DOCSLIB.ORG

ANDY WARHOL New York, NY 10014

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ANDY WARHOL New York, NY 10014 82 Gansevoort Street ANDY WARHOL New York, NY 10014 p (212) 966 - 6675 Born 1928, Pittsburgh, PA allouchegallery.com Died 1987, New York City, NY BFA Pictorial Design Carnegie Mellon University SELECTED SOLO EXHIBITIONS 2019 Andy Warhol - From A to B and Back Again, Whitney Museum of American Art, NY, USA 2019 Warhol 1968, Moderna Museet, Stockholm, Sweden 2018 Warhol, Mechanical Art, Museo Picasso Málaga, Spain 2018 Adman, Warhol before POP, The Andy Warhol Museum, Pittsburgh, USA 2017 Andy Warhol: STARS OF THE SILVER SCREEN, The Andy Warhol Museum, Pittsburgh, USA 2016 Andy warhol: Ai WeiWei, The Andy Warhol Museum, Pittsburg 2016 Andy Warhol: Shadows, Guggenheim Bilbao, Spain 2015 Andy Warhol: Works from the Hall Collection, Ashmolean Museum, Oxford, England 2015 Yes! Yes! Yes! Warholmania in Munich, Museum Brandhorst, Munich, Germany 2015 Capturing Fame: Photographs and Prints by Andy Warhol, Richard E, Peeler Art Center, Depauw University, Greencastle, IN 2015 Warhol: Myths and Legends from the Cochran Collection, Art Museum of South Texas, Corpus Christie, TX 2015 Transmitting Andy Warhol, Tate Liverpool, Liverpool, England 2014 Andy Warhol: 1950s Drawings, Anton Kern Gallery, New York, NY 2014 Transmitting Andy Warhol, Tate Liverpool, Liverpool, England 2014 Andy Warhol: Death and Disaster, Kunstsammlungen Chemnitz, Germany 2014 Andy Warhol: Shadows, The Museum of Contemporary Art, Los Angeles, CA 2014 Warhol: Art. Fame. Mortality, The Salvador Dali Museum, St. Petersburg, FL 2014 Andy Warhol’s 13 Most Wanted Men and the 1964 World’s Fair, Queens Museum of Art, New York, NY 2014 Andy Warhol: 15 Minutes Eternal, Mori Art Museum, Tokyo, Japan 2013 Andy Warhol: Toy Paintings, Tel Aviv Museum of Art, Tel Aviv, Israel 2012 Warhol Headlines, National Gallery of Art, Washington, D.C 2011 Andy Warhol and Elizabeth Taylor, Gagosian Gallery, New York, NY 2010 Andy Warhol: Motion Pictures, Museum of Modern Art, New York, NY 2007 Andy Warhol Disaster Prints, Kampa Museum, Prague, Czech Republic 2006 Andy Warhol Campbell’s Soup Cans, Museum of Contemporary Art, Los Angeles, CA 2000 Women of Warhol: Marilyn, Liz & Jackie, C & M Arts, New York, NY 1996 Rorschach Paintings, Gagosian Gallery, New York, NY 1992 Andy Warhol Polaroids 1971 – 1986, Anthony d’Offay Gallery, London, England 1992 Heaven and Hell Are Just One Breath Away! Gagosian Gallery, New York, NY 1989 Andy Warhol Retrospective, Museum Ludwig, Cologne, Germany 1988 Andy Warhol: Cars, The Solomon R. Guggenheim Museum, New York, NY 1978 Andy Warhol, Louisiana Museum of Modern Art, Humlebaek, Denmark 1976 Cats and Dogs by Andy Warhol, The Mayor Gallery, London, England 1975 Andy Warhol’s Ladies and Gentlemen, Galeria Romani Adami, Rome, Italy 1974 Andy Warhol, Musée Galliera, Paris, France 1972 Warhol’s Maos, Kunstmuseum, Basel, Switzerland 1971 Andy Warhol, Musée d’Art Moderne de la Ville Paris, France ANDY WARHOL SELECTED SOLO EXHIBITIONS Cont. 1968 Andy Warhol, Rowan Gallery, London, England 1967 Andy Warhol: Most Wanted, Galerie Rudolf Zwirner, Cologne, Germany 1966 Andy Warhol, Institute of Contemporary Art, Boston 1965 Andy Warhol, Galeria Rubbers, Buenos Ares, Argentina 1964 Warhol, Galerie Ileana Sonnabend, Paris, France 1963 Andy Warhol, Ferus Gallery, Los Angeles, CA 1962 Campbell’s Soup Cans, Ferus Gallery, Los Angeles, CA 1962 Andy Warhol, Stable Gallery, New York, NY SELECTED GROUP EXHIBITIONS 2015 Andy Warhol and William Morris, Modern Art Oxford, Oxford England 2013 American Pop Art, The National Art Center, Tokyo, Japan 2007 Self-Portrait Exhibition, La Casa Encendida, Madrid, Spain 2000 Andy Warhol Jean-Michel Basquiat, Tony Shafrazi Gallery, New York, NY 1982 Andy Warhol, Myths, Modernism Gallery, San Francisco, CA 1980 Andy Warhol: Photographs, Lisson Gallery, London, England 1979 Skulls, Galeria Massimo Valsecch, Milan, Italy 1962 My Country ‘Tis of Thee, Dwan Gallery, Los Angeles, CA 1956 Recent Drawings, The Museum of Modern Art, New York, NY.
Load more

Recommended publications
  • A Discourse Analysis of Reputational Construction in the Field of Online Contemporary Art Magazines
    Technological University Dublin ARROW@TU Dublin Doctoral Applied Arts 2020-2 A Discourse Analysis of Reputational Construction in the Field of Online Contemporary Art Magazines Tommie Soro Technological University Dublin Follow this and additional works at: https://arrow.tudublin.ie/appadoc Part of the Art and Design Commons Recommended Citation Soro. T. (2020) A Discourse Analysis of Reputational Construction in the Field of Online Contemporary Art Magazines, Doctoral Thesis, Technological University Dublin. DOI: 10.21427/cs3g-qh75 This Theses, Ph.D is brought to you for free and open access by the Applied Arts at ARROW@TU Dublin. It has been accepted for inclusion in Doctoral by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License A Discourse Analysis of Reputational Construction in the Field of Online Contemporary Art Magazines By Tommie Soro BFA (Hons), MFA A Thesis for the Degree of Doctor of Philosophy (Ph.D) Technological University Dublin Supervisors: Dr. Tim Stott and Dr. Brendan K. O’Rourke Graduate School of Creative Arts and Media February 2020 Abstract The bases of artistic reputation have been widely debated within the sociology of art and art history. Remarkably, however, little has been said of the role discourse might play in the construction of artistic reputation. An obstacle to addressing this research gap is that discourse analytic approaches have been developed to analyse evaluation and the construction of legitimacy but not the construction of reputation.
    [Show full text]
  • The Museum of Modern Art (Moma)
    QUICK VIEW: Synopsis Since its inception in 1929, the Museum of Modern Art has continually redefined the idea of the museum in contemporary Western culture. Originally conceived by its founders as a place for Modern art to come and go (because what makes up modernism is constantly changing), MoMA, as it is commonly known, established a permanent collection in 1952 and has become the home for some of the greatest works of avant-garde painting, sculpture, film and multi-media art in the world. While MoMA remains true to its roots as a place where new styles of art can circulate, its permanent collection is widely considered the most impressive and diverse assortment of Modern art to ever exist, ranging from late-19th-century van Goghs, Monets and Gauguins to works produced in the present day. The idea of a Museum of Modern Art was once considered by critics to be an oxymoron. Its very existence posed the question: How can there be a museum (a permanent institution housing the heritage of human civilization) for Modern art (which embodies the ideal of always moving forward and constantly changing)? Rather than shy away from this paradox, MoMA has embraced its contradictory nature by appealing to both the history of Modernism and the legacy it continues to leave in the 21st century. Founding principles • The idea for the museum was first developed by a group of philanthropists, educators and museum curators, led by Abby Aldrich Rockefeller (wife of John D. Rockefeller), in 1928. They envisioned a modest-sized location in New York City that could essentially be a stop-over for some of Europe's finest Modern art.
    [Show full text]
  • FROM IMPRESSIONISM to POP ART Under the High Patronage of His Serene Highness Prince Albert II of Monaco
    UNDER THE HIGH PATRONAGE OF HIS SERENE HIGHNESS PRINCE ALBERT II OF MONACO FROM IMPRESSIONISM TO POP ART Under the High Patronage of His Serene Highness Prince Albert II of Monaco FROM IMPRESSIONISM TO POP ART Après l’immense succès de l’exposition “Picasso” en 2011, Opera Gallery Monaco présente cet été “de l’Impressionnisme au Pop Art”. Une exposition prestigieuse qui, à travers plus de 50 tableaux et dessins de grands Maîtres, nous permet de suivre la période de l’Histoire de l’Art qui va de la Révolution impressionniste au choc du Pop Art. Les tubes d’étain ont été inventés vers 1840, ils ont permis aux peintres impressionnistes de sortir de leur atelier pour aller peindre des paysages “sur le motif”, c’est-à-dire dans la nature. De la même manière, la peinture acrylique diluable à l’eau est créée en 1963, elle est immédiatement adoptée par les peintres Pop Art. Andy Warhol, est le premier utilisateur de cette peinture industrielle qui accompagne de manière pertinente son discours sur la société de consommation. Entre ces deux écoles illustrées par des tableaux de Claude Monet, Pierre-Auguste Renoir d’un coté et Andy Warhol de l’autre, nous découvrons des œuvres de Fernand Léger, Marc Chagall mais aussi Joan Miró avec le splendide tableau Untitled, 1960 ou encore Fernando Botero. Enfin, nous n’avons pas résisté au plaisir de mettre en page de couverture du catalogue la gouache et aquarelle Les Grâces naturelles de René Magritte, un hommage au Maître du Surréalisme dans sa période influencée par Renoir, tout un symbole pour cette exposi- tion qui retrace la période de l’Histoire de l’Art aujourd’hui la plus prisée par les collectionneurs avertis et la plus recherchée par les amateurs de “valeurs refuges”.
    [Show full text]
  • Dennis Hopper, Photographs 1961–1967, Edited by Dennis Hopper and Tony Shafrazi
    Dennis Hopper, Photographs 1961–1967, edited by Dennis Hopper and Tony Shafrazi. Taschen, 2018 (484 pages). Joanna Elena Batsakis For fans of the prolific Hollywood artist Dennis Hopper, the re-release of Dennis Hopper, Photographs 1961–1967 is a sensational addition to the growing Hopper canon within Western film scholarship. Originally, the book was published as a limited-edition collector’s item in 2011, with a small run of 1,500 copies. Each copy was signed by Hopper himself, and there was an alternative option to purchase its even more prestigious version entitled Photographs 1961–1967 Art Edition, which included a gelatine print of Hopper’s infamous photograph Biker Couple (1961). In collaboration between The Hopper Art Trust, gallerist Tony Shafrazi, and Dennis Hopper, this original volume was massive in size: with 544 pages, its hardcover measured 30 centimetres in height by 33 centimetres in length and weighed 5.5 kilograms. The volume displayed dozens of black-and-white photographs Hopper had taken between 1961 and 1967, all on his Nikon Tri-X camera which was gifted to him by his first wife Brooke Hayward. The book also included introductory essays by Hopper’s long-time friends, such as Shafrazi and West Coast art pioneer Walter Hopps, as well as an extensive photographic biography authored by filmmaker and journalist Jessica Hundley. In 2018, Taschen and The Hopper Art Trust have co-operated to release a slightly smaller, unlimited trade edition of the same book, which is the subject of this review. Even though this year’s edition of has now been reduced to 484 pages and weighs 3.5 kilograms, the book is still an extremely ambitious project and integral to the Dennis Hopper canon.
    [Show full text]
  • WEEKEND UPDATE by Walter Robinson
    WEEKEND UPDATE by Walter Robinson If things feel a little droopy in New York, it ain’t just the heat -- it’s the Surrealists! The Guggenheim Museum is filled with symbolic phalluses, all castrated, deflated ​ ​ or stacked on skewers by Louise Bourgeois. Never has the spiral concrete womb so ​ ​ resembled a vast beehive, with queen Louise in its center. Down at the Museum of Modern Art are Salvador Dali’s famous melting clocks ​ ​ ​ ​ and oystery self-portraits, well-known emblems of his own impotency, in "Dali: Painting and Film." It’s a great show, with the galleries converted into a series of spacious theater spaces for Dali’s movies: Un Chien andalou (1929), L’Âge ​ ​ ​ d’or(1930), the dream-sequence clip from Alfred Hitchcock’s Spellbound (1944), ​ ​ ​ ​ ​ Andy Warhol’s 1966 screen test. ​ Especially bizarre is the cartoon Destino (1946), a seven-minute-long Disney-Dali ​ ​ mashup that Dali did some fabulous drawings for, but that was only finished by the cartoon giant in 2003. Imagine Snow White dancing around a Dali landscape to an ​ ​ atonal symphony, and you pretty much got it. (As for press stills, there are none; no doubt Disney, famous for suing kindergartens for painting Mickey Mouse on their ​ ​ walls without permission, has some corporate policy against it.) Best of all is Dali’s Chaos and Creation (1960), a 17-minute-long black-and-white ​ ​ video made withPhilippe Halsman as a televised greeting to an avant-garde ​ ​ conference. Like a demented Ed Sullivan, Dali presents an easel holding a Piet ​ ​ ​ Mondrian painting, which dissolves into an actual pigsty, with real pigs in one ​ square, a model in an evening gown in another and a motorcycle in a third.
    [Show full text]
  • When Artworks Collide
    ART REVIEW When Artworks Collide Nicole Bengiveno/The New York Times At the Tony Shafrazi Gallery, this show contains two shows (one on wallpaper). By ROBERTA SMITH Published: May 16, 2008 “Who’s Afraid of Jasper Johns?,” a group show at the Tony Shafrazi Gallery in Chelsea, is the latest proof that you don’t have to be a museum to shake things up. It was organized by Gavin Brown, who has a downtown gallery of his own, and Urs Fischer, a Swiss artist he represents. Demonically aerobic for brain and eye, the show conflates two exhibitions and several different times, styles, art markets and notions of transgression. Highly site specific, it may also be one of the last words in appropriation art, institutional critique and artistic intervention, not to mention postmodern photography and, especially, wallpaper. Nicole Bengiveno/The New York Times An installation view shows Malcolm Morley’s “Age of Catastrophe” on top of a Keith Haring, left, and a Picabia over a Donald Baechler. The histories entwined here begin with Mr. Shafrazi, an infamous one-hit-wonder graffiti artist and longtime graffiti art dealer. In 1974 he spray-painted, in red, the words “Kill Lies All” on Picasso’s “Guernica,” then at the Museum of Modern Art (he meant to write “All Lies Kill”). By 1982 he had a SoHo gallery known for showing graffiti-related artists like Keith Haring, Kenny Scharf, Jean-Michel Basquiat and Donald Baechler. In 2004 Mr. Shafrazi relocated to an austere second-floor gallery in Chelsea, putting up long-running shows and concentrating mostly on the resale market: not only the graffitists but also blue-chip works by Picasso, Picabia and Francis Bacon.
    [Show full text]
  • NUMBER 29 UPDATE Nemours
    NUMBER 29 UPDATE Nemours 27th sept - 30th Nov Unknown paintings and correspondence with the graphic wor Galerie Antoine Laurentin 23 quai Voltaire - 75007 Paris - France Tel : +33 (0)1 42 97 43 42 - website : galerie-laurentin.com BID AT WWW.DROUOTLIVE.COM FREE SERVICE AND WITHOUT EXTRA FEES BID AT DROUOT ANYWHERE ! IE’S PR RIST EMI CH ER WI N NE AUCTIO 3IGNATURE#ELLARS Online only wine auction 29 October – 12 November 2013 #ONTACT Michael Ganne [email protected] +33 (0) 1 40 76 86 19 9, avenue Matignon, Paris 8e $)$)%2$!'5%.%!5 0/5),,9 &5-²#56²%3),%8 LOIRE VALLEY € 300 – 400 1 magnum per lot The Art People christies.com Antiquités à Paris Le Village Suisse THE PERMANENT ART AND ANTIQUE FAIR IN PARIS 80 GALLERIES www.villagesuisse.com 78 avenue de Suffren 75015 Paris, FRANCE Open Thursday to Monday GAZETTE_ANGLAISE_N°29_p02-XX_GAZETTE_US 03/10/13 09:09 Page5 EXHIBITION GASTON SUISSE October 16 / November 17 1930’s Laquer artist EXHIBITION MAURICE MARINOT November 21/ December 21 1930’s Glassmaster GALERIE MARCILHAC 8, rue Bonaparte 75006 Paris // www.marcilhacgalerie.com // +33 1 43 26 47 36 PUB GAZETTE INT indd 1 02/10/13 13:55 CONTENTS ART MARKET - MAGAZINE 16 UPCOMING ART MARKET 86 With sales that include the Plaza Sceptics will undoubtedly have to think Athénée's furnishings, the wacky again because the urban art market world of Jacques Carelman, a toy is not just a flash in the pan, fanatic's made-in-Japan collection but a trend that looks set to stay.
    [Show full text]
  • Art Theft, Art Vandalism, and Guardianship in U.S. Art Institutions
    University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 8-2018 Art theft, art vandalism, and guardianship in U.S. art institutions. Katharine L. Salomon University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Criminology and Criminal Justice Commons, and the Fine Arts Commons Recommended Citation Salomon, Katharine L., "Art theft, art vandalism, and guardianship in U.S. art institutions." (2018). Electronic Theses and Dissertations. Paper 3028. https://doi.org/10.18297/etd/3028 This Doctoral Dissertation is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. ART THEFT, ART VANDALISM, AND GUARDIANSHIP IN U.S. ART INSTITUTIONS By Katharine L. Salomon B.A, Transylvania University, 1990 M.S., University of Louisville, 2008 A Dissertation Submitted to the Faculty of the School of Interdisciplinary and Graduate Studies of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Interdisciplinary Studies School of Interdisciplinary and Graduate Studies University of Louisville Louisville, KY
    [Show full text]
  • Andy at a Sell out of a Closed Shoe Warehouse in the Late 1970S
    AndyUaMt PI OFFICIAL EXHIBITION CATALOGUE Reed Fine Art Gallery University of Maine at Presque Isle September 5 – October 11, 2008 Generous sponsorship for this exhibition from the Presque Isle Savings Bank of Maine. A special thank you to our UMPI arts alumna, JANE CAULFIELD, owner of Morning Star Art & Framing of Presque Isle. The University of Maine at Presque Isle is grateful for their support. COVER IMAGE : “Shoe, (Women’s Single) 1980” Polaroid Unless otherwise noted, all images © Andy Warhol Foundation for the Visual Arts, Inc. Catalogue by Linda Zillman, M.A., History of Photography; Design & Layout: Dick Harrison The Warhol Photographs The Owl Undated 5” x 7” black and white print It is sheer luck that we received this photo, UMPI’s owl mascot, from the Warhol Foundation. We have made the pairing of The Owl and The Pussycat in honor of Edward Lear’s poem and with the thought that it is just the kind of association Warhol would have made. In 1978 Martha Graham created a dance entitled The Owl and the Pussycat using the words from Lear’s famous poem. Rudolph Nureyev danced and Liza Minnelli was the narrator. The Owl and the Pussycat played at Covent Garden and in New York City. ( Diaries, p. 229-230) Andy was present at the Covent Garden opening on July 23, 1979. ( Diaries, p. 230) Both The Owl and The Pussycat share the same white background as well as interesting shadows in the photographs. Not exactly dancing “by the light of the moon,” as Lear wrote, but use your imagination! The Warhol Photographs The Pussycat Undated 5” x 7” black and white print In 1976, Andy Warhol did an acrylic and silkscreen ink on canvas portrait of a cat.
    [Show full text]
  • The City Influence
    Wright State University CORE Scholar Exhibition and Program Catalogs Robert and Elaine Stein Galleries 1-26-1992 The City Influence Museum of Contemporary Art at Wright State University Follow this and additional works at: https://corescholar.libraries.wright.edu/restein_catalogs Part of the Art and Design Commons, Art Practice Commons, and the Fine Arts Commons Repository Citation Museum of Contemporary Art at Wright State University (1992). The City Influence. Dayton, Ohio: Robert and Elaine Stein Galleries, Wright State University. This Catalog is brought to you for free and open access by the Robert and Elaine Stein Galleries at CORE Scholar. It has been accepted for inclusion in Exhibition and Program Catalogs by an authorized administrator of CORE Scholar. For more information, please contact [email protected]. Funded in part by the Ohio Arts Council Funded in part by the Institute of Museum Services THE CITY INFLUENC • Foreward and There are several questions that I have been repeatedly asked concerning the reason for this exhibition. Most often I have been asked, "Why call what seems to Acknowledgment 'obviously' be an abstract painting exhibition, The City Influence?" A more fulfilling answer to this question will be discovered in acareful reading of the following texts. But for now I will respond simply that the title describes the artists as urban dwellers and makes reference to the content of their art. Asecond frequent question has been, "Why do the show here and now?" The here part is easy: Wright State's exhibition program has always been concerned with investigating changing ideas concerning aesthetics, and this show surely fits that mode.
    [Show full text]
  • Ford Beckman
    FORD BECKMAN 1952 Born in Columbus, Ohio 2014 Died in Tulsa, Oklahoma SOLO EXHIBITIONS 2013 Galerie Peter Baumler, Regensburg JRB Art, Oklahoma City, Oklahoma 2012 Maloney Fine Art, Los Angeles, California 2010 McClain Gallery, Houston, Texas Schmidt Contemporary Art, St. Louis, Missouri 2008 Aberson Exhibits, Tulsa, Oklahoma 2004 Visions of America, Sammlung Essl, Kunsthaus, Klosterneuburg Regards, Artiscipe, Brussels 2003 McClain Gallery, Houston, Texas 2002 Ford Beckman: If Looks Could Kill, Galerie Brennecke, Berlin 2001 Galerie Benden & Klimczak, Koln 1999 Galerie Academia, Salzburg Galerie Brennecke, Berlin Robert McClain & Co., Houston, Texas 1998 Galerie Baumler, Regensburg 1997 Kunstverein, Augsburg Galerie Hachmeister, Munster 1996 Bobbie Greenfield Gallery, Santa Monica, California Galerie Ribbentrop, Eltville am Rhein Kestner-Gesellschaft, Hannover Galerie Academia, Salzburg 1995 Galerie Baumler, Regensburg Galerie Ribbentrop, Eltville am Rhein TransArt, Koln 1994 Galerie Ribbentrop, Eltville am Rhein Gian Ferrari Arte Contemporanea, Milano Galerie Buchmann, Basel 1993 Galerie Buchmann, Basel Ace Gallery, Los Angeles Galleria Il Ponte, Roma 1992 Anders Tornberg Gallery, Lund Galerie Hans Mayer, Dusseldorf Galerie Hans Mayer (Pop Show), Dusseldorf Lindblad Thorden Gallery, Goteborg 1991 Tony Shafrazi Gallery, New York, New York 1990 Tony Shafrazi Gallery, New York, New York The Greenberg Gallery, St. Louis, Missouri Washington University, St. Louis, Missouri Schmidt/Markow Gallery, St. Louis, Missouri Tony Shafrazi Gallery, New York, New York Scott Hanson Gallery, New York, New York 1988 Craig Cornelius Gallery, New York, New York GROUP EXHIBITIONS 2014 White, JRB Art, Oklahoma City, Oklahoma Group Show: Ford Beckman, Joel Otterson, George Stoll, Mayberry + Walker, Maloney Fine Art, Los Angeles 2013 The Abstract Point of View, Galerie Brennecke, Berlin American Idols.
    [Show full text]
  • Iranian Modern Art During the Pahlavi Dynasty (1925-1979)
    Iranian Modern Art during the Pahlavi Dynasty (1925-1979) DISSERTATION to Obtain the degree of Doctor of Art History at the Institute of Art History, University of Regensburg 2021 Presented by Solmaz Keshavarzi First appraiser: Prof. Dr. Christoph Wagner Contents Preface ............................................................................................................................ 10 Abstract ........................................................................................................................... 11 Introduction .................................................................................................................... 12 Methodology ................................................................................................................... 13 1 Modernity .................................................................................................................. 1 1.1 The beginning of modernity in Iran ....................................................................... 2 1.2 Modernity in Iran under Pahlavi rule .................................................................... 5 1.3 Chronology ............................................................................................................ 8 1.3.1 1911-1942 ................................................................................................... 8 1.3.2 1942-1958 ................................................................................................... 8 1.3.3 1958-1979 ..................................................................................................
    [Show full text]