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Iranian artists have been producing some of the world’s most thought-provoking and intellectually grounded artworks.
In this landmark compendium, renowned art historian Hamid Keshmirshekan provides a thorough review of contemporary art in Iran and shows that the twentieth century was a crucial period in the country’s art and culture, when the legacies of tradition and modernism where critically reassessed.
Contemporary Iranian Art is an unprecedented introduction to Iran’s vibrant art history over the past one hundred years. This fully revised and updated edition features more than 370 colour illustrations by the country’s leading artists, including Mahmoud Bakhshi, Shadi Ghadirian, Barbad Golshiri, Marcos Grigorian, Farhad Moshiri, Shirin Neshat, Sohrab Sepehri, Mitra Tabrizian, Parviz Tanavoli and Charles Hossein Zenderoudi.
Hamid Keshmirshekan is Senior Teaching Fellow at the Department of History of Art and Archaeology at SOAS, University of London, and Senior Research Fellow at the Khalili Research Centre (KRC), Oxford University. He was previously a senior lecturer at the Advanced Research Institute of Art, Iranian Academy of Arts, an associate fellow at the KRC at Oxford University, and Editor-in-Chief of the bilingual (English Persian) quarterly, Art Tomorrow. His publications include Koorosh Shishegaran: The Art of Altruism (2016), and Contemporary Art from the Middle East: Regional Interactions with Global Art Discourses (ed.) (2015)
Table of Contents
Notes on Transliteration
Acknowledgments
Introduction
1. Modern Culture And Its Affinity With Iranian Context
2. Nationalism And Its Place In Iran’s Political Culture
3. Religious Movements And Their Relation To Iran’s Socio-Political Culture
Chapter One: Historical Background
1.1. A Transformation In Qajar Art
1.2. The Dar Al-Funun
1.3. The Establishment Of The Madrasa-I Sanayi‘-I Mustazrafa (School Of Fine Art) In 1911
1.4. Madrasa Sanayi‘-I Qadima (School Of Traditional Arts) And The Formation Of The So-Called School Of Tehran
Chapter Two: Decades Of Hesitancy And Confrontation: Modernism Versus The Status Quo
2.1. The Beginning Of The Modern Art Movement In Iran: The 1940s
2.2. The Development Of Modern Art Practices During The 1940s And 1950s
Chapter Three: Questions Of Identity, Nativism And Nationalism Alongside Modernism In Art And Socio-Political Culture: Neo-Traditionalist Movements
3.1. The National School Of Art And The Obsession With Identity And Cultural Concerns: Saqqa-Khaneh Movement
3.2. Post-Saqqa-Khaneh And Other Trends
Chapter Four: Post-Revolutionary Art
4.1. Revolutionary Art And Artists: The Establishment Of The Artistic Centre Of Islamic Propaganda Organisation (Howzeh-I Hunari-I Sazman-I Tablighat-I Islami)
4.2. The Development Of Traditionalist Trends: Calligraphic Tendencies And Miniature Painting
4.3. Post-Revolutionary Modernism; Post-Revolutionary National Art Biennials, The State And Cultural Policy: Cultural Identity In Question
Chapter Five: Development Of Contemporary Discourses: The Mid-1990s Onward
5.1. The Emergence Of Contemporary Art
5.2. Perspectives On Contemporary Iranian Art: Navigating New Horizons
5.3. Contemporary Tensions: Cultural Particularity In Flux
Chapter Six: Iranian Art In Diaspora
6.1. In-Betweenness And The Ongoing Dialogue Between The Past And Present
6.2. Exploring The Artistic Diaspora
Bibliography
Image Credits
Index