Mahmoud Saiid made a bunch of amazing paintings throughout his career , and they are

Result #1

Mahmoud Saiid made a bunch of amazing paintings throughout his career , and they are also the subject of a book, Land of Landscapes: Saheli (The Sun), which is being published by Eidos Art Foundation, New York. The exhibition has been taken up by artists, intellectuals, and artists, from the comedian and filmmaker Erakrit Bahrami to the philosopher and critic Herman Melville, from the 17th-century Dutch painter Johannes Geertens in his book of reflections on the Middle East and the tradition of Islam to the late Pakistani writer Salman Rushdie. It is the most extensive retrospective to date on the work of any Pakistani artist. If, as the English-language art historian Anil Rane has written, the Pakistani tradition of painting is based on the belief in the sanctity of life, and, in the case of Saheli, it includes the belief that all things are created by God, and that the divine has always created everything.Rane goes on to suggest that Sahelis work reflects the modernity-obsessed generation of the 1990s and the apparent success of the countrys modern art scene in making it globally relevant. Yet Sahelis paintings are not so much cultural products as a matter of personal imagination and desire. In the early 1970s, Sahelis paintings appeared on the Pakistani art scene and, later, in an exhibition at a New York gallery, they were exhibited in a carefully curated group show that appeared at the time as a response to the Saudi artists willingness to pay for their art in international exchange. The paintings were not for sale but for the love of it, which is to say, they were not objects of consumption but signs of passion. But if passion can also be seen as the opposite of consumption, can it be said that the desire to consume art isnt the same as the desire to consume the passions of others? In this respect, Sahelis art can be understood as a poetic protest against the way in which Western culture has dominated the imagination of our age.

Result #2

very difficult to find. The exhibition consisted of twelve works dating from 1952 to the present. The best of them—all but one of the small paintings from this period, with the exception of one small black and white gouache painting, which seems to be an early work—can be seen at the Guggenheim. The smallest works are made of plaster and clay and are remarkably beautiful, as are the pieces made with mixed media, such as plaster, and paper, and also the prints, paintings, and collages. The effect of the show is like visiting a museum of a foreign language, and the sense of wonderment that comes from it is great. It is a wonderful exhibition. The effort of the many artists who participated in it—together with the fact that the work of many artists is frequently the same—makes for a marvelous atmosphere. I wish that the paintings would last longer. I think they do. They are terrific.

Result #3

Mahmoud Saiid made a bunch of amazing paintings throughout his career , and they are so much more powerful than the books they were based on. His work is a meditation on the connection between the surface of the canvas and the amount of energy that exists within it. Saiid has always been fascinated with the human body and its organs, and this exhibition revealed that he has learned something new about his practice. His paintings are filled with images of organs and its organs. In every painting, the image of a small eye, an organ, or a heart is a pattern of dots of colored paint, placed in a finely grained surface that is a very refined, minimalist surface. The beauty of the work is the very difference between the sense of surface and the sense of depth. The painterliness is very subtle, and the images are very subtle, but they do not lose their vivid presence and force. The paintings are forceful and they do not give up the idea of the body, of the human body. It is a body that is very powerful. This is also the case with the women: they are not just paintings, but also physical sculptures, which are very strong. One has the feeling that they are from the future, and they are being painted in the past. These paintings have no faces, but they have many body parts. They are like a fantastic, surreal fairy-tale illustration of a body. In fact, they resemble a fairy-tale illustration of a body. They are not paintings but sculptures of bodies. It is not the representation of the body, but the representation of the body as sculpture. The paintings are not about the body, but about the body as representation. The female body is as powerful as the body of man. The woman is a powerful symbol of the purity of being. It is not a matter of simply presenting the body as an object, but of presenting it with the power of an art object, which has been made to look like a body.

Result #4

Mahmoud Saiid made a bunch of amazing paintings throughout his career , and they are all of the same ilk. They are all just the same, just different. While there are no formal differences between the artists paintings, there is an unspoken, never-spoken, double-barrelled, orifice that threatens to overwhelm their surfaces. The fact that Saiid paints mostly on canvas, and that he comes from a city where everything is paved over, means that his work has a certain playfulness and fluidity to it, as well as a kind of playful lassitude. There are a few paintings in the show that are extraordinarily beautiful, but most are too playful to be meaningful, and there are too many to be considered, which is understandable, given that they are so casually and ineffectually handled. Only one painting is truly magnificent, and that is in the most refined and romantic sense of the word, as is the case with It Is My Will, 2008, which is the only painting in the show that actually looks as if it might be an epic poem, and the only one in which the figures are of a certain age—more than sixty—and thus have their mien and their struggle in a shared space with the paintbrush and the brush. The most charming painting in the show, however, is Kool-Aid, 2009, an almost too-perfect rendition of a Nazi swastika. In it, a man with a mustache and a Nazi cap stares at the viewer in a kind of stilted, grubby way. The mustache is covered in white powder, and the man is standing with his hands over his chest. The muffled but vivid voice-over gives the impression that he is already in the process of making a statement, though one could also say that he is just making a statement about making a statement. The juxtaposition is beautiful and the very unity of the gesture, with its idea of a salute, seems to be necessary. Its an old cliché.

Result #5

Mahmoud Saiid made a bunch of amazing paintings throughout his career , and they are much more fun than painting! He paints with the glee of a kid on a break from school, but he isnt afraid to put it all out there, and there is no avoiding his own knowledge of the fact that he is an Egyptian, born in 1928, a little over three years after the fall of the Baumholder regime, a little over four years after the end of the first Gulf War. The paintings are about war. They are about the end of the cold war, the end of ideologies of resistance, and about what that means for us as Americans. The paintings are about the need to understand the other. They are about how to get inside the other, and what that means in the present. He paints a picture of a body with a face, a face that is alive and well, the part of his body that is his most private space, and the part that is the most publicly visible. He paints a face that knows that he is in the other world, and that is not another world, but a world of faces. He paints a face that is alive and well. He knows that he is alive. He knows that the war is over.The paintings are not about the end of a world. They are not about the end of the world. They are not about the end of history. They are not about a new beginning. They are not about the end of history. They are not even about the end of the art world, which is saying something quite different. They are not about art. They are not even about the war, which is over. They are not even about politics. And they are not about art. They are not even about culture, which is a world of difference. They are not even about art, but art in general. They are not about any kind of art that can be an excuse for doing something else. They are not even about art that is both art and art.