A Glimpse into Baghdad's Modern Art and the Cost of War

The Legacy of Iraqi Modern Art and the Devastation of War

The U.S. invasion of Iraq in 2003 had far-reaching consequences, not only for its people but also for its cultural heritage. Among the most tragic losses was the destruction of the Iraq Museum in Baghdad, where an estimated 15,000 ancient artifacts were stolen over just a few days. Many of these items have never been recovered, despite ongoing repatriation efforts. However, what is less widely known is that the invasion also caused significant damage to Iraq’s modern art scene, particularly at the National Museum of Modern Art.

Before the invasion, the museum housed approximately 8,000 artworks, but today, the vast majority remain missing or damaged. The loss of records and archives has further complicated recovery efforts. This cultural devastation underscores the importance of exhibitions like “All Manner of Experiments: Legacies of the Baghdad Modern Art Group,” which aims to highlight the rich history of modern Iraqi art and its enduring impact.

A Forgotten Chapter in Art History

Nada Shabout, a professor of art history at the University of North Texas and a visiting professor at NYU Abu Dhabi, has dedicated her career to documenting Iraq’s modern art. She emphasizes that many people overlook the fact that Iraq has a vibrant contemporary art scene. “It’s the way Iraq was presented before the invasion, as the cradle of civilization. It’s about Mesopotamia; it’s about heritage,” she explains. “This framing ignored that Iraqis had their own national history.”

The exhibition, curated by Shabout, focuses on the Baghdad Modern Art Group, a collective active from 1951 through the early to mid-1970s. This group sought to blend global modernism with local traditions, creating a unique artistic identity rooted in Iraq’s cultural heritage.

The Baghdad Modern Art Group

Founded by artists Jewad Selim and Shakir Hassan Al Said, the Baghdad Modern Art Group released a manifesto embracing “all manner of experiments” to create art that drew on Iraq’s vernacular heritage. Their work often incorporated ancient Mesopotamian iconography, blending it with modernist techniques. For example, Selim’s 1953 painting “Children’s Games” uses a deconstructed, cubist approach with crescent shapes inspired by both Islamic symbols and ancient Mesopotamian imagery.

Al Said’s 1955 “Portrait of a Belle” similarly nods to cubism while incorporating local rug patterns and Sumerian reliefs. Both artists studied in Europe, yet their work remained deeply connected to their Iraqi roots. Selim is also known for his “Freedom Monument,” a large-scale bas-relief commemorating the 1958 revolution. The piece remains an iconic landmark in Baghdad’s Tahrir Square.

Preserving a Lost Legacy

With so much of the original artwork lost, the exhibition relies on pieces lent by private museums and collections across the Middle East. Curators have also used photographs of lost works, along with archival materials such as exhibition posters, catalogues, and publications. This approach not only helps reconstruct the movement but also offers a model for preserving art in other conflict-affected regions, including Ukraine and Gaza.

Later sections of the exhibition explore the trajectories of other group members. Artists like Dia al-Azzawi and Faraj Abbo created works that reflect the group’s influence, while others, such as Nizar and Naziha Selim, leaned more into folk art. Al Said, who lived until 2004, shifted toward pure abstraction influenced by Sufism, as seen in his 1963 “Untitled (Grey).”

The Eighties Generation and Beyond

The final room of the exhibition focuses on the “eighties generation” of Iraqi artists, many of whom were forced into exile due to war and sanctions. These artists, including Hanaa Malallah and Sadik Kwaish Alfraji, found inspiration in the principles of the Baghdad Group, using their work to connect with their heritage.

Malallah’s 1989 painting “The Two Worshipers” reflects this connection, with its abstract reds and vigorous strokes evoking a sense of loss and devotion. Alfraji’s 2010 video “The House My Father Built” visually captures the emotional weight of displacement and memory.

A Celebration of Hope and Potential

Despite the challenges, the exhibition ultimately celebrates the resilience and creativity of Iraqi artists. It highlights the optimism and hope that characterized the Baghdad Modern Art Group during its formative years. As Shabout notes, “The most important thing about what the group presented was potential and hope.”

The exhibition, “All Manner of Experiments: Legacies of the Baghdad Modern Art Group,” runs through October 19 at Bard College’s Hessel Museum of Art in Annandale-on-Hudson, New York. It serves as a powerful reminder of the enduring legacy of Iraqi modern art and the importance of preserving cultural heritage in the face of adversity.