Abstract
Ghada Amer's elaborately embroidered paintings, sculptures, and installations add discomfiting overtones to the needlework that has played an important role in feminist art for the past thirty years. Her works forge uneasy alliances among feminist, Islamic, and postcolonial ideologies, yielding hybrids that settle in no one place, culture, or political position. For example, viewers of Amer's Private Room (1999) encounter hanging garment bags made of richly colored satin and embroidered with extensive texts culled from the Qur'an. By presenting the holy Arabic words in French translation, Amer creates a double obstacle that blocks English-speakers' access to the original meanings.
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