BlogBack: Contemporary Afghan Jewelry Exporter Scorns Mets Pricey Wares

Afghan silver and lapis tiered necklace from Artizan Sarai, $135
Mariam Atash Nawabi, co-founder of Artizan Sarai, an exporter of objects by artisans in economically disadvantaged areas of the world, including Afghanistan, India, Turkey, and Morocco, reponds to Golden Afghanistan Now at the Met: A Blockbuster for Love, Not Money:
I agree with you that the exhibition [the Metropolitan Museum's installation of the traveling show, Afghanistan: Hidden Treasures from the National Museum, Kabul] was very well done. I also agree that the art merchandise at the Met missed the mark.Contacted by CultureGrrl, Deborah Ziska, the National Gallery's chief of press and public information, confirmed that Artizan Sarai "provided jewelry and other items for our shop for the exhibition, and our shop operation was pleased with what was supplied."
Although he is talented, inviting a Turkish jewelry designer [Gurhan Orhan] work on a piece that reflects Afghanistan's history and art is actually insensitive to the fact that there are many Afghan designers whose work could have been highlighted. I have worked on the arts/culture initiative, Artizan Sarai, which helps artisans in Afghanistan (as well as India and Turkey). We provided items for the National Gallery of Art and the Asian Art Museum of San Francisco [previous venues for the Afghanistan show], but the Met wanted to focus on "higher end" pieces.
We believe that was a mistake. Afghan artisans produce very good quality pieces that can be considered "high end"; it just depends on who is evaluating it. Artizan Sarai 's goal is to have the pieces recognized as art and not "craftsy" items that can be mass produced. Developing an appreciation for the workmanship and time/effort in creating a piece shows respect for the culture itself.
We believe that with the right marketing and education, people will see the artistic skills that people have. They will see that people even in the most impoverished areas can create fine masterpieces reflected in embroidery, jewelry and other products. It is through that acceptance by which appreciation for Afghanistan's art and culture can truly be shown.
But let's flee the giftshop and return to the superb show---COMING SOON.
July 13, 2009 11:58 AM
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LEE ROSENBAUM I'm a veteran cultural journalist with many pieces in the New York Times, Wall Street Journal and major art magazines. I have been a cultural contributor on New York Public Radio (WNYC and WQXR) and have provided arts commentary on NPR and public radio stations in Philadelphia and Los Angeles. I am a HuffPost Arts writer. I've been profiled on the PBS NewsHour with Jim Lehrer's Art Beat and in the Chicago Reader. I've appeared as an art-market commentator on BBC-TV and have published numerous Op-Ed pieces in the New York Times and Los Angeles Times. I am author of The Complete Guide to Collecting Art (Knopf) and have lectured on cultural property issues at the New Acropolis Museum and the University of Pennsylvania, on deaccessioning at at Investigative Reporters and Editors 2011 Annual Meeting, Columbia Law School, the University of Iowa and a conference of the Museum Association of New York, on museum governance and cultural property issues at Seton Hall University, on arts blogging at American University and on Smithsonian exhibition controversies at Rutgers University.
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________________________
moreLEE ROSENBAUM I'm a veteran cultural journalist with many pieces in the New York Times, Wall Street Journal and major art magazines. I have been a cultural contributor on New York Public Radio (WNYC and WQXR) and have provided arts commentary on NPR and public radio stations in Philadelphia and Los Angeles. I am a HuffPost Arts writer. I've been profiled on the PBS NewsHour with Jim Lehrer's Art Beat and in the Chicago Reader. I've appeared as an art-market commentator on BBC-TV and have published numerous Op-Ed pieces in the New York Times and Los Angeles Times. I am author of The Complete Guide to Collecting Art (Knopf) and have lectured on cultural property issues at the New Acropolis Museum and the University of Pennsylvania, on deaccessioning at at Investigative Reporters and Editors 2011 Annual Meeting, Columbia Law School, the University of Iowa and a conference of the Museum Association of New York, on museum governance and cultural property issues at Seton Hall University, on arts blogging at American University and on Smithsonian exhibition controversies at Rutgers University.
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