Treasured Ornament: 10 Centuries of Islamic Art adopts compassion and compromise as Gaza conflict rages on | Visual Art | Pittsburgh

Since the Oct. 7 Hamas attacks and the ensuing invasion of Gaza by Israeli forces, there have been many reported incidents related to artistic censorship. These incidents have become so prevalent that the US nonprofit National Coalition Against Censorship created an online portal to track and document them. As the conflict has continued to escalate, the climate of fear and repression has intensified, with artists, curators, and cultural leaders facing mounting pressure to align with one side or face the risk of career damage, or even personal threats.

Pittsburgh is not exempt from the controversy, with local cultural institutions forced to navigate the delicate balance between artistic expression and public outcry. This environment can stifle free expression and critical discourse, preventing a full and nuanced exploration of the complex realities of major conflicts.

In response to these challenges, some institutions have begun to adopt more thoughtful approaches to curation and presentation, striving to exercise sensitivity while preserving the integrity of the artwork. A notable example is the Frick Art Museum’s revised presentation of Treasured Ornament: 10 Centuries of Islamic Artwhich opened Aug. 17 following a 10-month postponement. After receiving feedback from various community stakeholders, the museum made efforts to contextualize the exhibition in a way that acknowledges both the beauty and historical significance of the featured works, while also addressing the often painful histories associated with them.

Dawn Brean, the chief curator at the Frick Art Museum, emphasizes the significance of Treasure Ornamentdescribing it as a “visually rich presentation of material culture from Islamic regions,” featuring works from the more than 400-piece personal collection of Joseph and Omayma Touma.

Brean explains that the Frick is always on the lookout for exhibitions that invite the audience to experience new things, connect with the community, and tie into the museum’s permanent collection. This approach is reflected in their decision to present these works after what many considered a misstep in attempting to avoid mounting tension within the community; the result is an exhibition that serves as a bridge between the museum’s existing holdings and the broader cultural and historical context the museum aims to explore, as well as Pittsburgh’s Muslim community.

Brean acknowledges the complexities surrounding the term “Islamic” itself, calling it an “inadequate” term that “might mean art produced in a society under Muslim rule, or in a society where Muslims constituted a majority of the population.”

“It can apply to religious objects, like a prayer rug, or everyday artifacts, including bowls or tiles,” Brean explains. “Also, because Islam is so widely practiced, the objects might have originated anywhere from Spain and Northern Africa to the Middle East or Indonesia, dating anywhere between a 1,400-year period.” She stresses that the museum has worked to reframe and reinterpret the exhibition, aiming to foster a deeper understanding of the art beyond insufficient labels.

“It can apply to religious objects, like a prayer rug, or everyday artifacts, including bowls or tiles,” Brean explains. “Also, because Islam is so widely practiced, the objects might have originated anywhere from Spain and Northern Africa to the Middle East or Indonesia, dating anywhere between a 1,400-year period.”

Despite having limited flexibility in selecting the objects for the exhibition (it was organized by the Huntington Museum of Art in California), Frick reworked the presentation and theme to include a piece from its vast collection — a 14th-century Syrian “Mosque Lamp” acquired by the museum’s namesake, industrialist Henry Clay Frick — in hopes of sparking conversations around cultural influences on Western art. The exhibition also includes a map of the regions where many of these works originated, primarily Southwest Asia and North Africa, as well as Iran, Egypt, India, Syria, and Turkey. The museum’s website features an interactive online version of the map, as well as various reading materials that allow guests of all ages to learn more about Muslim art and culture.

Kristin Garbarino, director of marketing and communications at Frick Art Museum, stresses the museum’s approach to curatorial changes, including alterations to titles and intentional pairings of themes. For example, the Art of Learning section shares space with Art of Belief in an attempt to bridge any divides between the concepts.

Bridging divides is a core concept of Treasure Ornamentboth literally and figuratively; a community mural, facilitated by artist Ebtehal Badawi, is rooted in building bridges between people to cultivate a sense of belonging. Young visitors can experience the exhibition through an extensive array of Islamic-themed art and activities, and by providing educational resources and fostering open dialogue, the museum demonstrates how cultural institutions can create a space for critical engagement that respects diverse perspectives without compromising the artistic vision . This approach can serve as a model for other institutions facing similar challenges, showing that it is possible to navigate these sensitivities while enriching the public’s understanding of art and history.

The Frick also recruited Nigerian American multidisciplinary artist and educator Khadijat Yussuff to enhance the exhibition as an artist-educator-residence. Using their interdisciplinary practice to explore what a press release calls “African diasporic ritual and cultures,” Yussuff has and will continue to employ various educational materials, studio sessions, and field trips to fully immerse visitors in the exhibition. This will occur as Yussuff connects Treasure Ornament with their work on West Africa, specifically Yoruba, Ajami script, and “the relationship between the Arab world and Africa.”

A significant aspect of the exhibition is the partnership with the Regional Asset District (RAD), which allows any visitor with a library card to enjoy free admission. This initiative reflects the Frick’s dedication to making art accessible to all, inviting a diverse audience to engage with the exhibition.

“I really hope that visitors come with curious minds and open hearts,” Brean says, recognizing that there are “not a lot of opportunities to see Islamic art in Pittsburgh.”

Through careful curation and community collaboration, the Frick Art Museum offers an exhibition that encourages visitors to reflect on their meanings and cultural contexts and foster thoughtful conversations about how they are categorized and understood.

Treasured Ornament: 10 Centuries of Islamic Art

Continues through Oct. 20

The Frick Pittsburgh. 7227 Reynolds St., Point Breeze

Included with regular admission