Layla Al Attar (1942-1993) Was One Of Iraq’s Most Respected And Influential Painters In The 1970s And

Layla Al Attar (1942-1993) Was One Of Iraq’s Most Respected And Influential Painters In The 1970s And
Layla Al Attar (1942-1993) Was One Of Iraq’s Most Respected And Influential Painters In The 1970s And
Layla Al Attar (1942-1993) Was One Of Iraq’s Most Respected And Influential Painters In The 1970s And
Layla Al Attar (1942-1993) Was One Of Iraq’s Most Respected And Influential Painters In The 1970s And
Layla Al Attar (1942-1993) Was One Of Iraq’s Most Respected And Influential Painters In The 1970s And

Layla Al Attar (1942-1993) was one of Iraq’s most respected and influential painters in the 1970s and 80s. Layla was murdered alongside her husband by a U.S Missile attack that targeted the house she resided in, which was her sister Suad’s house, and several other civilian homes in her neighbourhood in Baghdad in 1993. Although the attack was considered to be accidental, many people believe the real reason behind the air-strike was due to one of her provocative pieces; which was a mosaic portrait of George H. W. Bush on the floor of the main entrance of Al Rasheed Hotel with the phrase “Bush is Criminal“ written beneath it.

The attack was ordered by Bill Clinton in retaliation for an attempted assassination on Bush in Kuwait in 1993. Most recently however, such claims of a targeted attack on Layla’s residence have been refuted by several members close to Layla’s family due to the simplicity of the thought and the improbability of a powerful government targeting a simple artist. This has also been refuted because according to several resources Layla didn’t create that mosaic of Bush, but she was rather a manager at the Arts Institute that commissioned an artist from Diyala/Baqubah to create it.

The details of Layla’s and her husband’s death might never be known, but one thing that should be realized from this event is the amount of disrespect and abasement the American administration had and continues to have until this day to the lives of Iraqis.

More Posts from Thxsdad and Others

1 month ago

remmick and the vampires present a false dichotomy

Hogwood (the man who sold the twins the mill) and the KKK are very obviously bad, they are outright malicious bigotry, they use the n-word and plan to lynch the moore's and their community, they are so blatantly racist and hateful it's unavoidably obvious

remmick and the vampires however say that they believe in equality, say that they want to create a community, and yet remmick's goal throught the movie is to both metaphorically and literally steal sammie's ability for his own goal of reconnecting with his irish ancestors, a white man wants to harm a young and upcoming black man and use talents for his own goals without giving any regard to said black man's autonomy or agency

when sammie sings 'I lied to you' in the juke joint and calls forth the spirits from the past and future, it's a blend of cultures; west african, east asian, native american, and african american song and dance blend together across time and space to tell the stories of blues; where it takes its inspiration from, the music genres it then inspired, the complex history of black american culture and its intersections with other peoples of colour in the USA

when remmick and the vampires kill and turn the people in the juke joint, and then perform rocky road to dublin, only remmick's irish culture is on display, there is no influence from the black and asian people he has forcibly assimilated into his song, it's juxtaposition with the earlier scene is blatant, remmick is more than happy to assimilate people of colour into his 'community' of 'equals', and yet its only whiteness that is celebrated, that is normative

remmick claims that he's doing people a favour by turning them immortal, conviently ignoring that he literally has to suck the life out of them to do so, trapping their spirits on earth, he claims that he's the good guy, that the KKK were gonna come and lynch everyone at the joint in the morning anyways, conviently ignoring that he's doing the exact same thing; a white man leading a mob to kill a bunch of black people

in the final confrontation with sammie remmick repeatedly dunks him into the river, a forceful baptism. both the celtic irish and enslaved west africans had their religions suppressed and destroyed by colonialsm, had christianity forced upon them by the british empire, and in that scene we see remmick repeating that cycle, using christianity to inflict harm, and sammie reclaiming christianity, despite all the complex emotions he has arround it, as many colonised peoples have and still do, when he recites the lord's prayer

remmick and the vampires are no less racist than hogwood and the KKK, are no less predatory or evil, they're just less blantant about their bigotry, they represent the system, the normalised white supremacy that is seeped into the very foundation of culture in america, the point isnt that remmick would call any of the black characters in the movie the n-word, i dont think he would, the point is that his exploitation and desacration and inserting-himself-into-when-he-wasn't-invited of the juke joint is a microcosm of what white people have done to black american arts and culture since ever since there have been black and white people in america, and even before that

theres a reason vultures are shown early on in this movie

3 years ago
My Favorite Poems
My Favorite Poems
My Favorite Poems
My Favorite Poems
My Favorite Poems
My Favorite Poems
My Favorite Poems
My Favorite Poems
My Favorite Poems

my favorite poems

4 years ago
* Join A Group * - Https://docs.google.com/spreadsheets/d/1M9Y46lhZSVIRyE1Qh74Tj5uu91VKs5nhFCUudnFOqOg/
* Join A Group * - Https://docs.google.com/spreadsheets/d/1M9Y46lhZSVIRyE1Qh74Tj5uu91VKs5nhFCUudnFOqOg/
* Join A Group * - Https://docs.google.com/spreadsheets/d/1M9Y46lhZSVIRyE1Qh74Tj5uu91VKs5nhFCUudnFOqOg/
* Join A Group * - Https://docs.google.com/spreadsheets/d/1M9Y46lhZSVIRyE1Qh74Tj5uu91VKs5nhFCUudnFOqOg/
* Join A Group * - Https://docs.google.com/spreadsheets/d/1M9Y46lhZSVIRyE1Qh74Tj5uu91VKs5nhFCUudnFOqOg/
* Join A Group * - Https://docs.google.com/spreadsheets/d/1M9Y46lhZSVIRyE1Qh74Tj5uu91VKs5nhFCUudnFOqOg/
* Join A Group * - Https://docs.google.com/spreadsheets/d/1M9Y46lhZSVIRyE1Qh74Tj5uu91VKs5nhFCUudnFOqOg/
* Join A Group * - Https://docs.google.com/spreadsheets/d/1M9Y46lhZSVIRyE1Qh74Tj5uu91VKs5nhFCUudnFOqOg/

* Join a group * - https://docs.google.com/spreadsheets/d/1M9Y46lhZSVIRyE1Qh74Tj5uu91VKs5nhFCUudnFOqOg/

/ * Start a group * - https://docs.google.com/document/d/1ca-sz4DRNvUg8ezcrfd6awH-ahxBDJwnbdzxm4_qDVs/

(Spanish version)

2 years ago
Not All Of It Is Bad I Think….…. We Are Going To Be Okay I Think.
Not All Of It Is Bad I Think….…. We Are Going To Be Okay I Think.
Not All Of It Is Bad I Think….…. We Are Going To Be Okay I Think.
Not All Of It Is Bad I Think….…. We Are Going To Be Okay I Think.
Not All Of It Is Bad I Think….…. We Are Going To Be Okay I Think.
Not All Of It Is Bad I Think….…. We Are Going To Be Okay I Think.
Not All Of It Is Bad I Think….…. We Are Going To Be Okay I Think.
Not All Of It Is Bad I Think….…. We Are Going To Be Okay I Think.
Not All Of It Is Bad I Think….…. We Are Going To Be Okay I Think.
Not All Of It Is Bad I Think….…. We Are Going To Be Okay I Think.

not all of it is bad i think….…. we are going to be okay i think.

4 years ago

Resources for non-Black Asians on Anti-Blackness

How Anti-Blackness Affects my South Asian-American identity

What Solidarity, ‘Selfishness’ and Anti-Blackness Look like from a Queer Desi perspective

Baltimore Riots Reveal Blatant Anti-Blackness in the South Asian Community

On Confronting and Resisting Anti-Blackness in Ourselves & In Our Communities

The Revolution Starts with my Thathi: Strategies for South Asians to Bring #BlackLivesMatter home

Bringing it Home: South Asians Talking to Our Parents About Sureshbhai Patel, Police Brutality, and Black Lives Matter

The Need for Black-South Asian Solidarity by Lavanya Nott (1/14/2016)

Freedom to Dissent from Delhi to Ferguson by Meghna Chandra (2/16/2016)

Vijay Prashad’s chapter on South Asians & anti-Blackness in The Karma of Brown Folk

Everybody was Kung-Fu Fighting by Vijay Prashad

Hip Hop Desis: South Asian Americans, Blackness and Global Race Consciousness by Nitasha Sharma

Desi Hoop Dreams: Pickup Basketball and the Making of Asian American Masculinity by Stanley I. Thangaraj

The Secret History of South Asian and African American Solidarity by Anirvan Chatterjee

Why Black Lives Matter in Pakistan by Junaid S. Ahmad & Darakshan Raja

South Asians for Black Power: On Anti-Blackness, Islamophobia, and Complicity

We Too Sing America; South Asian, Arab, Muslim, and Sikh Immigrants Shape Our Multiracial Future by Deepa Iyer

Afro-Dalits of the Earth, Unite!  by Vijay Prashad (JSTOR)

It Starts at Home: Confronting Anti-Blackness in South Asian Communities — A Facilitation Guide by the Queer South Asian National Network

Towards a “Selfish Solidarity”: Building Deep Investment in the Movement for Black Lives

———————————

I copied this from the Google Doc bc I am afraid of losing these links! Credit goes to the original creators, not me! 

2 years ago
By Gustav Klimt

by Gustav Klimt

4 years ago
Jupiter's Moon IO: Jupiter's Fifth Moon, Io, Is The Most Volcanically Active Body In The Solar System.
Jupiter's Moon IO: Jupiter's Fifth Moon, Io, Is The Most Volcanically Active Body In The Solar System.

Jupiter's Moon IO: Jupiter's fifth moon, Io, is the most volcanically active body in the solar system. Io's surface temperature averages about minus 202 degrees Fahrenheit (minus 130 Celsius), resulting in the formation of sulfur dioxide snowfields. But Io's volcanoes can reach 3,000 F (1,649 C). Io is often referred to as a celestial body of fire and ice. (source)

4 years ago
Agnes Pelton (1881-1961), Challenge, 1940. Oil On Canvas.

Agnes Pelton (1881-1961), Challenge, 1940. Oil on canvas.

3 years ago
Character, Remedios Varo

Character, Remedios Varo

4 years ago
Agnes Pelton

Agnes Pelton

Star Gazer. 1929, oil on canvas. 76 x 41 cm. Susan and Whitney Ganz Collection

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