VITAE Abbas Daneshvari Professor of Art History Chair

Total Page:16

File Type:pdf, Size:1020Kb

VITAE Abbas Daneshvari Professor of Art History Chair VITAE Abbas Daneshvari Professor of Art History Chair, Department of Art (2009-2013) California State University, Los Angeles EDUCATION: Ph.D. 1977 UCLA-Art History M.A. 1971 University of Massachusetts, Amherst B.S. 1969 California State University, Hayward TEACHING HISTORY: Professor of Art History California State University, Los Angeles 1982-Present Fulbright Scholar Cairo, Egypt 1981-1982 Assistant Professor University of California, Berkeley 1979-1981 PUBLICATIONS: BOOKS: 2017 Abbas Daneshvari, editor, Essays on Contemporary Iranian Photography, Mazda, Costa Mesa. 2016 Abbas Daneshvari, The Sculptures of Parviz Tanavoli, M. Publishers, Dubai, United Arab Emirates, January 2016. 2014 Abbas Daneshvari, Amazingly Original: Contemporary Iranian Art at Crossroads, New Art, Mazda Publishers. 2011 Abbas Daneshvari Of Serpents and Dragons in Islamic Art, An Iconographical Study, Persian Heritage Series / Mazda Publishers. 2006 Abbas Daneshvari, editor, A Survey of Persian Art, vol. XVII, Ashiya Publishers/Mazda. 2005 Abbas Daneshvari and Jay Gluck, editors. A Survey of Persian Art, vol. XVIII, Ashiya Publishers/ Mazda . 1986 Abbas Daneshvari Animal Symbolism in Warqa wa Gulshah, Oxford University Press. 1986 Abbas Daneshvari Medieval Tomb Towers of Iran: An Iconographical Study, Undena/Mazda. 1982 Abbas Daneshvari, editor. Essays in Islamic Art and Architecture in Honor of Professor Katharina Otto-Dorn. Undena Publications. BOOKS FORTHCOMING (completed manuscripts submitted to publishers): 2017 Abbas Daneshvari, Transformations in the Image of the Shepherd Sun-King in Early Islamic Art, forthcoming, University of Edinburgh Press. EXHIBITION CATALOGUES AND MONOGRAPHS: 2015 Sabzi 2011 Abbas Daneshvari, “The Continuum,” Catalogue Essay for Luis Bermudez’s Exhibition of Myth, Place and Identity, At the Beatrice Wood Center for the Arts in Ojai. Ojai, November 20th, 2010- January 16th, 2011. 2011 Abbas Daneshvari, “The End of Purity,” Catalogue Essay for Mahmood Sabzi’s Exhibition of The End of Purity at Tarrahan Azad Gallery, Tehran, September of 2011. Reprinted in Art Tomorrow, V. 6, Winter of 2012. 2011, Abbas Daneshvari, “The Pales and Forts of Mystery,” Catalogue Essay for Sadegh Tirafkan’s Exhibition of 0611, at the Etemad Gallery. Dubai, Nov. 2011. 2011 Abbas Daneshvari, “Always in Our Thoughts,” Catalogue Essay for Sadegh Tirafkan’s Always in Our Thoughts at the Los Angeles County’s Museum of Art’s Exhibition of The Gift of Sultans. Also available at www.Tirafkan.com 2011 Abbas Daneshvari, “The Triumph of Dance,” Catalogue Essay for Setareh Feylizadeh Exhibition of Setareh’s Retrospective at Dehli’s New Gallery, Dehli, India. 2002 Cecilia Miguez 1999 Abbas Daneshvari, The Vigil of a Winter’s Moon: The Paintings of Babak Emanuel, Delju Art Publications. 1998 Abbas Daneshvari, The Paintings of Mahmud Sabzi, Collectors Editions. 1998 Abbas Daneshvari Hessam Abrishami: A Retrospective, Collectors Editions. 1998 Abbas Daneshvari The Sakazaki Collection of Stewart Moskowitz Paintings. 1989-1996. 1989 Abbas Daneshvari The Incadescence of Terror: The Paintings of Akbar Behkalam, Mazda. 1987 Abbas Daneshvari The Mezotint Montages of Michael Pedroni, California State University, Los Angeles. 1986 Abbas Daneshvari Llyn Foulkes, Santa Barbara Museum of Art. 1985 Abbas Daneshvari The David Nellis Collection, Loma Linda University. 1977 Abbas Daneshvari Islamic Art at the Malone Gallery, Loyola Marymount University ARTICLES: 2017 Abbas Daneshvari, “The Iconography of the Chahr-Taq in Medieval Islamic Archtecture,” edited by Rober Hillenbrand, University of Edinburgh Press, forthcoming. 2016 Abbas Daneshvari, “Altruism and the Art of Koorosh Shishegaran” edited H. Keshmirsekan, Saqi Publishers, London. 2015 Abbas Daneshvari, “Metaphor and Allegory in Tanavoli’s Art: The Artist as the Unifying Principle in a Fragmented Universe,” The Art of Tanavoli, Dubai, 2016. 2014 Abbas Daneshvari, “Deconstruction and the Contemporary Arts of Iran,” in Regional vis-à-vis Global Discourses, Contemporary Art from the Middle East, Proceedings of a Conference at School of Orientl and African Studies, University of London, July 2013, edited by Hamid Keshmirshekan, I. B. Tauris, London, 2014. 2014 Abbas Daneshvari, “Gardens of Iran and Iraq in the Ninth and the Tenth Centuries,” Festschrift in Honour of Shahryar Adle, Forthcoming. 2014 Abbas Daneshvari, “Joseph Beuys and Nietzsche’s Overman,” submitted to Colloquim on Modernism, , held at California State University, Los Angeles, 2015. 2011 Abbas Daneshvari, “Parviz Tanavoli: Of Existential Purity and Sophistication,” Art Tomorrow, V. 5, Summer of 2011, pp. 179-186. 2011 Abbas Daneshvari, “Koroush Shishegaran: Dionysian Energies,” Art Tomorrow, V. 3, Winter of 2011, pp. 166-178 2010 Abbas Daneshvari, “Massoud Arabshahi: Life in Forms,” Art Tomorrow, V. 1, Spring of 2010, pp. 174-181. 2007 Abbas Daneshvari, “From Mashu to Qaf,” Studies In Honor of Geza Fehervari, edited by Barbara Brend and Patti Baker, London. 2005 Abbas Daneshvari “Cup, branch, bird and Fish: The Image of the Ruler in Early Islam,” Studies in Honor of Robert Hillenbrand, edited by Bernard O’Kane, University of Edinburgh, 2004. 2005 Abbas Daneshvari, “Inscriptions on Persian Pottery,” A Survey of Persian Art, vol. XVIII, ed. Abbas Daneshvari, Mazda/Ashiya Publishers. 1998 Abbas Daneshvari “Simulations and Dissimulations in Postmodern Architecture, The Case of Los Angeles: Chaos and the Mythopoeic Mind,” Cities, October 98. London. 1997 Abbas Daneshvari “Ardabil,” Dictionary of Art. 1997 Abbas Daneshvari “Ardistan,” Dictionary of Art. 1997 Abbas Daneshvari “Kirman,” Dictionary of Art. 1997 Abbas Daneshvari “Tehran I: History and Culture,” Dictionary of Art. 1997 Abbas Daneshvari “Tehran II: The Arts,” Dictionary of Art. 1997 Abbas Daneshvari “Varamin,” Dictionary of Art. 1997 Abbas Daneshvari “ Nayin,” Dictionary of Art. 1997 Abbas Daneshvari “Woodwork in Iran and Central Asia before 1250,” Dictionary of Art. 1997 Abbas Daneshvari “Gunbad-i Qabus,” Dictionary of Art. 1994 Abbas Daneshvari “The Iconography of the Dragon in the Cult of the Saints in Islam,” Manifestations of Sainthood in Islam. G. Smith, editor. Isis Press, Istanbul. 1994 Abbas Daneshvari “Symbolism of the Peacock in Medieval Islamic Art,” The Art of the Seljuqs in Iran and Anatolia, Robert Hillenbrand, editor. Mazda. 1992 Abbas Daneshvari “Borj, ” Encyclopedia Iranica. Columbia University. 1982 Abbas Daneshvari “Symbolism of the Rabbit in the Manuscript of Warqa wa Gulshah.” Essays in Islamic Art and Architecture, Abbas Daneshvari, editor. Undena. BOOK REVIEWS: 1986 Abbas Daneshvari “A Review of Muqarnas,” Int. Journal of Middle Eastern Studies. 18/3 1980 Abbas Daneshvari “A Review of A. Welch’s Paintings for the Shah,” JAOS. BOOKS PUBLISHED UNDER MY EDITORSHIP (Editor in Chief of Islamic Art and Architecture at Mazda Publishers) 2000 Hani Hamza The Northern Cemetery of Cairo, Mazda/American University of Cairo. 2004 Robert Mason, Shine Like the Sun, Lustre-Painted and Associated Pottery from the Medieval Middle East, Royal Ontario Museum/Mazda. 2004 Eva Baer The Human Figure in Islamic Art. Mazda. 1999 Stephen Blake, Half the World: The Social Architecture of Safavid Iran, Royal Ontario Museum/Mazda. 1996 Lisa Golombek, Tamerlane’s Tableware: Ceramic Arts of 15th and 16th Century Iran, Royal Ontario Museum/ Mazda. 1994 Robert Hillenbrand, The Art of the Seljuqs in Iran and Anatolia, Mazda. 1989 Rachel Milestein, Miniature Painting in Ottoman Baghdad, Mazda. 1987 Bernard O’Kane, Timurid Architecture in Khurassan, Getty/Mazda Lectures (since 2004, only major institutions are cited): 2017 UCLA, “Metaphysical Subversions in Contemporary Iranian Art.” 2016 St. Andrews University, St. Andrews, Scotland, “The Iconography of the Chahr-Taq in Medieval Muslim Architecture.” 2013 Brunei Gallery, SOAS, University of London, “Deconstruction and the Contemporary Arts of Iran.” 2010 August 2010, University of Tehran, Department of Music and Ethnomusicology, “Music in the Art of the Great Seljuks of Iran.” 2010 December 9th, Intelligence Squared, “Animal Rights and Veganism,” Heather Mills, Peter Singer and Abbas Daneshvari debated three Professors of Oxford University on the issues related to animal rights and a vegan diet. Chelsea Town Hall, London 2009 July 1st, Moghaddam Museum of Art, Tehran, “How to Identify Seljuk and Il-Khanid Potteries.” 2008 June 30th, Tehran Archeological Museum, “Identifying and Dating Medieval Islamic Potteries.” 2004 December 2nd, University of London, SOAS (School of Oriental and African Studies), “The Dragons of Islamic Art and Literature,” Brunei Gallery Auditorium. 2004 December 3rd, University of London, SOAS (School of Oriental and African Studies), “The Astro- Cosmological Dragon,” Brunei Gallery Auditorium. 2004 December 6th, University of London, SOAS (School of Oriental and African Studies), “The Ruler in Cosmic Setting,” Brunei Gallery Auditorium. 2004 December 7th, University of London, SOAS (School of Oriental and African Studies), “Dragons in the Cult of the Saints,” Brunei Gallery Auditorium. .
Recommended publications
  • Gender in Contemporary Iran in the Works of Abbas Kowsari
    Bard College Bard Digital Commons Senior Projects Spring 2017 Bard Undergraduate Senior Projects Spring 2017 Gender in Contemporary Iran in the Works of Abbas Kowsari Domantas Karalius Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2017 Part of the Contemporary Art Commons, and the Other Feminist, Gender, and Sexuality Studies Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Karalius, Domantas, "Gender in Contemporary Iran in the Works of Abbas Kowsari" (2017). Senior Projects Spring 2017. 337. https://digitalcommons.bard.edu/senproj_s2017/337 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Gender in Contemporary Iran in the Works of Abbas Kowsari Senior Project Submitted to The Division of the Arts of Bard College by Domantas Karalius Annandale-on-Hudson, New York May 2017 Table of Contents Chapter 1 Gender Depictions in Qajar Art ……………………………….…………………….1 Chapter 2 Abbas Kowsari on Masculinity….…….………………………………..…………….17 Chapter 3 Artist as an Observer ..…………………………………………………....……….... 36 Epilogue………………………………………………………………………………………….48 Bibliography……………………………………………………………………………………..50 1 I. GENDER DEPICTIONS IN QAJAR ART The Islamic Republic of Iran represents a strong connection to Islam and Islamic culture, but nevertheless, Iran’s history dates back to the Persian Empire, which makes the modern state of Iran a successor to one of the oldest and most powerful civilizations in the history of mankind.
    [Show full text]
  • CURATED by AMIRALI GHASEMI Participating Artists Samira Abbassy
    CURATED BY AMIRALI GHASEMI Participating Artists Samira Abbassy . Iman Afsarian . AKSbazi Shirin Aliabadi . Samira Alikhanzadeh Afruz Amighi . Mojtaba Amini Nazgol Ansarinia . Kamrooz Aram THE ELEPHANT IN THE DARK Reza Aramesh . Mehraneh Atashi January 25-May 30, 2012 Shoja Azari . Mahmoud Bakhshi Commissioned and Published by Gohar Dashti . Alireza Dayani . Ala Ebtekar Devi Art Foundation, New Delhi, 2012 Shirin Fakhim . Golnaz Fathi Parastou Forouhar . Shadi Ghadirian Assistant Curator Amirali Ghasemi . Bita Ghezelayagh Reha Sodhi Barbad Golshiri . Amirali Golriz Ramin Haerizadeh . Rokni Haerizadeh Catalogue Design Elham Doost Haghighi Neelima Rao, Reha Sodhi Khosrow Hassanzadeh . Ghazaleh Hedayat Peyman Hooshmandzadeh Light Design Shirazeh Houshiary . Katayoun Karami Lyle Lopez Shahram Karimi . Simin Keramati Abbas Kowsari . Farideh Lashai Printed at Amir Mobed . Masoumeh Mozaffari Archana Pendar Nabipour . Timo Nasseri www.archanapress.com Farah Ossouli . Leila Pazooki . Sara Rahbar Mohsen Rastani . Shirin Sabahi Printed on Hamed Sahihi . Zeinab Shahidi Marnani Rendezvous Natural White Behnoush Sharifi . Jinoos Taghizadeh Newsha Tavakolian . Sadegh Tirafkan ISBN and Ali Zanjani 978-81-921393-2-6 Contributors Daria Kirsanova, Amirali Ghasemi © 2012 Devi Art Foundation, Devi Art Foundation extends its thanks to the artists and authors following for assistance with photography: all artists, Aaran Art Gallery, Agastaya Thapa, No part of this publication may be Assar Art Gallery, Azad Art Gallery, Galerie reproduced, stored in a retrieval system or Sfeir-Semler, Gallery Isabelle Van Den Eynde, transmitted by any form or by any means, Green Cardamom, Isak Berbic, Leila Heller electronic, mechanical, photo copying, Gallery, Mah Art Gallery, Reha Sodhi, Rose recording or otherwise without the prior Issa Projects, Shovan Gandhi, Silk Road written permission of the publisher.
    [Show full text]
  • ARTH 391F/533AB Islamic
    Islamic Art from the Ulrich Museum of Art Permanent Collection Shahzia Sikander American, born Pakistan 1969 Afloat, 2001 Serigraph Museum Purchase 2002.6 Click to view in Collection Portal Born and raised in Pakistan, Shahzia Sikander mixes traditional Islamic and Hindu motifs, Persian pattern designs, and a Western perspective to create artwork that reveals the superficiality of cultural borders and definitions, which she calls “surface identity.” Her art is based on traditional Islamic decorative miniature painting, a style in which the artist has extensive training and which is commonly considered “women’s work.” Sikander is interested in creating and exploring contradiction. Speaking of her work, Sikander states that “the focus is always to create icons that are neither personal nor cultural, but somewhere between both.” The synthesis of Muslim and Hindu culture that exists in her work stems from the cultural diffusion and conflict that exists between Pakistan and India. What she creates is not just an allegory of Western and Eastern cultural differences. Rather, what is revealed is the “nearness of difference” that exists everywhere in the world. This is a direct statement about inconsistency and contradiction that challenges our view of history, gender roles, and cultural identity. Nusra Qureshi Nusra Qureshi Pakistani, born 1973 Pakistani, born 1973 Three Songs of Devotion, 2003 Gardens of Desire, 2003 Lithograph Lithograph Museum Purchase Museum Purchase 2016.11 2016.10 Click to view in the Collection Portal Click to view in the Collection Portal Primarily working in painting, Nusra Qureshi’s work explores themes of gender, colonization and power. Her works reference and incorporate the aesthetic of various texts such as South Asian illuminated manuscripts and botanical manuals.
    [Show full text]
  • The Samawi Collection Photography & New Media Volume ǁ
    The Samawi Collection Photography & New Media Volume ǁ Published by Ayyam Gallery ayyam art center The Samawi Collection Alserkal Avenue, B-11, Street 8, Al Quoz 1 PO Box 283174 Dubai, UAE Photography & New Media Phone + 971 4 323 6242, Fax + 971 4 323 6243 [email protected], www.ayyamgallery.com Volume ǁ 2 We would like to thank all the team at Ayyam Gallery and the Ayyam Art Center who worked hard and long to make this exhibition and catalogue possible. We would also like to thank all the artists and galleries who produced and gave us the opportunity to purchase these great works. Finally we would like to thank the United Arab Emirates and its leaders for having the vision to allow art lovers and patrons from all over the world to call this great nation home. Khaled Samawi and Hisham Samawi 4 Modern Patronage of the Arts and the Art Market Introduction The path to artistic creation is one that is in a perpetual state of flux. The desire to create is inherent to mankind. Though it is the delicate balance between the desire and the realization in which patronage has flourished for centuries, the two are intertwined, often unsteadily, yet this balancing act is required and ultimately beneficial to the continued production of visual culture. Twenty-first century patronage of the arts has evolved from its origins as a binary relationship to four distinct models: Private Collectors, Corporations, Governmental, and Dealers. The private individual as a collector has emerged as one of the driving forces of the modern art market.
    [Show full text]
  • Burnt Generation Exhibition Compressed
    Gohar Dashti (Iranian, b. 1980) From the series Iran, Untitled, 2013 Courtesy of Azita Bina and Robert Klein Gallery, Boston Gohar Dashti explores fraught social and political issues through the carefully staged photographs of her series Iran, Untitled. By tightly clustering groups of people in the middle of a desert landscape, Dashti creates mysterious tableaus that suggest the isolation of specific populations within Iranian society. At the same time, she underscores the insularity of her select groups by providing one element that compositionally binds the people together, such as a couch or orange traffic cones. Dashti describes these images as haikus exploring the relationship between form and content. “It’s like objectifying a feeling; that is how an image reveals itself,” she explains. In this way, her work suggests the universal human need to bond with others, as well as the common urge to seek distance from the unfamiliar. Gohar Dashti Iranian, born 1980 From the series Iran Untitled, 2013 Inkjet print Courtesy of Azita Bina and Robert Klein Gallery, Boston Gohar Dashti Iranian, born 1980 From the series Iran Untitled, 2013 Inkjet print Courtesy of Azita Bina and Robert Klein Gallery, Boston Ali & Ramyar (Iranian, b. 1976, b. 1980) We Live in a Paradoxical Society, 2010 Courtesy of Silk Road Gallery, Tehran Ali Nadjian and Ramyar Manouchehrzadeh have worked collaboratively in the field of photography for many years. Their practice explores the cultural impact of the Iranian Revolution over nearly four decades and documents the rigid dualities of public and private life imposed on Iranians under the Islamic Republic.
    [Show full text]
  • Arts of Asia Lecture Series Fall 2016 from Monet to Ai Weiwei: How We Got Here Sponsored by the Society for Asian Art
    Arts of Asia Lecture Series Fall 2016 From Monet to Ai Weiwei: How We Got Here Sponsored by The Society for Asian Art Looking for the Contemporary in “Islamic” Art Talinn Grigor 10.28.16 Artworks: Amirali Ghasemi, from Party series, 2005 Katayoun Karami, from Censorship series, 2004 Zack Snyder, 300, 2007 Sara Rahbar, Flag #35, 2008 Parviz Tanavoli, Oh Persepolis, 1975 Farhad Ahrarnia, Farah, Between the Lines, 2008 Kamran Diba, Tehran Museum of Contemporary Art, Tehran, Iran, 1977 Andy Warhol, Farah Diba Pahlavi series, 1977 Shiraz Art Festival, Persepolis, Iran, 1972 Andy Warhol, The Shah, 1977 El Lissitzky, City, 1921 Marcos Grigorian, Dry Land, 1977 Arpik Baghdasarian. Sponsored by Islamic Republican Party, 1978 Fine Arts student of Tehran University, revolutionary poster, 1979 A1one, Graffiti in Tehran, Iran, ca. 2003 A1one, Public Provocation II, Colab Gallery, Weil am Rhein, Germany, 2012 A1one, Mona Lisa with Aftabeh, 2010 Banksy, Mona Lisa Mooning, 2005 Jean Nouvel, The Louvre Museum, Abu Dhabi, United Arab Emirates, 2015 Amir Fallah, Master My Universe (Pump You Up), 2008 Pouran Jinchi, Louis Vuitton ii, 2005 Shirin Aliabadi, Miss Hybrid 6, 2008 Manijeh Sehhi, Fresh Weather, 2002 Hadi Jamali, Untitled, 2001 Shoja Azari, Icon #4, 2010 Mounir Fatmi, I Like America, Art Dubai, Dubai, United Arab Emirates, 2014 Mohammad Ehsai, Dots, Third Square, 1991 Shirin Neshat, Rebellious Silence, 1994 Barbad Golshiri, The Distribution of the Sacred System, Verso Artecontemporanea, Turin, Italy, 2010 Kamrooz Aram, Revolutionary Dreams series,
    [Show full text]
  • The Role of Photography in Conceptual Art in Iranian Artists
    Journal of History Culture and Art Research (ISSN: 2147-0626) Tarih Kültür ve Sanat Araştırmaları Dergisi Vol. 6, No. 3, June 2017 Revue des Recherches en Histoire Culture et Art Copyright © Karabuk University http://kutaksam.karabuk.edu.tr ﻣﺠﻠﺔ ﺍﻟﺒﺤﻮﺙ ﺍﻟﺘﺎﺭﻳﺨﻴﺔ ﻭﺍﻟﺜﻘﺎﻓﻴﺔ ﻭﺍﻟﻔﻨﻴﺔ DOI: 10.7596/taksad.v6i3.906 Citation: Dianat, F. (2017). The Role of Photography in Conceptual Art in Iranian Artists. Journal of History Culture and Art Research, 6(3), 831-847. doi:http://dx.doi.org/10.7596/taksad.v6i3.906 The Role of Photography in Conceptual Art in Iranian Artists Fereshteh Dianat1 Abstract Conceptual art is one of the new independent art forms of modern times. Photography is one of the areas where this art form appears since it is always considered as a document and reflection of reality. As photography plays an essential role in the first conceptual artworks of Joseph Kossuth, this research questions “to what extend photography can play an essential role in conceptual artworks?” It was not very late after rise of conceptual art that Iran was in line with these new developments. Therefore, it is tried to study the role of photography in conceptual art through investigating Iranian artist’s art works. Here it is tried to review two main exhibitions of conceptual artworks held in contemporary art museum of Tehran during 2001 to 2002 as well as field study approaches about artworks in other galleries, to reveal the importance of photography in conceptual artwork. The present study attempts to define conceptual art beside a quick review of the first photos that apparently effected formation of conceptual art in Iranian artist’s artworks.
    [Show full text]
  • Heilbrunn Timeline of Art History Modern and Contemporary Art in Iran
    Heilbrunn Timeline of Art History Modern and Contemporary Art in Iran The modern art movement in Iran had its genesis in the late 1940s and early '50s. Politically, these were the years that saw the abdication of Reza Shah and increased contact with the West. Artistically, this was the period after the death of painter Kamal al-Mulk (1852–1940) and thus symbolically the end of a rigid adherence to academic painting. The culmination of these events allowed for a questioning of authority and resulted in the creation of a group of artists dedicated to creating a uniquely Iranian, modern idiom. One site for change was at the College of Fine Arts, then under the direction of André Godard. Graduates of the school were taught in a manner radically different than in Kamal al-Mulk's Academy of Fine Arts, and were encouraged as innovators rather than copyists. At the time it opened, Kamal al-Mulk's school was highly regarded, but it is now criticized for a dogged devotion to an academic style of painting long after its renunciation in Europe. The 1949 opening of the Apadana gallery in Tehran, and the emergence of artists like Marcos Grigorian (born 1925) in the 1950s, signaled a commitment to the creation of a form of modern art grounded in Iran. Grigorian himself was interested in popular art, and especially the type of paintings created to accompany storytelling in coffeehouses. He commissioned and displayed such paintings, but in his own work he preferred a style that referred to the desert, indigenous dwellings, and their visual vocabulary of parched earth and mud.
    [Show full text]
  • BURNT GENERATION: CONTEMPORARY IRANIAN PHOTOGRAPHY APRIL 21 – JULY 10, 2016 Mocp.Org
    BURNT GENERATION: CONTEMPORARY IRANIAN PHOTOGRAPHY APRIL 21 – JULY 10, 2016 mocp.org Viewer’s Guide Azadeh Akhlaghi By an Eye Witness, Taghi Arani, 2012 This guide serves as a viewer’s supplement to the exhibitionBurnt Generation: Contemporary Iranian Photography and contains information about the works on view, questions for looking and discussion, and suggested readings. You may download this guide from the museum’s website at mocp.org/education/resources-for-educators.php. To schedule a free docent-led tour, please complete the form here. mocp.org/education/tours-and-print-viewings.php. The 2015-2016 season is sponsored by The Andy Warhol Foundation for the Visual Arts, the Illinois Arts Council Agency, the Abramson Arts Foundation, and Nixon Peabody, LLCP. Viewer’s Guide Contents Introduction 1 Artists 2 Questions for Looking and Discussion 6 Suggested Reading and Viewing 8 Introduction Iran is a country in perpetual transition, one marked by a dichotomy between public and private and the clash of traditional and modern values that shape those spheres. While many Iranians today are not practicing Muslims, the governing Islamic Republic under which they live demands strict conformity to its religious tenants. TheBurnt Generation, a moniker given to those born between 1963 and 1980, witnessed the profound social and political upheaval of the 1979 revolution that overthrew the Pahlavi monarchy, and the Iran-Iraq war that followed in its wake. Leveraging the revolutionary chaos that instated the Grand Ayatollah Ruhollah Khomeini, Iraq invaded Iran in September of 1980 to regain long disputed border territories, ushering in 8 years of armed conflict and trench warfare.
    [Show full text]
  • The Identity of Tradition: the Works of Sadegh Tirafkan
    172 Profiles The identity of tradition: the works of Sadegh Tirafkan Human Tapestry 10 60* 90CM - Edition of 6 It is perhaps a somewhat clichéd statement to Islamic dogmatism, Sadegh through his art sets introduce the work of the internationally recognised out to challenge this threat to the continuity of his Iranian artist Sadegh Tirafkan, by stating that he heritage. is very much a product of his circumstances, both Born in 1965 in Iraq to Iranian parents, his family on an international and an individual level, but were forced to return to Iran by Saddam Hussein this is clearly what informs his art. For Sadegh is in 1971, and he, like his compatriots went on the epitome of an Iranian artist whose innovative shortly thereafter to witness the overthrow of the and utterly contemporary works are profoundly Pahlavi Regime in the Revolution of 1979. Like influenced by the legacy of his Iranian roots. Aware vast numbers of young men in Iran at the time, of the immense cultural tradition of his ancestors, he volunteered at the age of fourteen as a Basiji or which he sees as being rapidly subsumed by the paramilitary conscript, to fight against the Iraqis powerful duality of Western globalisation and during the bloody eight year Iran-Iraq war. Although Profiles 173 Sadegh chooses not to speak about his experiences, backdrop of the architectural ruins of Persepolis (in they undoubtedly had a profound effect on his two different series) and at Choga Zanbil or in works perception of the world thereafter. featuring the biblical figure of the King of Babel, Following his involvement in the war, and after Hammurabi in two filmic inspired series dating finishing his schooling, in 1984 Sadegh decided to from 2001 and 2002.
    [Show full text]
  • Burnt Generation Contemporary Iranian Photography April 21–July 10, 2016
    Newsha Tavakolian, Look, 2013 Burnt Generation Contemporary Iranian Photography April 21–July 10, 2016 Participating Artists Azadeh Akhlaghi Gohar Dashti Shadi Ghadirian Babak Kazemi Abbas Kowsari Ali & Ramyar Newsha Tavakolian Sadegh Tirafkan Burnt Generation is an exhibition of contemporary Iranian photography that surveys the profound impact of decades of political unrest and social upheaval on the Iranian people. The title comes from the moniker given to Iranians born between 1963 and 1980—a generation whose youth was profoundly marked by the Iranian Revolution of 1979, which brought down the ruling monarchy and had major social, political and economic consequences, and the Iran-Iraq War, which lasted for eight years. Featuring an array of approaches to photographic storytelling, Burnt Generation has three central themes: the isolation, loneliness and desolation of youth; the common threads that unite the Ali & Ramyar, from the series We Live in a Paradoxical Society, 2010 country in spite of decades of tumult; and the personal, political and social consequences of war. The exhibition offers a rare opportunity to move beyond cliché—an invitation to forget the stereotypical images of Iran and enter the worlds of eight highly original, intellectually engaged artists. Ali Nadjian and Ramyar Manouchehrzadeh (b. 1976 and 1980, respectively) have worked collaboratively in the field of photography for many years. Their practice explores the cultural impact of the Iranian Revolution over nearly four decades and documents the duality imposed on Iranians by their religious and political history. Their seriesWe Live in a Paradoxical Society (2010) represents ways life for Iranians is strictly divided into two parts: the domestic Shadi Ghadirian, White Square, 2009 and the public.
    [Show full text]
  • PORTRAITS: REFLECTIONS by EMERGING IRANIAN ARTISTS Curated by Roya Khadjavi Heidari and Massoud Nader September 17 - 29, 2014
    PORTRAITS: REFLECTIONS BY EMERGING IRANIAN ARTISTS Curated by Roya Khadjavi Heidari and Massoud Nader September 17 - 29, 2014 ROGUE SPACE CHELSEA 508 West 26th St. New York, NY 10011 AKArt.com/Portraits “ These young artists despite all the limitations, boldly challenge the status quo and insist on their independence and capabilities as any contemporary human beings!” — Nazila Nobashari, owner of Aaran Gallery, Tehran/Iran Farsad Labbauf, Trinity III, 2002, Acrylic and ink on canvas, 60 x 40 in. / 152.4 x 101.6 cm. PORTRAITS: REFLECTIONS BY EMERGING IRANIAN ARTISTS Portraits: Reflections by Emerging Mohsen Ahmadvand 07 Amir Mousavi 50 Iranian Artists Samira Alikhanzadeh 09 Jason Noushin 52 by Roya Khadjavi Heidari Mojtaba Amini 11 Morteza Pourhosseini 54 + Massoud Nader 01 Reza Azimian 13 Amirhossein Radaie 56 Nasser Bakhshi 15 Leyli Rashidi 58 Portraits: Insertion and Dadbeh Bassir 20 Arash Sedaghatkish 60 Recognition Strategies by Bahar Behbahani 23 Jinoos Taghizadeh 62 Emerging Iranian Artists Babak Bidarian 25 Sadegh Tirafkan 64 by Sohrab Mahdavi 03 Majid Biglari 27 Hossein Edalatkhah 29 Programming 67 Sara Ghanbari 31 Dariush Gharahzad 33 Sponsors + Partners 68 Sepanta Ghassemkhani 35 Naghmeh Ghassemlou 37 Organizer Information 69 Mohammad Hamzeh 39 Farsad Labbauf 41 Acknowledgements 75 Mehdi Mirbagheri 43 Alishia Morassaie 45 Contact Information 76 Ahmad Morshedloo 48 Portraits: Reflections by Emerging Iranian Artists To mark the five year anniversary of the opening of Iran Inside Out at the Chelsea Museum and the first anniversary of Iran Modern at Asia Society, this group show seeks to promote Iranian contemporary art by showcasing work by young Iranian artists who were born, raised, and educated in Iran.
    [Show full text]