The city’s first Institute of Arab and Islamic Art aims to counter misconceptions and provide a hub for exhibitions and interfaith dialogue

Sheikh Mohammed Rashid Al-Thani noticed something missing in New York City’s cultural institutions – there is the Swiss Institute, the Asia Society and the Jewish Museum, but there isn’t anything to represent Arab Muslim artists, until now.

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Al-Thani, who is part of the ruling family of Qatar, is opening up New York City’s first Institute of Arab and Islamic Art on 4 May.

The 2,500 sq ft space will host exhibitions with Muslim and Arab artists, foster interfaith dialogue with public discussions and will be home to a new bookstore. According to Al-Thani, who is the founding director, he wanted to set straight some Muslim stereotypes.

“If we dig into how Arabs and Muslims are stereotyped, they go way back,” said Al-Thani. “It made sense to me there had to be an art and culture institute that represents the Arab and Islamic region, as there isn’t really one here in New York.”

Even with Islamophobia and Trump’s recent Muslim ban, Al-Thani has been working towards the institute since 2014. One inspiration was Orientalism, a book about Middle Eastern stereotypes written by Palestinian American cultural critic Edward Said in 1978. “Whether it was the exotic woman with the grapes or the Ottoman empire; there were always were misconceptions and stereotypes that tagged along historically,” said Al-Thani. “The way it has evolved historically up until now has become more politically oriented.”

The first exhibition is a four-woman group show called Exhibition 1, which is themed around Islamic architecture and geometric design. “Sacred geometry,” as it’s often called, is an Islamic tradition that dates back thousands of years as a universal language that can bring together divided communities.

“Our main objective is to challenge stereotypes if people have them and engage them on Islamic civilization beyond the religious context,” said Al-Thani. “We are hopeful and will do everything in our capacity to see our culture is represented and open up a cross-cultural dialogue with New York City.”

Facebook Twitter Pinterest Dana Awartani, Abjad Hawad Series, 2016. Photograph: Charles Benton

The artists showing include Saudi Arabian artist Dana Awartani, who creates mandala-like paintings with ancient flower motifs alongside the works of Iranian artist Monir Shahroudy Farmanfarmaian, who combines traditional Iranian folk art with modern abstraction.

They’re also showing works by New York-based Indian artist Zarina Hashmi, who uses the Islamic decorative arts to represents political borders, and Nasreen Mohamedi, a pioneering Indian artist who changed the face of minimalism. “Her work is considered minimalist, constructivist, futurist and doesn’t resemble Islamic architecture but in her diaries she speaks about how it has been such a great influence in her work,” said Al-Thani. “We are hoping people see it’s beyond what the eye can see.”

In New York City, there are Islamic and Arab-focused art galleries such as the Iranian art dealer Leila Heller’s gallery and CRG Gallery, which gave Palestinian artist Mona Hatoum her first New York solo show. “There are galleries that represent artists from the region but do they have homes institutionally?” asks Al-Thani.

He cites Here and Elsewhere, an exhibition of 45 Arab artists shown at the New Museum in 2014. “These conversations are never continued consistently and we hope to change that,” he said.

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This isn’t the first attempt. Brooklyn real estate developer Sharif El-Gamal planned to build a Muslim cultural center in 2010, but received death threats, as it was often referred to as the Ground Zero Mosque. “There are religious centers and community-based centers across America but they’re not for art,” said Al-Thani. “New York City is a very welcoming place, if I didn’t have New York’s support, I wouldn’t be doing this.”

The institute will be located at 3 Howard Street in Manhattan, a temporary space until the end of July. Then, the institute will either stay or move to another location, depending on funding.

The ruling Al-Thani family has collected Arab art for decades, but that doesn’t mean they’re footing the bill. “A lot of people have misconceptions when they hear my family name and think my family has funded this project,” said Al-Thani, “which is not true and not accurate at all.”

The non-profit institute is funded by a small group of donors through a fundraising gala Al-Thani hosted last year. However, bringing on more patrons hasn’t been easy.

“When you just have an idea, it’s hard to get people to support you,” he said. “We’re hoping patrons see the importance of what we’re doing. I always say, ‘Wherever we are, we will exist.’ A space, as important as it is, shouldn’t define us. We hope to engage beyond that.”