A Palestinian woman holds her child after an Israeli strike on her neighbourhood in Rafah, Gaza, Fatima Shbair, December 2023
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Resistance is the deepest form of love
- Areej Kaoud
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Hafidh Al-Droubi. Baghdad café, 1969.
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Etcetera Etcetera (Oliver Levi-Malouf)
Gender: Transgender non binary (she/they)
Sexuality: Queer
DOB: N/A
Ethnicity: Lebanese
Nationality: Australian
Occupation: Drag artist, reality star
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hey i have a human design for him now
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Mish mash of old architecture features from Saudi and Yemeni
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Practicing women of colour after learning of the Kooleen drama. Let’s get something straight:
1. no art style in the world is “unable” to represent any and all ethnicities unless you absolutely insist on same-face-syndrome.
2. your pastel colour palette is not “incompatible with Black characters”. Lots of Black girls love pastel fashion, and phenotype isn’t just colour.
3. “incorrect facial proportions” aren’t a thing. The triangle method is BS. Rihanna’s lips and chin stick out further than her nose, are you gonna tell her she’s anatomically incorrect..? God damn she’s gorgeous!
4. “but my aesthetic” just say you think certain ethnic features are ugly and go. You can draw whatever I want, but don’t “fix” ethnic faces using your racist little triangle or whatever. Alba Flores’ nose is perfect the way it is. Draw it like that or draw someone else.
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Am I the only one who doesn’t headcanon Basira as wearing a hijab?
I mean she is a cop. Regularly kills people. Her religious faith or lack thereof isn’t really mentioned.
It’s not impossible, and people have their own private relationships to wearing hijabs. But it just feels off to me.
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can anyone help me identify the culture depicted on this plate? i thrifted it a while ago and while i assume it may be afghani,persian im just not sure ;[
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the mother earth, painting by Layla Al Attar on an oil canvas in 1980
"the art of Layla Al Attar was suggestive of alienation and deep sadness, which made her take nature as a subject for salvation." – Adel Kamel
During the fifties and sixties of the 20th century, the Arab world was still enveloped with conservative and traditional attitudes, which were undeniably ruled by the prejudgement for the women who were trying to abandon the dominating morals of their time. This was mainly done within literature and plastic art, to 'challenge the deep-seated traditions seeking to present their intellectual views and vision.'
This movement led to a group of Iraqi artists breaking free from the conservative mould imposed by their societies and came to produce intricate artworks as a representation of the 'turmoil of their time.' With this, it has allowed their work to transcend time, gifting hope and courage for the lives of men and women to this day, granting generations the knowledge and wisdom to help re-establish the position and power of women in their still heavily conservative communities. As well as this, their works are a striking source of nostalgia for all civillians, feeling their defiance through their artwork which shall be long remembered.
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