Modernist Iranian art represents a highly diverse field of cultural production deeply involved in discussing questions of modernity and modernization as practiced in Iran. This book investigates how artistic production and art criticism reflected upon the discourse about gharbzadegi (westoxification), the most substantial critique of Iran's adaptation of Western modernity, and ultimately proved to be a laboratory for the negotiation of an anti-colonial concept of an Iranian artistic modernity, which artists and critics envisioned as a significant other to Western colonial modernity. In this book, Katrin Nahidi revisits Iranian modernist art, aiming to explore a political and contextualized interpretation of modernism. Based on extensive fieldwork, interviews, and archival research, Nahidi provides a history of modernist art production since the 1950s and reveals the complex political agency underlying art historiographical processes. Offering a key contribution to postcolonial art history, Nahidi shows how Iranian artistic modernity was used to flesh out anti-colonial concepts and ideas around Iranian national identity.
Modernist Iranian art represents a highly diverse field of cultural production deeply involved in discussing questions of modernity and modernization as practiced in Iran. This book investigates how artistic production and art criticism reflected upon the discourse about gharbzadegi (westoxification), the most substantial critique of Iran's adaptation of Western modernity, and ultimately proved to be a laboratory for the negotiation of an anti-colonial concept of an Iranian artistic modernity, which artists and critics envisioned as a significant other to Western colonial modernity. In this book, Katrin Nahidi revisits Iranian modernist art, aiming to explore a political and contextualized interpretation of modernism. Based on extensive fieldwork, interviews, and archival research, Nahidi provides a history of modernist art production since the 1950s and reveals the complex political agency underlying art historiographical processes. Offering a key contribution to postcolonial art history, Nahidi shows how Iranian artistic modernity was used to flesh out anti-colonial concepts and ideas around Iranian national identity.
This publication surveys important works drawn from the entire career of the New York-based Iranian artist Shirin Neshat (born 1957), from the iconic inscribed photographs of the Women of Allah series (1993-97) to the artist's most recent work, which looks at American culture and the ambivalent experience of being Iranian in the United States. Working nimbly in film, photography, video and multi-channel installation, Neshat's work has always engaged questions of identity and belonging, investigating the relationships between the cultures of Islam and the West, femininity and masculinity, poetry and polemics, public life and private life, modernity and antiquity. Women in Society offers a comprehensive survey of Neshat's oeuvre, identifying two recurring themes in the artist's large and diverse body of work: the role of women in Islamic societies and the repercussions of traumatic, diaspora-related experiences suffered by women.
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