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Article evaluation:

The most recent source was published in 2015. Not all of the information is clearly cited. It is difficult to tell where information such as the commentary on Wakefield's association with Stonyhurst College came from.

The statement about "influential art collectors and critics" seems slightly biased.

First citation does not lead to article and appears to be from a questionable source. Two of the other citations lead to the same page where one must purchase copies of the magazine. Both of these articles are written by the same author. Second citation leads to an archived article, however the Wikipedia entry says "first collection" while the article says "early collection."

Diana al-Hadid Improvements
Current article sections: Early Life and Education; Work

Desired article sections: Early Life and Education; Work; Important Pieces; Exhibitions; Bibliography

Intro
-add citation for intro

Early Life and Education
(sentence about Kent State in existing Wiki page) While attending Kent State, al-Hadid's artwork focused on the similarities and differences between her Arab and American cultural backgrounds. (sentence about VA Commonwealth), where she began experimenting with materials such as polystyrene, fiberglass, and plaster. She would continue to use these and other industrial materials in her future works.

Work
(insert after first sentence under Work heading on existing Wiki) Al-Hadid's works are primarily monochromatic and best known for their resemblance to ancient ruins and their unique drip structures. Al-Hadid plays with the concept of the pedestal, incorporating and redesigning this traditional gallery space structure into works such as At the Vanishing Point (2012). Manipulation of gravity and the illusion of instability are also key concepts in her sculptures. Al-Hadid also creates elaborate drawings that mirror the architectural style of her sculptures and installations.

Al-Hadid's early work focused on creating contrast through scale. She began incorporating partial figuration into her sculptures with works such as Actor (2009). The sculpture In Mortal Repose (2011) is her first use of bronze.

Al-Hadid draws inspiration for her artworks from a multitude of sources, including architecture and Italian Renaissance paintings. Certain works are directly connected to these paintings, such as Tomorrow's Superstitions (2008), which draws from Pieter Brueghel the Elder's painting Tower of Babel (1563). Another example is Al-Hadid's At the Vanishing Point (2012), which takes inspiration from a sixteenth century fresco.

--interest in traditional images of Christian iconography,

At the Vanishing Point (2012)
In accordance with its title, Al-Hadid's sculpture embraces perspective effects originally used in two-dimensional artworks. At the Vanishing Point specifically draws from Jacopo Pontormo's fresco The Visitation (1515), re-imagining the architectural structures of the work in three dimensions, with significant alterations. Al-Hadid uses four pedestals as a part of the sculpture, one of several elements that lead the viewer's eye into the interior of the structure, where the vanishing point parallels are most effective. The sculpture, like many of Al-Hadid's works, is primarily monochromatic, but does contain traces of blues and of metallic silver (from aluminum foil).

Phantom Limb (2014)
First displayed at the Vienna Secession in 2014 and later the central artwork of exhibitions at both The Art Gallery at New York University Abu Dhabi and the David Winton Bell Gallery at Brown University, Phantom Limb displays the phenomenon of phantom limb syndrome through the maimed torso at the top of the work and the detached leg resting on a pedestal below the figure. The sculpture incorporates Al-Hadid's typical features of drips and manipulation of pedestals, while the separated statue brings additional meaning to the work.

Collections
Al-Hadid's works are held in the following collections:


 * (move collections already mentioned on wiki page here)
 * Judith Rothschild Foundation, New York

Exhibitions
Al-Hadid's works have been shown in the following galleries and exhibitions:


 * (move exhibitions mentioned on wiki page here)
 * Perry Rubenstein Gallery in New York
 * Sharjah Biennial
 * Arlington Art Center in Washington
 * "Unveiled: New Art from the Middle East" - Saatchi Gallery 2009

Selected Solo Exhibitions

 * 2017: Falcon's Fortress, Marianne Boesky Gallery, September 16 - October 21 2017.
 * 2016: Diana Al-Hadid: Phantom Limb, The Art Gallery at New York University Abu Dhabi, Abu Dhabi, United Arab Emirates, March 6 - May 28 2016.
 * 2015: Ground and Figures, Ohwow Gallery, Los Angeles, April 8 - May 16 2015.
 * 2014: Diana Al-Hadid: The Fates, Secession, Vienna, Austria, September 11 - November 22 2014.
 * 2013: Diana Al-Hadid, Weatherspoon Art Museum, The University of North Carolina at Greensboro, Feburary 9 - May 13 2013.
 * 2012: The Vanishing Point, Marianne Boesky Gallery, New York, September 14 - October 20 2012.
 * 2011: Diana Al-Hadid: Water Thief, Nevada Museum of Art, Reno, September 3 2011 - January 29 2012.



Intro
French artist and writer. ...born Valentine Marie Augustine Gross, only daughter to Auguste Gross and Zélie Démelin. She is best known for her work with the Russian ballet and with the French Surrealists.

Early Life and Education
A lover of the theater and music, Hugo's father raised her to share his interests until his death in 1903, which was undetermined as suicide or an accident. After her husband's death, Zélie raised her daughter alone.

Valentine Hugo received schooling in Boulogne-sur-Mer, where she received multiple awards for accomplishments in drawing, until 1907, at which time she entered the L'École des Beaux-Arts in Paris. There she worked in the studio at the Académie Humbert and exhibited in the Salon of French artists in 1909, and again in 1911. In 1908, Valentine Hugo met the artist Edmond Aman-Jean, who painted her portrait in 1909 and encouraged Hugo's artistic pursuits.

Work with the Ballets Russes
Hugo's work with the Ballets Russes established her connection with Jean Cocteau, who would introduce her to several important figures in her life, including her future husband Jean Hugo... Her involvement with the ballets also provided Hugo opportunities to progress her artwork. She often drew sketches of the ballets' choreography, and had a particular fascination with dancer and choreographer Vaslav Nijinsky. In 1913 she exhibited her paintings at the Théâtre des Champs-Elysées during the premiere of The Rite of Spring.

Hugo and Cocteau collaborated to create the ballet Parade, which premiered May 18, 1917. Hugo worked on several other of Satie's ballets, including Le Piège de Méduse, Socrate, and Mercure.

Hugo hosted salons with many artists, writers, and musicians in Paris, including avant-garde leaders such as Pablo Picasso, André Breton, and Paul Éluard. She would often sketch her visitors, foreshadowing her portraiture work of the Surrealist leaders later on.

Valentine and the Surrealists
Hugo met Breton in 1917, before the start of Surrealism,at one of Cocteau's readings. Her friendships with Breton and Eluard would keep her connected to the Surrealists as the movement developed, and help her to form connections with other members, such as Salvador Dali and Max Ernst. The three often traveled together, along with other members of the movement, in 1931 and 1932. As the only member of the group who owned a vehicle, Hugo would drive her companions to their destinations.

Valentine and Jean began living apart in 1926, and eventually divorced in 1932. Her separation from her husband allowed Hugo greater freedom to be involved with the Surrealist group. She moved into the same building as Eluard and Breton in May of 1932.

Valentine and the Exquisite Corpse
Hugo participated in the exquisite corpse game practiced by the Surrealists, collaborating on drawings with Breton, Eluard, and many others. These drawings have an illusionist quality credited to Hugo's participation. She introduced new mediums to the practice, as the drawings she participated in used gouache on black paper.

Relationship with Breton
Hugo's relationship with Breton turned physical for a brief period between approximately July of 1931 and May of 1932. It was a tumultuous affair, and ended negatively for Hugo. On May 8th, 1932, following a fight with Breton, Hugo attempted suicide. Regretting her actions, she called Eluard with enough time for him to arrive and save her life. Following this event, Breton and Hugo's friendship remained strained until September 9th of that year, when Hugo punched Breton. Their association permanently ended at this point, except for interactions during group meetings of the Surrealists. Breton never mentioned Hugo in his book Le Surréalisme et la Peinture

Later Years
(move Guggenheim sent here)

Les Surréalistes
Hugo painted Les Surréalistes between 1932 and 1948. The painting would come to depict the faces of five Surrealist leaders: Paul Eluard, André Breton, Tristan Tzara, René Crevel, and René Char. Man Ray photographed Hugo with the portrait in progress in 1935. As a final touch to the painting, Hugo added a golden "S" tracing the contours of the faces.

Illustrations
(move list of illustrations here)