Page 1 Page 2 Page 3 Page 4 Page 5 Page 6 Page 7 Page 8 Page 9 Page 10 Page 11 Page 12 Page 13 Page 14 Page 15 Page 16 Page 17 Page 18 Page 19 Page 20 Page 21 Page 22 Page 23 Page 24 Page 25 Page 26 Page 27 Page 28 Page 29 Page 30 Page 31 Page 32 Page 33 Page 34 Page 35 Page 36 Page 37 Page 38 Page 39 Page 40 Page 41 Page 42 Page 43 Page 44 Page 45 Page 46 Page 47 Page 48 Page 49 Page 50 Page 51 Page 52 Page 53 Page 54 Page 55 Page 56 Page 57 Page 58 Page 59 Page 60 Page 61 Page 62 Page 63 Page 64 Page 65 Page 66 Page 67 Page 68 Page 69 Page 70 Page 71 Page 72 Page 73 Page 74 Page 75 Page 76 Page 77 Page 78 Page 79 Page 80 Page 81 Page 8261 HIGHLIGHT: LIPI AN ARTIST AND ACTIVIST, TAYEBA BEGUM LIPI is one of the most important figures in Bangladesh’s contemporary art world. She received her M.F.A. from the University of Dhaka in 1993, and was the commissioner for the first Bangladeshi Pavilion at the 54th Venice Biennale in 2011. Best known for her sculptural work, Lipi addresses themes of domesticity and the subjection of women through the recreation of everyday objects such as female undergarments, beds, wheelchairs and bathtubs—all of which are made with safety pins and razor blades. Trapped-3 is one of a series of nine mirrors, all of which are unique works. The original concept was to use images of Lipi herself dressed in burqas, hijabs and niqabs from different Muslim regions and cultures, but certain kinds were difficult to obtain. Instead, she appropriated existing images, and a search for “Arabian metal niqab” yielded the prototype for Trapped-3 in particular, which is also known as “chain veil” or “gold veil.” The artist employs these coverings in her work to create a sense of varying levels of concealment. The effect of acid etching on polished stainless steel sheets results in pixilated images, which further obscure the women’s faces in different light conditions and from different viewing angles. The stainless steel razor blades that make up the mirror frames are significant in that they reference childbirth tools in underdeveloped parts of Bangladesh where Lipi grew up. She used ready-made blades before, but now has them custom-made in sizes that are commercially unavailable. ABOVE: Tayeba Begum Lipi. Bangladeshi, born 1969 Trapped—3, 2013 Stainless steel razor blades and exposed drawing on polished mirror Purchased with the gift of Cecilia Lee, class of 1987, and the Carroll and Nolen Asian Art Acquisition Fund LEFT: Unknown. Japanese, Edo period (1615–1868) or Meiji era (1868–1912), late 19th or early 20th century Ko ¯ bon (Incense Tray) with Mount Ho ¯ rai Lacquered wood Gift of Cornelia and Erik Thomsen