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To find the best foundation formulas and brands, Good Housekeeping Institute Beauty Lab scientists and editors scan the market for bases across price points, which are then label-masked to eliminate bias. Professional makeup artist evaluators test the foundations on factors such as dispensing, texture, application (spreadability, blendability, buildability) and coverage look and feel. Formulas that claim moisturization benefits, like tinted moisturizers and BB and CC creams, are also tested for skin hydrating effects using the Lab's Corneometer device. In the GH Beauty Lab's latest foundation test, scientists analyzed 190 submitted products to find the top 30 contenders for evaluation, quantifying 919 data points to find the best-performing formulas. Header image: 0026do00011, 0026do – Bedros Doumanian collection, courtesy of the Arab Image Foundation, Beirut. AIF will collaborate with Dawawine, offering a specialised public library that houses both Dawawine’s and the foundation’s extensive book collections and audiovisual resources, which focus on photography, cinema, theater, and the performing arts. This new joint library and research center will be an important resource for artists, researchers, and scholars alike.

Moving forward and in parallel to handling operational responsibilities, my focus will be more and more on programming. This includes soliciting and developing ideas based on internal discussions, as well as with individual practitioners and institutional partners. A major role of the Foundation being to facilitate research, talks, training, and curatorial initiatives around its collections. Foundation is one of the essential parts of the structure. It is defined as that part of the structure that transfers the load from the structure constructed on it as well as its weight over a large area of soil in such a way that the amount does not exceed the ultimate bearing capacity of the soil and the settlement of the whole structure remains within a tolerable limit. Foundation is the part of a structure on which the building stands. The solid ground on which it rests is known as the foundation bed. Why a Foundation is Provided Issam Nassar, “Family Snapshots: Representing Palestine in the Work of the First Local Photographers,” History & Memory 18, no. 2 (autumn/winter 2006): 139–155, here 147. It is incredibly exciting to see this mission finally take off, and I cannot wait to share the outcome with the public!Online // Hosted by Bilkent University, and in collaboration with the Arab Image Foundation and the Lebanese American University, we would like to invite you to an online conversation on Friday 11 December 2020 with author and associate professor Yasmine Nachabe Taan around her recently published book Reading Marie al-Khazen Photographs: Gender, Photography, Mandate Lebanon (Dress Cultures). This conversation will be moderated by Heba Hage-Felder, director of the Arab Image Foundation. With an interdisciplinary approach at the intersection of photography and gender studies in the middle east, Nachabe Taan expands her research on design and visual culture in writing the first full-length study of an Arab woman photographer published in English. The Arab Image Foundation along with Ashkal Alwan were invited to give a presentation to the group, speaking about our specific areas of work related to cultural heritage protection but also highlighting the challenges and possibilities in a stifling socio-political and economic context. The AIF began its work at a time when museums only started to display their collections online and the idea of a universal dissemination of information on the cultural heritage they catalog became increasingly attractive. [3] Digital media and the Internet not only changed the contemporary production and everyday use of photography and the circulation of images, but also fostered the reevaluation of their status as historical sources by giving them new “exposure.” With the Internet and digital storage came what Jacques Derrida called a “promise of the archive”: a seemingly more democratic ground for historiography and a guaranteed afterlife for documents and knowledge, which otherwise would have most likely—sooner or later—been forgotten. [4]

A group of informal donors met in Beirut 3-5 November. The group included Cultural Emergency Response (CER), ALIPH, Getty Foundation, Gerda Henkel Stiftung, Cultural Protection Fund of the British Council, JM Kaplan Fund, and Community Jameel. Regardless of what practice we are in, how often do we put people at the centre? Do we as photographers, writers, urban planners and lecturers venture that extra mile to think about marginalised groups? There are parallel lives happening all the time. Sometimes, we choose to see through a particular set of eyes, much like an archivist chooses the element of dust to capture what an image is going through at one moment in time. It is these permeable perspectives that eventually add nuance and complexity to what we are observing. I am grateful to be part of the Foundation and its team that is conscious about the importance of being collectively responsible for what is in our custody. As did previous colleagues, peers and fellow community members, we strive to pass on the inheritance of knowledge and objects for generations to come. Traversées photographiques. Le journal du docteur Cottard , edited by Gregory Buchakjian and Clémence Cottard Hachem (Arab Image Foundation, 2017) [13]

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Omayma A. Shafy (Co-founder & CEO) and Yasmine Hussein (Researcher in charge of Archive), and Ali Al-Adawy (film curator), Wekalet Behna For Arts (Alexandria, Egypt). Header image: 0024ab00016, 0024ab - Abdel Hadi family collection, courtesy of the Arab Image Foundation, Beirut. How beautiful is Panama! A photographic conversation from Burj al-Shamali camp, Initiated by Yasmine Eid-Sabbagh and Simon Lourié (2008) It is now about twenty years ago that Lebanese photographers Fouad Elkoury and Samer Mohdad, together with Lebanese artist Akram Zaatari, decided to create an organization with the aim to preserve and study photographs from the Middle East, North Africa, and the Arab diaspora. In 1997 the Arab Image Foundation (AIF) began to operate officially as a nonprofit organization in Beirut. Conceived as an initiative to gather knowledge and promote awareness about the region’s photographic heritage through locating, collecting, and conserving photographs, the AIF now holds a collection of more than 600,000 photographs from Lebanon, Iraq, Iran, Palestine, Syria, Egypt, Jordan, Morocco, and Algeria, as well as Mexico, Senegal, and Argentina, dating from the mid-nineteenth century. [1] Curatorial work defines the mission of the AIF not only in the sense that it is safekeeping and managing a collection, but also in that it has always sought to make the collection visible to the public. One major tool has been an online image database, which makes approximately 20,000 photographs accessible. Another central medium of display is the exhibition format. Since its inception, the AIF has produced fifteen exhibitions that have traveled worldwide, often accompanied by comprehensive publications.

While Palestine before ’ 48, Albums Marocains 1900–1960, and Arts et couleurs were clearly conceived as exhibitions, Mapping Sitting was labeled as “a project by Walid Raad and Akram Zaatari.” Rather than taking on the role of curators or mediators, Raad and Zaatari made use of the exhibition as a form of artistic expression to “raise questions about portraiture, performance, photography, and identity in general.” [14] Simultaneously, they made their authorship as artists and their position as members of the AIF in relation to its collection a crucial topic. In the words of art critic Kaelen Wilson-Goldie, Mapping Sitting thus “proposed a fourfold challenge to what exhibitions are, troubling the status of artists, artworks, curators, and institutions along the way.” [15] Although Mapping Sitting exhibited a group of photographers and focused on the specific characteristics of their practices, Raad and Zaatari clearly suggested that the photographers themselves should not be considered artists. The photographs were not to be regarded as art, but rather as the “content” and the “topic” of an artistically generated display. According to Wilson-Goldie, Raad and Zaatari thus “turned curating into art making, and transposed the building of installations, exhibitions, collections, and institutions into art, as well.” [16] Financial donations – institutions: Prince Claus Fund for Culture and Development ▪ Cultural Emergency Response ▪ Cultural Protection Fund of the British Council ▪ Gerda Henkel Stiftung ▪ US Ambassadors’ Fund for Cultural Preservation ▪ Mariët Westermann and the Pardoe-Westermann Family Fund ▪ Middle East and Islamic Caucus of Franklin & Marshall College ▪ Luminous-Lint ▪ Oteri General Construction ▪ Moore Archives & Preservation LLC ▪ GAPS LLC ▪ Blue Shield ▪ Book Works ▪ American Institute for Conservation of Historic & Artistic Works ▪ Savvy Wood Photography ▪ Benevity ▪ PhotoArts Studio ▪ Robert Rauschenberg Foundation ▪ Stanley Thomas Johnson Stiftung ▪ Europeana Foundation ▪ Rotary Club Essen-GrugaCotter, Holland (4 July 2013). "Lucien Samaha: 'The Flight Attendant Years: 1978-1986' ". The New York Times . Retrieved 2020-10-19.