My understanding is that Luca Emilio Brancati collected war rugs from 1984 until 1987 exclusively. Thanks to Nigel Lendon, I saw a few photos over the years, but documentation of Brancati’s important 2018 exhibition at the gallery in the Palazzo Lascaris in Turin, Italy, was the first time good photos were published on the internet.
This is a rug that was sold before being properly inventoried, and recently I found these photos from 2004. If you happened to have bought this rug from me at the showroom in Long Island City, please contact me, for it would be good to get better quality photos.
What makes this rug so great? First, its depiction of spring in a city. The colors are lively and fresh. Second, it is a well drawn and clear Modern City Landscape, and maybe a key to identifying the location. Third, the drawing is very good with wonderful details: the plane, the motorcycle, the blooming trees. Fourth, the border is festive with strong rhythm. Enjoy!
Despite decades of war, ancient pattern techniques that can take months or years to complete are still passed from mother to daughter. Testimony from the makers of these carpets is difficult to obtain, as many of these works remain unattributed, and the female weavers lack easy access to modes of international communication. But the largest online archive of Afghan war rugs, maintained by New York–based artist Kevin Sudeith, offers information and an online store. Still, the weavers’ authorship is often lost when these works go to market, yet their masterful compositions reveal a dark humor and complex commentary on contemporary life.
In the carpets’ compositions, perspectival viewpoints merge and flatten to integrate three-dimensional forms with maps and repeating decorative patterns. Some of the rug designs are based on Charbagh, a quadrilateral layout inspired by the four gardens of Paradise described in the Qur’an. Another genre of rugs depicts national maps of Afghanistan, which may have been influenced by Alighiero Boetti’s map series.The Italian Conceptual artist traveled to Afghanistan and Pakistan in the 1980s and worked with female weavers, first in Kabul and later in Peshawar, to create brightly colored tapestries depicting world maps with national flags labeled with bold text. In keeping with his interest in chance, Boetti sometimes left the color choices up to the women.
Because many artists shy away from this touchy subject matter, Dixon found unlikely peers in the anonymous rug weavers. The horrors of violence and the destruction of everyday life manifests in these carpets with an absurd levity. Dixon first created her own version in 2010—not woven but cut from colorful yoga mats. She described the work as an homage to the carpet weavers—and a jab at the United States’s commercialized relationship to war.
The Pentagon says American airstrikes in Somalia have killed no civilians since President Trump accelerated attacks against Shabab militants there two years ago.
Amnesty International investigated five of the more than 100 strikes carried out in Somalia since 2017 by drones and manned aircraft, and in just that small sampling found that at least 14 civilians were killed.
The Pentagon says airstrikes by the American-led coalition fighting the Islamic State killed at least 1,257 civilians in Iraq and Syria as of the end of January.
Airwars, a university-based monitoring group, estimates that those strikes killed at least 7,500 civilians in those countries.
Those disparities show how poorly the American public understands the human cost of an air war fought largely by remote-controlled drones. Drones have been the main weapon in the counterterrorism fight for more than a decade. They kill extremists without risking American lives, making combat seem antiseptic on the home front. But the number of civilians killed in these attacks is shrouded in secrecy.
For some years there has been speculation about the location depicted in a group of landscape rugs showing a through arch bridge similar to the beautiful Sydney Harbour Bridge. The rugs in question though show a distinctive clock tower. Nigel Lendon was onto it in the post above (the ads and broken image links are unfortunate). These rugs show River Tyne with the Tyne Bride (through arch) and the Swing Bridge (at leftmost foreground in red and white.)
Notice in the left foreground the white arch supported by red lines of the Swing Bridge.
This one is reversed (note the white arch on right) with warehouse building in foreground.
UPDATED, April 23, 2019
From Luca Brancati’s Pinterest board I discovered this beautiful and interesting rug. It is a grand Tyne Bridge rug, as seen by the double warehouse at the bottom right, and the little white line of the swing bridge above it. Oddly, it has heavy armor integrated into the streets of Newcastle.
More info here . I especially like the white rectangles with drooping pomegranates. The inner border is Mushwani, and the the burgundy background on the outer border also looks Mushwani. The reversal of the image and the abstraction of some buildings in the top panel is interesting.
War rug art is fascinatingly educational friends! Temple University’s Samuel L. Paley Library, in room 309, is currently holding a Afghan war rug exhibition that contains 14 of my Afghan war rugs. These rugs tell stories and contain history which, ” helps contextualize a group of people that many Americans know very little about.” Theirs so much to be learned and talked about. Go check it out!
This show has curated by Alicia Cunningham-Bryant and student assistant curators, Ilana Napoli, and Rachel Morin.
The drone rug craze has maintained its drive. Public Radio International featured a story on the rugs, their background and growing popularity. There is a written story on PRI site, as well as the option hear the full radio interview. You can find a link to both below. Thank you to PRI for the interest!
It seems the flood gates have opened as the press is continuing. It is such an honor to have garnered the interest of The Atlantic. They have shared the original COLORS story on their blog. You can find the link to The Atlantic post below.