Ardeshir Mohassess


Book Description

The first publication to include full colour reproductions of the artist's drawings throughout his career; it includes a 1973 interview between the artist and Iranian poet, Esmail Kho'i translated into English for the first time. The catalogue and exhibition it accompanies are co-curated by Shirin Neshat and Nicky Nodjoumi, two well known contemporary Iranian artists who provide a particular perspective on the artist and his subjects Ardeshir Mohassess: Art and Satire in Iran brings together approximately 70 of Mohassess's rarely-seen drawings, on loan from the Library of Congress in Washington DC and from several private collections in the US. Many of these have never been published in a book or catalogue, and several of the early works were censored in his native country. The book reveals this artist's significant impact on both the international art scene and news media. The catalogue (checklist of the exhibition) is organised in two sections: works created before the Iranian Revolution of 1979 and those created after the Revolution. Ardeshir Mohassess has been living in self-imposed exile since 1976; after enduring harassment from his native country's national police, he fled to France. In 1979 he moved to the United States, where he has remained. Today, he is considered to be one of the most significant living Iranian artists. AUTHOR: Shirin Neshat was born in 1957 in Qazvin, Iran. Neshat moved to the United States in 1974. Neshat has exhibited her photography, film, and video works internationally and is a recipient of numerous awards, including the Infinity Award for Visual Art from the International Center for Photography (New York), and First International Prize at the 48th Venice Biennale (Italy). Nicky Nodjoumi was born in Kermanshah, Iran in 1942. After graduating from CUNY in 1975, he returned to Iran with plans to teach art. Soon after the 1979 revolution, Nodjoumi had a retrospective exhibition at the Museum of Contemporary Art in Tehran; the show was labelled anti-revolutionary and he was forced to leave Iran. Hamid Dabashi was born in 1951 in the south-western city of Ahvaz in the Khuzestan province of Iran. He is the Hagop Kevorkian Professor of Iranian Studies and Comparative Literature at Columbia University in New York, the oldest and most prestigious Chair in Iranian Studies. He is a renowned cultural critic and award-winning author. Esmail Kho'i is a renowned Iranian poet and writer. 83 colour & 3 b/w illustrations




Ardeshir Mohassess


Book Description




Closed Circuit History


Book Description

"Closed Circuit History is a record of Iran's eternal landscape of the past and a retrospective of an important Iranian artist. Ardeshir Mohassess is an artist of the first order, and as with all true artists he is an antenna and decoder of the society in which the lives. With rare skill and insight, using a few strokes, he communicates the truth of our experience. He has been drawing since the age of three, and although he received his degree in political science and law from the University of Tehran, his real interest was to draw his field, rather than practice it. His drawings were first published in Iran in the early 1960s and have continued to appear since, both in Iranian and Western newspapers, including The New York Times, The New York Review of Books and Graphis. Today, besides many private collectors and museums, The Library of Congress is also collecting Ardeshir's drawings.




Life in Iran


Book Description

This is a series of powerful drawings by Iran's greatest satirist. Drawn in exile during the Islamic Revolution of 1979, they remain, 15 years later (after the replacement of the Shah by the Ayatollah and the Ayatollah by the President and the Spiritual Guide) as meaningful and sharp-sighted as ever.




Ardeshir Mohassess


Book Description




The Cultural Politics of Art in Iran


Book Description

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.




Ardeshir Mohassess


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Contemporary Art, World Cinema, and Visual Culture


Book Description

"Contemporary Art, World Cinema, and Visual Culture: Essays by Hamid Dabashi" is a collection of writings by the acclaimed cultural critic and scholar. A thorough Introduction rigorously frames chapters and identifies in Dabashi’s writings a comprehensive approach, which forms the criteria for selecting the essays for the volume. The Introduction also teases out of these essays the overarching theme that holds them together, the manner they inform a particularly critical angle in them and the way they cohere. The Introduction dwells on the work of one scholar, public intellectual and theorist of modern and contemporary arts to extrapolate more universal issues of concern to art criticism in general. These scattered materials and their underlying theoretical and critical logic are a unique contribution to the field of modern and contemporary arts.




Weststruckness


Book Description

"Gharbzadegi was written in 1962 when the Pahlavi regime seemed to have control over Iran's destiny. For the author, the result was total national submission to the West and its technology. The Iranian monarchy is portrayed in this work as no more than a native brokerage for Western influence, with no aims and identity of its own. Al-e Ahmad sought to rediscover an Iranian identity based on historical and religious criteria, defined in part by a tradition of conflict with the West"--Book jacket.




Ardeshir Mohassess


Book Description