This New Book Shatters the Luxury Myth to Reveal the UAE's Art History

The United Arab Emirates is often viewed through the lens of futurism and luxury, with the world’s eye trained on its opulence and development - sometimes in marvel, other times with suspicion. The region’s art scene, too, is frequently examined from this dull, unchallenged viewpoint, one that often overlooks its history, or pretends that such a history never existed. In response to this, Sophie Kazan Makhlouf created ‘The Development of An Art History in the UAE’ (Anthem Press), a new book that offers a crucial snapshot of the UAE’s unique art history.

Makhlouf, an art historian and curator, drew inspiration for her debut book from her experiences with the Emirates Foundation’s arts and cultural program between 2007 and 2011, as well as her PhD research on how tradition and modernity drive change. These experiences provided her with the foundation to craft a narrative that weaves together the story of the UAE’s art scene, offering a deeper academic and personal understanding of its evolution.

While the word "tapestry" has gained connotations linked to AI, it also remains the most fitting metaphor for Makhlouf’s work. Instead of reducing the region’s art history to a linear story, she paints a multi-layered narrative that spans beyond a single movement or discipline. Through conversations with Emirati artists and a range of analyses of their creations from across disciplines - calligraphy, painting, photography - Makhlouf’s work doesn’t merely uncover, but brings to life an art scene that predates the UAE’s formation in 1971.

Central to Makhlouf’s argument is the need for a new lexicon to discuss Emirati art - a framework that steps outside Western-centric paradigms. She not only addresses a gap in global art discourse but also establishes a niche with potential for expansion. Makhlouf hints at future projects, such as a study of international artists inspired by the Gulf’s evolving cultural landscape or a dedicated exploration of UAE-based artists pushing the boundaries of creative expression.

The book’s subtitle, “An Art Not Made to Be Understood,” reflects this ethos. Borrowing the phrase from Hassan Sharif, often regarded as the father of UAE art, Makhlouf emphasises the value of ambiguity and complexity in Emirati art. Sharif’s words challenge viewers to linger with the questions art provokes rather than expect an immediate answer.

“One thing that I am always surprised by is the extent to which artists in the UAE are open to change and take change as a constant,” Makhlouf tells SceneNowUAE. “Whatever new media or concepts I hear about, when I speak about them to artists in the UAE, they always seem to have an insight and an opinion, or have already engaged in some way.”

It’s fascinating how the UAE’s history mirrors the journeys of its artists. Since its establishment in 1971, the country has undergone hyper-speed development, transforming from modest desert settlements to a global hub. This embrace of change as a constant parallels the art scene.

Makhlouf highlights the interdisciplinary nature of Emirati art, exemplified by artists like Afra Al Dhaheri, whose works intertwine performance, sound, conceptual art and personal narratives. These creations engage in global contemporary art dialogues while remaining deeply rooted in local culture. The adaptability of Emirati artists - who consistently embrace new media and ideas - mirrors the UAE’s constant evolution, making its art scene a space of continual reinvention.

For Makhlouf, the UAE’s art scene presents both opportunities and challenges. The rise of social media and the disruptions of the COVID-19 pandemic have transformed how Emirati artists connect with audiences. Digital platforms democratised access, bridging the gap between local artists and a global audience, but with this new visibility comes the struggle for their work to be viewed as distinct and separate from broader trends.

Beyond its academic relevance, ‘The Development of an Art History in the UAE’ introduces a much-needed dialogue about how the culture of the UAE is perceived. By exploring the nuances of its art scene, Makhlouf rejects simplistic portrayals of the UAE as a monolith of wealth and excess, instead emphasising its history and multifaceted identity - one that goes beyond the structure of beginning, middle and end.

Her work raises profound questions about how art history should be documented. Should Emirati art be examined through preexisting frameworks, or should new paradigms be created to honour its unique narratives? For collectors, students and art enthusiasts alike, Makhlouf’s book fills a needed gap into artistic discourse, challenging how our preconceived biases of settings shape our understanding of art and its cultural significance.