Oman's Art Scene Grapples with Western Definitions of Contemporary Art

In Oman, local artists face pressure to conform to Western notions of contemporary art, which often prioritize conceptual, large-scale, and resource-intensive works over decorative or culturally functional forms. This value system, influenced by colonial legacies and institutions like New York's MoMA, Paris's Pompidou, and London's Tate, shapes global art discourse. At Oman's Affordable Art Show in December 2024, artists noted local preferences for small decorative prints and objects rather than installations or video art. Artists like Raya Al Maskari express feeling they are taking 'baby steps' due to domestic sales challenges. Works by Safiya Al Bahlani reinterpret Omani architectural shapes, while Emerson Sumaoang creates sculptures from found materials like fish bones. The Raneen art festival in November 2024 featured a touring installation by British artist Luke Jerram, but it seemed disconnected from local artistic practices. Photographer Ahmed Abdullah Al Busaidi highlights Oman's rich heritage in clothing and handicrafts, yet the art scene is often viewed as in its infancy. The article questions whether mimicking Western biennale and auction house models serves Omani artists, who rely on local sales and tastes. It calls for critical examination of assumptions that some visual cultures must 'catch up' to others, emphasizing opportunities to revive local aesthetic heritage.