note-AmerBio-41"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup></li> <li>Israel Museum, Jerusalem, Israel<sup id="cite_ref-AmerBio_41-7" class="reference"><a href="#cite_note-AmerBio-41"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup></li> <li><a href="/wiki/Lille_M%C3%A9tropole_Museum_of_Modern,_Contemporary_and_Outsider_Art" title="Lille Métropole Museum of Modern, Contemporary and Outsider Art">LaM Museum, Lille Métropole Musée d’Art Moderne, d’Art Contemporain et d’Art Brut</a>, Villeneuve d'Ascq, France<sup id="cite_ref-AmerBio_41-8" class="reference"><a href="#cite_note-AmerBio-41"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup></li> <li><a href="/wiki/Minneapolis_Institute_of_Art" title="Minneapolis Institute of Art">Minneapolis Institute of Art</a>, Minneapolis, Minnesota, United States<sup id="cite_ref-42" class="reference"><a href="#cite_note-42"><span class="cite-bracket">[</span>42<span class="cite-bracket">]</span></a></sup></li> <li><a href="/wiki/Museum_Kunstpalast" title="Museum Kunstpalast">Museum Kunstpalast</a>, Düsseldorf, Germany<sup id="cite_ref-Brooklyn_40-3" class="reference"><a href="#cite_note-Brooklyn-40"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup></li> <li>Neuberger Berman Art Collection, New York City, New York, United States<sup id="cite_ref-AmerBio_41-9" class="reference"><a href="#cite_note-AmerBio-41"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup></li> <li>Sammlung Goetz, Munich, Germany<sup id="cite_ref-AmerBio_41-10" class="reference"><a href="#cite_note-AmerBio-41"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup></li> <li>Samsung Museum of Art, Seoul, South Korea<sup id="cite_ref-Brooklyn_40-4" class="reference"><a href="#cite_note-Brooklyn-40"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup></li> <li>Speed Art Museum, Louisville, Kentucky, United States<sup id="cite_ref-AmerBio_41-11" class="reference"><a href="#cite_note-AmerBio-41"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup></li> <li><a href="/wiki/Tel_Aviv_Museum_of_Art" title="Tel Aviv Museum of Art">Tel Aviv Museum of Art</a>, Tel Aviv, Israel<sup id="cite_ref-Brooklyn_40-5" class="reference"><a href="#cite_note-Brooklyn-40"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup></li> <li>Crystal Bridges Museum of American Art, <a href="/wiki/Bentonville,_Arkansas" title="Bentonville, Arkansas">Bentonville</a>, Arkansas, United States<sup id="cite_ref-AmerBio_41-12" class="reference"><a href="#cite_note-AmerBio-41"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup></li></ul> <div class="mw-heading mw-heading2"><h2 id="References">References</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Ghada_Amer&action=edit&section=12" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-references-wrap mw-references-columns"><ol class="references"> <li id="cite_note-Phaidon_Editors-1"><span class="mw-cite-backlink"><b><a href="#cite_ref-Phaidon_Editors_1-0">^</a></b></span> <span class="reference-text"><style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite class="citation book cs1"><i>Great women artists</i>. Phaidon Press. 2019. p. 31. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0714878775" title="Special:BookSources/978-0714878775"><bdi>978-0714878775</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Great+women+artists&rft.pages=31&rft.pub=Phaidon+Press&rft.date=2019&rft.isbn=978-0714878775&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGhada+Amer" class="Z3988"></span></span> </li> <li id="cite_note-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-2">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://hyperallergic.com/442446/ghada-amer-cheim-read-review/">"How Ghada Amer Uses Seduction to Expose Sexism"</a>. <i>Hyperallergic</i>. 2018-05-10<span class="reference-accessdate">. Retrieved <span class="nowrap">2019-06-07</span></span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Hyperallergic&rft.atitle=How+Ghada+Amer+Uses+Seduction+to+Expose+Sexism&rft.date=2018-05-10&rft_id=https%3A%2F%2Fhyperallergic.com%2F442446%2Fghada-amer-cheim-read-review%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGhada+Amer" class="Z3988"></span></span> </li> <li id="cite_note-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-3">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://www.nytimes.com/2007/03/12/arts/12iht-jessop.4882064.html?_r=0">"Ghada Amer: Defusing the power of erotic images"</a>. <i>New York Times Arts Review</i>. 12 March 2007<span class="reference-accessdate">. Retrieved <span class="nowrap">1 February</span> 2014</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=New+York+Times+Arts+Review&rft.atitle=Ghada+Amer%3A+Defusing+the+power+of+erotic+images&rft.date=2007-03-12&rft_id=https%3A%2F%2Fwww.nytimes.com%2F2007%2F03%2F12%2Farts%2F12iht-jessop.4882064.html%3F_r%3D0&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGhada+Amer" class="Z3988"></span></span> </li> <li id="cite_note-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-4">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20161002154520/http://www.ghadaamer.com/about">"About"</a>. <i>Ghada Amer</i>. www.ghadaamer.com [artist's website]. Archived from <a rel="nofollow" class="external text" href="http://www.ghadaamer.com/about">the original</a> on 2016-10-02<span class="reference-accessdate">. Retrieved <span class="nowrap">2016-10-04</span></span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Ghada+Amer&rft.atitle=About&rft_id=http%3A%2F%2Fwww.ghadaamer.com%2Fabout&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGhada+Amer" class="Z3988"></span></span> </li> <li id="cite_note-:0-5"><span class="mw-cite-backlink">^ <a href="#cite_ref-:0_5-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-:0_5-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFOkeke-Agulu" class="citation web cs1">Okeke-Agulu, Chika. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20210713183810/https://luna.wellesley.edu/wamvalidate?url=http%3A%2F%2F0-www.oxfordartonline.com.luna.wellesley.edu%3A80%2Fsubscriber%2Farticle%2Fgrove%2Fart%2FT222047">"Amer, Ghada"</a>. <i>Grove Art Online</i>. Oxford University Press. Archived from <a rel="nofollow" class="external text" href="http://0-www.oxfordartonline.com.luna.wellesley.edu/subscriber/article/grove/art/T222047">the original</a> on 13 July 2021<span class="reference-accessdate">. Retrieved <span class="nowrap">8 March</span> 2015</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Grove+Art+Online&rft.atitle=Amer%2C+Ghada&rft.aulast=Okeke-Agulu&rft.aufirst=Chika&rft_id=http%3A%2F%2F0-www.oxfordartonline.com.luna.wellesley.edu%2Fsubscriber%2Farticle%2Fgrove%2Fart%2FT222047&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGhada+Amer" class="Z3988"></span></span> </li> <li id="cite_note-:3-6"><span class="mw-cite-backlink">^ <a href="#cite_ref-:3_6-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-:3_6-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-:3_6-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFPosner2013" class="citation book cs1">Posner, Helaine (2013). "Bad Girls: Ghada Amer". In Heartney, Eleanor (ed.). <i>The Reckoning: Women Artists of the New Millennium</i>. New York: Prestel. pp. 24–29. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-3-7913-4759-2" title="Special:BookSources/978-3-7913-4759-2"><bdi>978-3-7913-4759-2</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Bad+Girls%3A+Ghada+Amer&rft.btitle=The+Reckoning%3A+Women+Artists+of+the+New+Millennium&rft.place=New+York&rft.pages=24-29&rft.pub=Prestel&rft.date=2013&rft.isbn=978-3-7913-4759-2&rft.aulast=Posner&rft.aufirst=Helaine&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGhada+Amer" class="Z3988"></span></span> </li> <li id="cite_note-:5-7"><span class="mw-cite-backlink">^ <a href="#cite_ref-:5_7-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-:5_7-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-:5_7-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFFarrell2003" class="citation journal cs1">Farrell, Laurie (2003). "Ghada Amer: Recalculating Exchange Rates Powers and Poetics in the Works of Ghada Amer". <i>Looking Both Ways: Art of the Contemporary Diaspora</i>: 50–61.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Looking+Both+Ways%3A+Art+of+the+Contemporary+Diaspora&rft.atitle=Ghada+Amer%3A+Recalculating+Exchange+Rates+Powers+and+Poetics+in+the+Works+of+Ghada+Amer&rft.pages=50-61&rft.date=2003&rft.aulast=Farrell&rft.aufirst=Laurie&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGhada+Amer" class="Z3988"></span></span> </li> <li id="cite_note-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-8">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFVine2018" class="citation web cs1">Vine, Richard (2018-09-01). <a rel="nofollow" class="external text" href="https://www.artinamericamagazine.com/reviews/ghada-amer/">"Ghada Amer"</a>. <i>Art in America</i><span class="reference-accessdate">. Retrieved <span class="nowrap">2019-10-30</span></span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Art+in+America&rft.atitle=Ghada+Amer&rft.date=2018-09-01&rft.aulast=Vine&rft.aufirst=Richard&rft_id=https%3A%2F%2Fwww.artinamericamagazine.com%2Freviews%2Fghada-amer%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGhada+Amer" class="Z3988"></span></span> </li> <li id="cite_note-:7-9"><span class="mw-cite-backlink">^ <a href="#cite_ref-:7_9-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-:7_9-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-:7_9-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-:7_9-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-:7_9-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-:7_9-5"><sup><i><b>f</b></i></sup></a></span> <span class="reference-text">Maura Reilly, “D as in Drips: A Conversation with Ghada Amer,” Ghada Amer, exhibition catalogue (New York: Cheim & Reid, 2010).</span> </li> <li id="cite_note-:10-10"><span class="mw-cite-backlink">^ <a href="#cite_ref-:10_10-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-:10_10-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-:10_10-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFWalsh2009" class="citation web cs1">Walsh, Meeka (2009). <a rel="nofollow" class="external text" href="https://bordercrossingsmag.com/article/the-thread-of-painting-an-interview-with-ghada-amer">"The Thread of Painting"</a>. <i>Border Crossings Mag, Volume 11</i><span class="reference-accessdate">. Retrieved <span class="nowrap">2020-09-10</span></span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Border+Crossings+Mag%2C+Volume+11&rft.atitle=The+Thread+of+Painting&rft.date=2009&rft.aulast=Walsh&rft.aufirst=Meeka&rft_id=https%3A%2F%2Fbordercrossingsmag.com%2Farticle%2Fthe-thread-of-painting-an-interview-with-ghada-amer&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGhada+Amer" class="Z3988"></span></span> </li> <li id="cite_note-:11-11"><span class="mw-cite-backlink">^ <a href="#cite_ref-:11_11-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-:11_11-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.icaio.org/ghada-amer---brief">"Ghada Amer & Reza Farkhondeh"</a>. <i>Institute of Contemporary Art Indian Ocean (ICAIO)</i><span class="reference-accessdate">. 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"Love Has No End: Ghada Amer". <i>Studies in Gender and Sexuality</i>. <b>11</b> (2): 101–110. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1080%2F15240651003666490">10.1080/15240651003666490</a>. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/1524-0657">1524-0657</a>. <a href="/wiki/S2CID_(identifier)" class="mw-redirect" title="S2CID (identifier)">S2CID</a> <a rel="nofollow" class="external text" href="https://api.semanticscholar.org/CorpusID:219643370">219643370</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Studies+in+Gender+and+Sexuality&rft.atitle=Love+Has+No+End%3A+Ghada+Amer&rft.volume=11&rft.issue=2&rft.pages=101-110&rft.date=2010-04-15&rft_id=https%3A%2F%2Fapi.semanticscholar.org%2FCorpusID%3A219643370%23id-name%3DS2CID&rft.issn=1524-0657&rft_id=info%3Adoi%2F10.1080%2F15240651003666490&rft.aulast=Guralnik&rft.aufirst=Orna&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGhada+Amer" class="Z3988"></span></span> </li> <li id="cite_note-Third_Text-16"><span class="mw-cite-backlink">^ <a href="#cite_ref-Third_Text_16-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Third_Text_16-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFOguibe2014" class="citation journal cs1">Oguibe, Olu (1 Feb 2014). "Love and Desire: The Art of Ghada Amer". <i>Third Text</i>: 63–74.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Third+Text&rft.atitle=Love+and+Desire%3A+The+Art+of+Ghada+Amer&rft.pages=63-74&rft.date=2014-02-01&rft.aulast=Oguibe&rft.aufirst=Olu&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGhada+Amer" class="Z3988"></span></span> </li> <li id="cite_note-Border_Crossings-17"><span class="mw-cite-backlink"><b><a href="#cite_ref-Border_Crossings_17-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFEnrightWalsh2014" class="citation journal cs1">Enright, Robert; Walsh, Meeka (1 Feb 2014). 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Retrieved <span class="nowrap">8 March</span> 2015</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Art+News&rft.atitle=September+2006&rft.date=2005-05-10&rft_id=https%3A%2F%2Fwww.artnews.com%2Fissue%2Fseptember-2006%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGhada+Amer" class="Z3988"></span></span> </li> <li id="cite_note-25"><span class="mw-cite-backlink"><b><a href="#cite_ref-25">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.goodman-gallery.com/artists/ghada-amer#exhibition">"Goodman Gallery"</a>. <i>www.goodman-gallery.com</i><span class="reference-accessdate">. Retrieved <span class="nowrap">2022-09-21</span></span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=www.goodman-gallery.com&rft.atitle=Goodman+Gallery&rft_id=https%3A%2F%2Fwww.goodman-gallery.com%2Fartists%2Fghada-amer%23exhibition&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGhada+Amer" class="Z3988"></span></span> </li> <li id="cite_note-26"><span class="mw-cite-backlink"><b><a href="#cite_ref-26">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.artnet.com/artists/ghada-amer/">"Ghada Amer"</a>. <i>www.artnet.com</i><span class="reference-accessdate">. Retrieved <span class="nowrap">2022-09-21</span></span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=www.artnet.com&rft.atitle=Ghada+Amer&rft_id=http%3A%2F%2Fwww.artnet.com%2Fartists%2Fghada-amer%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGhada+Amer" class="Z3988"></span></span> </li> <li id="cite_note-27"><span class="mw-cite-backlink"><b><a href="#cite_ref-27">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://ocula.com/artists/ghada-amer/">"Ghada Amer Biography, Artworks & Exhibitions"</a>. <i>ocula.com</i>. 2022-09-21<span class="reference-accessdate">. Retrieved <span class="nowrap">2022-09-21</span></span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=ocula.com&rft.atitle=Ghada+Amer+Biography%2C+Artworks+%26+Exhibitions&rft.date=2022-09-21&rft_id=https%3A%2F%2Focula.com%2Fartists%2Fghada-amer%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGhada+Amer" class="Z3988"></span></span> </li> <li id="cite_note-28"><span class="mw-cite-backlink"><b><a href="#cite_ref-28">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://issuu.com/cheimread/docs/031314_ghada_amer_trif">"Ghada Amer by Cheim Read - Issuu"</a>. <i>issuu.com</i>. 3 April 2014<span class="reference-accessdate">. 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Retrieved <span class="nowrap">2022-09-21</span></span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=www.goodman-gallery.com&rft.atitle=Goodman+Gallery&rft_id=https%3A%2F%2Fwww.goodman-gallery.com%2Fnews%2F3979&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGhada+Amer" class="Z3988"></span></span> </li> <li id="cite_note-30"><span class="mw-cite-backlink"><b><a href="#cite_ref-30">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.tinakimgallery.com/other-exhibitions/ceramics-knots-thoughts-scraps#tab:slideshow">"Ceramics, Knots, Thoughts, Scraps - Dallas Contemporary - Other Exhibitions - Tina Kim Gallery"</a>. <i>www.tinakimgallery.com</i><span class="reference-accessdate">. Retrieved <span class="nowrap">2022-09-21</span></span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=www.tinakimgallery.com&rft.atitle=Ceramics%2C+Knots%2C+Thoughts%2C+Scraps+-+Dallas+Contemporary+-+Other+Exhibitions+-+Tina+Kim+Gallery&rft_id=https%3A%2F%2Fwww.tinakimgallery.com%2Fother-exhibitions%2Fceramics-knots-thoughts-scraps%23tab%3Aslideshow&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGhada+Amer" class="Z3988"></span></span> </li> <li id="cite_note-31"><span class="mw-cite-backlink"><b><a href="#cite_ref-31">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFZech" class="citation web cs1">Zech, Brandon. <a rel="nofollow" class="external text" href="https://glasstire.com/events/2018/09/20/ghada-amer-ceramics-knots-thoughts-and-scraps/">"Ghada Amer: Ceramics, Knots, Thoughts, and Scraps"</a>. <i>Glasstire</i><span class="reference-accessdate">. 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Retrieved <span class="nowrap">7 March</span> 2015</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=New+York+Times&rft.atitle=Art+Review%3A+Veiled+or+Naked%3A+Scrutinizing+Women%27s+Roles&rft.date=2008-06-20&rft.aulast=Rosenberg&rft.aufirst=Karen&rft_id=https%3A%2F%2Fwww.nytimes.com%2F2008%2F06%2F20%2Farts%2Fdesign%2F20amer.html%3F_r%3D0&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGhada+Amer" class="Z3988"></span></span> </li> <li id="cite_note-39"><span class="mw-cite-backlink"><b><a href="#cite_ref-39">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="http://www.scadmoa.org/art/2014/divine-comedy-heaven-purgatory-hell-african-artists">"THE DIVINE COMEDY: Heaven, Purgatory and Hell Revisited by Contemporary African Artists"</a>. <i>Exhibitions</i>. Savannah College of Art and Design<span class="reference-accessdate">. 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Retrieved <span class="nowrap">1 February</span> 2014</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Ghada+Amer%3A+Biography&rft.pub=Brooklyn+Museum&rft_id=https%3A%2F%2Fwww.brooklynmuseum.org%2Feascfa%2Ffeminist_art_base%2Fgallery%2Fghada_amer.php&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGhada+Amer" class="Z3988"></span></span> </li> <li id="cite_note-AmerBio-41"><span class="mw-cite-backlink">^ <a href="#cite_ref-AmerBio_41-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-AmerBio_41-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-AmerBio_41-2"><sup><i><b>c</b></i></sup></a> <a href="#cite_ref-AmerBio_41-3"><sup><i><b>d</b></i></sup></a> <a href="#cite_ref-AmerBio_41-4"><sup><i><b>e</b></i></sup></a> <a href="#cite_ref-AmerBio_41-5"><sup><i><b>f</b></i></sup></a> <a href="#cite_ref-AmerBio_41-6"><sup><i><b>g</b></i></sup></a> <a href="#cite_ref-AmerBio_41-7"><sup><i><b>h</b></i></sup></a> <a href="#cite_ref-AmerBio_41-8"><sup><i><b>i</b></i></sup></a> <a href="#cite_ref-AmerBio_41-9"><sup><i><b>j</b></i></sup></a> <a href="#cite_ref-AmerBio_41-10"><sup><i><b>k</b></i></sup></a> <a href="#cite_ref-AmerBio_41-11"><sup><i><b>l</b></i></sup></a> <a href="#cite_ref-AmerBio_41-12"><sup><i><b>m</b></i></sup></a></span> <span class="reference-text"><a rel="nofollow" class="external text" href="http://www.ghadaamer.com/ghada/Biography.html">Ghada Amer Website Biography</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20150321061717/http://www.ghadaamer.com/ghada/Biography.html">Archived</a> 2015-03-21 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>. Retrieved 7 March 2015.</span> </li> <li id="cite_note-42"><span class="mw-cite-backlink"><b><a href="#cite_ref-42">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://collections.artsmia.org/art/109234/les-flaneuses-ghada-amer">"LES FLÂNEUSES, Ghada Amer ^ Minneapolis Institute of Art"</a>. <i>collections.artsmia.org</i><span class="reference-accessdate">. Retrieved <span class="nowrap">2018-03-08</span></span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=collections.artsmia.org&rft.atitle=LES+FL%C3%82NEUSES%2C+Ghada+Amer+%5E+Minneapolis+Institute+of+Art&rft_id=https%3A%2F%2Fcollections.artsmia.org%2Fart%2F109234%2Fles-flaneuses-ghada-amer&rfr_id=info%3Asid%2Fen.wikipedia.org%3AGhada+Amer" class="Z3988"></span></span> </li> </ol></div> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Ghada_Amer&action=edit&section=13" title="Edit section: External links"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><a rel="nofollow" class="external text" href="http://www.ghadaamer.com/">Artist's Website</a></li> <li><a rel="nofollow" class="external text" href="http://www.brooklynmuseum.org/exhibitions/ghada_amer/">Brooklyn Museum Exhibition, Ghada Amer: Love Has No End</a></li> <li><a rel="nofollow" class="external text" href="https://www.goodman-gallery.com/artists/ghada-amer">Ghada Amer at Goodman Gallery</a></li> <li><a rel="nofollow" class="external text" href="https://www.imj.org.il/en/search/site/Amer%20and%20+Ghada">Ghada Amer collection</a> at the Israel Museum. Retrieved September 2016.</li> <li>Marie <a href="/wiki/Christine_Eyene" title="Christine Eyene">Christine Eyene</a> <a rel="nofollow" class="external text" href="http://www.africultures.com/php/index.php?nav=article&no=3824">"Ghada Amer, du porno populaire à l'érotologie arabe"</a> <i>Africultures</i></li></ul> <div class="navbox-styles"><style data-mw-deduplicate="TemplateStyles:r1129693374">.mw-parser-output .hlist dl,.mw-parser-output .hlist ol,.mw-parser-output .hlist ul{margin:0;padding:0}.mw-parser-output .hlist dd,.mw-parser-output .hlist dt,.mw-parser-output .hlist li{margin:0;display:inline}.mw-parser-output .hlist.inline,.mw-parser-output .hlist.inline dl,.mw-parser-output .hlist.inline ol,.mw-parser-output .hlist.inline ul,.mw-parser-output .hlist dl dl,.mw-parser-output .hlist dl ol,.mw-parser-output .hlist dl ul,.mw-parser-output .hlist ol dl,.mw-parser-output .hlist ol ol,.mw-parser-output .hlist ol ul,.mw-parser-output .hlist ul dl,.mw-parser-output .hlist ul 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