While practicing law at Fried Frank Harris Shriver & Jacobson, he also conceived and co-directed the World Bank/UNESCO Task Force on Higher Education and Society. He served at the World Bank, the Rockefeller Foundation, and UNICEF prior to entering law school.

As a freshman at Harvard College, Kamal started and ran the Overseas Development Network, a national network of 70 student groups dedicated to the promotion of international development. At age 14 in Bangladesh, Kamal founded a series of internationally-funded alternative schools for underprivileged children. The university is dedicated to the education and leadership development of women from throughout the region and has students from 17 countries. Kamal Ahmad founded the Asian University for Women in Bangladesh in 2008. He received his doctorate in cultural anthropology from Indiana University. His most recent publication is a chapter on Islam and state policies in Uzbekistan in Islam, Society, and Politics in Central Asia. David has also taught at Georgetown University and published on Islam, foreign assistance in Central Asia, and on anthropologists working in national security. foreign policy, advising on outreach to the Muslim world, and engaging with Muslim-American communities. From 2001-2005, David spent four years in the Department’s Office of International Religious Freedom, monitoring and promoting religious freedom in the Middle East as an element of U.S. He previously worked for many years as a Central Asia analyst, focusing primarily on Uzbekistan, Tajikistan, Kyrgyzstan, and Islamic trends in Eurasia. Department of State’s Bureau of Intelligence and Research. David Abramson is a senior analyst covering Russia’s relations with Asia for the U.S. This perhaps might lead us to question what it means to be represented-and art’s role in mediating those conditions.Dr. With the ability to refuse or withhold immediate recognizability, this emphasis on the geometry of a work holds a certain power. By pursuing their own distinct set of conventions and ways of engaging a viewer, these artists can construct new ways of communicating, identifying, or meaning. This formal mode of communication to enables viewers to engage with the world in a new way. Against any sense of superficiality, these works suggest an exciting potential in the ways in which these categories might collapse.Įven as it might not be necessarily figurative, these geometric works still frequently find ways to depict the world-its terrains and its stars. Theses formal explorations often pursue a repeatable set of codes and strategies. Often, there is the presumption that such an interest in form might fall into the decorative, especially when considered in tandem with ideas of pattern. In a refusal of representation, these artists walk a tight rope towards a new form of visuality. In this way, we might achieve modes of looking that are conscious of the conditions of our world and lived experience. In another, surface is active as a material itself. In one, surface is at once flat and spatially complex. Through both strategies, how might the texture of a surface relay its place in the world? In these two different modes of working with surface, we might understand it as a way these artists have attempted to establish new ways of seeing. For others, the attention towards viewing these works refers to more material ends. For some, the surface tends towards the absolute-in which formal and material tensions signal a spiritual harmony. In many of these works, there is a conscious understanding that surface and texture shape the viewer’s relationship to the work of art. These works employ diverse strategies of abstraction to refine these geometries even further. These geometric priorities have enabled various strategies of representation-through a recreation of realistic perspective or a fragmented expression of movement and life. Focused on surface, material, form, the works gathered here draw our attention to the geometries that shape the world around us.

Jesse levin brooklyn architect