Rendering Absence in the War on Terror
Bibliographic Data
| ID | 12796341 |
|---|---|
| Authors | Amira Jarmakani (corresponding author) |
| Year | 2021 |
| Volume | 17 |
| Issue | 1 |
| Pages | 131-136 |
| Publication date | 2021-03-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Journal of Middle East Women s Studies (JOURNAL) |
| Journal identifiers | ISSN: 1552-5864 • E-ISSN: 1558-9579 |
| Publisher | Duke University Press (PUBLISHER • US) |
| DOI | 10.1215/15525864-8790333 |
| OpenAlex | W3138305705 |
| Language | EN |
| References cited | 3 |
Other| March 01 2021 Rendering Absence in the War on Terror: Molly Crabapple’s Sequential Art Amira Jarmakani Amira Jarmakani AMIRA JARMAKANI is professor of women’s, gender, and sexuality studies at San Diego State University. She is author of Imagining Arab Womanhood: The Cultural Mythology of Veils, Harems, and Belly Dancers in the U.S. (2008) and An Imperialist Love Story: Desert Romances and the War on Terror (2015) and president of the Arab American Studies Association. Contact: [email protected]. Search for other works by this author on: This Site Google Journal of Middle East Women's Studies (2021) 17 (1): 131–136. https://doi.org/10.1215/15525864-8790333 Cite Icon Cite Share Icon Share Facebook Twitter Email Permissions Search Site Citation Amira Jarmakani; Rendering Absence in the War on Terror: Molly Crabapple’s Sequential Art. Journal of Middle East Women's Studies 1 March 2021; 17 (1): 131–136. doi: https://doi.org/10.1215/15525864-8790333 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter Books & JournalsAll JournalsJournal of Middle East Women's Studies Search Advanced Search To draw is to objectify.” This is what the sequential artist and journalist Molly Crabapple (2015: 7) realized while drawing Khalid Sheikh Mohammed as she observed his trial at Guantánamo in 2013.1 She initially came to this understanding, her memoir implies, through the embodied experience of being female in a patriarchal art world and by financing her early efforts to gain entry into that world through sex work. Working alternately as a sex worker, a nude artist’s model (the art world’s own version of sex work), and a burlesque performer, Crabapple experiments with her lived experience of being objectified, letting it bleed palpably into her art. In Week in Hell, a project in which she spent a week in a hotel room covering all four walls with art, she signed the finished product by... Copyright © 2021 by the Association for Middle East Women’s Studies2021 You do not currently have access to this content
Art · Art history · Icon · Memoir · Visual arts · Computer Science · History · Jewish and Middle Eastern Studies · Middle East Politics and Society · Public Spaces through Art
| Citation velocity | historical |
|---|---|
| Highly cited | No |