LAZHAR MANSOURI
(1932-1985)

Photographs

PHOTOGRAPHS

Westwood Gallery NYC presented the premiere U.S. exhibition for Lazhar Mansouri and represents the surviving photographs and archive research.

PORTRAITS FROM AÏN BEÏDA, 1950-80

The Mansouri archive reflects the tumultuous spirit of the times and the ethnic and social make-up of the region. Through Mansouri’s studio portraits we can witness the growth of the Algerian middle class replacing the French colonists and its synchronic evolution with Europe. The photographs also reflect the military and political atmosphere of the period.

The images are a commentary of the time, reflected through families, youth, Bedouin, Imazighen (Berber), soldiers, and personal portraits, with an emphasis on custom, kitsch, fashion and a familiar need for youth to be looked upon as 'cool'. Plastic plants, columns and various patterned curtains serve as minimal backdrops in the studio and often the subjects mix Western and ethnic garb.

To inquire regarding price for limited edition prints, and to purchase any of the photographs shown below, contact the gallery at info@westwoodgallery.com.

1960s black & white photograph of a child wearing a suit in a photography studio

1960s black & white photograph of a man in a leather suit and riding boots in a photography studio

1960s black & white photograph of a mother with three children, in a photography studio

1960s black & white photograph of two women, one crouching, one standing, in a photography studio

1960s black & white photograph of a family, mother, father and four children, in a photography studio

1960s black & white photograph of two friends in a photography studio

1960s black & white photograph of a man wearing a headscarf with a poster, in a photography studio

1960s black & white photograph of four children, in a photography studio

1960s black & white photograph of four friends, two standing, two sitting, in a photography studio

1960s black & white photograph of a soldier in uniform, with a rifle and Islamic flag, in a photography studio

1960s black & white photograph of man wearing a cowboy outfit and hat, in a photography studio

1960s black & white photograph of two men wearing leather jackets, in a photography studio

1960s black & white photograph of a young man wearing only trousers, in a photography studio

1960s black & white photograph of policeman, in a photography studio

1960s black & white photograph of father and toddler in a photography studio

1960s black & white photograph of a child wearing ethnic middle-eastern garb in a photography studio

1960s black & white photograph of four policemen in uniform, in a photography studio

1960s black & white photograph of a woman wearing an embroidered dress in a photography studio

1960s black & white photograph of three men in middle-eastern garb with music instruments in a photography studio

1960s black & white photograph of two children in school uniforms, in a photography studio

1960s black & white photograph of four children in western garb in a photography studio

1960s black & white photograph of a couple in a photography studio

1960s black & white photograph of three men (one in middle-eastern garb) in a photography studio

1960s black & white photograph of a family (mother, father, six children) in a photography studio

1960s black & white photograph of a young woman wearing a patterned dress and shoulder bag, in a photography studio

PORTRAITS OF AMAZIGH WOMEN, 1960s

During Mansouri’s lifetime, the demographic of the Aurès Mountain region saw a resurgence of Islamic culture after over 130 years of French occupation. For tribes such as the local Chaoui within the Imazighen, Mansouri's images could have been the only photograph across their entire lifetime, and inadvertently the last generation of Amazigh women to undergo facial tattooing called Ushem or Tchiradh in local dialects.

Facial tattooing was a rite of passage for young Amazigh girls often applied at the onset of puberty in transition to womanhood. The shapes, which include a sun (shams), a palm tree, a chain (cinsla), and flies (thabanat), were considered symbolic to Amazigh culture. A significant shape is the diamond or eye of a partridge (ain hijla), which takes its importance from the partridge, a bird of great grace, its sharp eyes are thought as vigilant watchers against danger.

1960s black & white portrait of Amazigh woman with facial tattoos, wearing flowered dress, in a photography studio

1960s black & white portrait of Amazigh woman with facial tattoos, wearing striped outfit, in a photography studio

1960s black & white portrait of Amazigh woman with facial tattoos, wearing white dress, in a photography studio

1960s black & white portrait of Amazigh woman with facial tattoos, in a photography studio

1960s black & white portrait of Amazigh woman with facial tattoos, wearing a scarf, in a photography studio

1960s black & white portrait of Amazigh woman with facial tattoos, wearing a dress, in a photography studio

1960s black & white portrait of Amazigh woman with facial tattoos, wearing a head covering, in a photography studio

1960s black & white portrait of Amazigh woman with facial tattoos, wearing a mantle, in a photography studio

1960s black & white portrait of Amazigh woman with facial tattoos, wearing white scarf, in a photography studio

1960s black & white portrait of Amazigh woman with facial tattoos, wearing patterned dress, in a photography studio

LAZHAR MANSOURI (1932-1985)

PHOTOGRAPHS ​

LAZHAR MANSOURI
(1932-1985)

PHOTOGRAPHS