Art Aware

Saturday, 12 September 2009

Iran Inside Out review round up - 56 artist survey show in New York described as mesmerising, a privilege

56 contemporary Iranian artists are presented in the attention-grabbing and timely Iran Inside Out exhibition at Chelsea Art Museum in New York (June 26 – Sep 5 2009).

Surprisingly – or perhpas not – only 35 artists in the show reside inside Iran and the other 21 dispersed outside Iran. Together they contribute 210 works of painting, sculpture, photography, video, and installation on themes such as gender, war, and politics. Complemented with forums and film screenings, theatre performances, music recitals, and panel discussions, Iran Inside Out is part of Chelsea Art Museum’s 2008-2009 “The East West Project”.

In this round up, art experts and critics from the New York Times to the Huffington Post give their perspectives on this exhibition and report that they are enthralled, mesmerised and surprised. In this rich and challenging show unexpected findings and themes abound. Be sure to scroll down and read Huffington Post’s Marina Bronchman who discovers a controversial new view of the veil and its effect on sexual and gender expression.

Pooneh Maghazehe, Hell’s Puerto Rico Performance Still, Digital C-print 2008 copyright artist and courtesy Leila Taghinia-Milani Heller Gallery

In Search of the Axis of Evil

Exhibition section: On War and Politics

Alireza Ghandchi, photographs

Behrang Samadzadegan, There is No One Here But Me, 2006, acrylic on canvas

Behdad Lahooti, A Cliché for Mass Media, 2008, ceramic

Nicky Nodjoumi, The Guard, 2007, oil on canvas

Sara Rahbar, Did You See What Love Did To Us Once Again Flag #32, 2008, mixed media

(from left to right)

Alireza Ghandchi

From the series Pathos, 2006 (left), Photograph, 50 x 40 cm

From the series Hemd, 2007 (right), Photograph, 50 x 40 cm

Exhibition section: In Search of the Axis of Evil / On War and Politics

Behdad Lahooti, A Cliché for Mass Media. 2008, Ceramic with print over

Exhibition section: In Search of the Axis of Evil / On War and Politics

Jinoos Taghizadeh , Rock Scissors Paper. 2009, On Lenticular Print

Exhibition section: In Search of the Axis of Evil / On War and Politics

Arash Hanaei, Abu Ghraib (Or How to Engage In Dialogue). 2007, Digital prints

Exhibition section: In Search of the Axis of Evil / On War and Politics

From Iran to Queeran and Everything in Between

Triptych by Darius Yektai; mixed media sculpture by Shirin Fakhim; in the background, Reza Derakhsahni (60 pieces)

Exhibition section: On Gender and Sexuality

Shirin Fakhim, Tehran Prostitutes. 2008, Mixed media sculpture

Exhibition section: From Iran to Queeran and Everything in Between / On Gender and Sexuality

Newsha Tavakolian, Maria. 2007, Print on photography paper

Exhibition section: From Iran to Queeran and Everything in Between / On Gender and Sexuality

From Iran to Queeran and Everything in Between

Installation with apples: Amir Mobed, Virginity, 1995 - 2009

Hanging piece by Pooneh Maghazehe

In the background (left to right)

Khosrow Hassanzadeh, Pahlavan II Ready to Order, 2008

Sadegh Tirafkhan, Sacrifice Series, 2003

Ramin Haerizadeh, Theater Group, 2005

Exhibition section: On Gender and Sexuality
© Photo: Courtesy Chelsea Art Museum

Iran Recycled: From Vintage to Vogue

Pouran Jinchi, Alef Series, 2009

Elmer’s glue and Ink and varnish on canvas

In the background: Samira Abbasy, Eternal War, 2009, oil on gesso panel

Exhibition section: On Reinventing the Traditional Art Forms

Farideh Lashai, I don’t want to be a tree. 2008, Video projection on canvas

Exhibition section: Iran Recycled: From Vintage to Vogue / On Reinventing the Traditional Art Forms

Siamak Filazadeh, ROSTAM 2 The Return. 2008, Photomontages

Shiva Ahmadi, Oil Barrel No. 3,4,5. 2009, Oil on Steel

Exhibition section: Iran Recycled: From Vintage to Vogue / On Reinventing the Traditional Art Forms

Siamak Filizadeh, Rostam Marries Tahmineh. 2008, Digital print on canvas

Exhibition section: Iran Recycled: From Vintage to Vogue / On Reinventing the Traditional Art Forms

Shiva Ahmadi, Oil Barrel No. 5. 2009, Oil on steel

Exhibition section: Iran Recycled: From Vintage to Vogue / On Reinventing the Traditional Art Forms

Works by Daryoush Gharahzad, Bita Fayyazi, Arash Sedaghatkish, Arman Stepanian

Exhibition section: Where in the World: City Quiz / On Street Culture within Tehran

Bita Fayyazi in cooperation with Rokni Haerizadeh

The Purple Scream. 2009, Fiberglass, acrylic and watercolor

Exhibition section: Where in the World: City Quiz / On Street Culture within Tehran

Arash Sedaghatkish

Untitled. 2008, Watercolor on paper

Shoja Azari, Windows Animation. 2006, Animation HD Video

Exhibition section: Where in the World: City Quiz / On Street Culture within Tehran

Pooneh Maghazehe, Embroidered dresses. 2008

Hell’s Puerto Rico. 2008, Performance still

Exhibition section: The Culture Shop: Special Sale on Stereotypes - All Must Go! / On Culture as Commodity

Chelsea Art Museum: Curators Sam Bardaouil and Till Fellrath

The curators explain that Iran Inside Out defies the traditional perceptions of Iran and Iranian art:

An intimate look into the people, both inside and outside a country that is more complex than images of veiled women, worn out calligraphy and what a handful of other emblematic images would suggest…an examination of the means through which a young generation of artists is reconciling the daily implications of cultural and geographical distances with the search for individual artistic expression…offers an unexpected insight into the artistic energy of a culture that is constantly evolving as Iranians living both in and out of the country, come of age living and working in contentious societies.

(Art Radar editor note: the curators of Saatchi’s Middle Eastern show ‘Unveiled’ (in which Iranian art predominated) earlier in 2009 also claimed to go beyond the ‘worn out’ to present a more nuanced and alternative view of art from the Middle East - this was hotly contested by some reviewers who were surprised to find that, on the contrary, bloodshed, repression and gender inequality were ubiquitous and courageously expressed. See related posts section below for the review round up of Saatchi’s show).

Yet there are differences between insiders and outsiders say the curators:

Ironically, contrary to one’s expectations, the artists living abroad often draw more on their cultural heritage, while those on the inside focus more on issues of everyday life without much regard to what ‘the outside’ views as specifically Iranian references. Yet, within these disparities, one element stands strong: the recurrent references, sometimes ambiguous, at times emotional, often nostalgic and on occasion satirical and even tragic to Iran the country, Iran the past, the Iran which has been lost and that which could be found.

New York Times: Holland Cotter

Holland Cotter elaborates on how Iranian cultural references run through the show in this 30th-anniversary year of the Iranian revolution. For this critic, whether inside or out, artists are in touch with their cultural history.

Golnaz Fathi, who lives in Tehran, walks the line between calligraphy and abstraction in his paintings; so does Pouran Jinchi, who lives in New York. The heroic epic called “The Book of Kings” is given an action-hero update by Siamak Filizadeh of Tehran, but also in film stills by Sadegh Tirafkan, who spends part of his time in Toronto.

“Zaal arrives to help Rostam, ROSTAM 2 The Return” by Siamak Filizadeh(2008)

Female artists are given the spotlight, too:

Alireza Dayani’s fantastical historical drawings; Newsha Tavakolian’s photographic study of a transsexual; Saghar Daeeri’s paintings of Tehran’s boutique shoppers; Shirin Fakhim’s sculptural salute to the city’s prostitutes. Abbas Kowsari documents cadet training for chador-clad female police officers in Tehran. Less interestingly, Shahram Entekhabi draws chadors in black Magic Marker on images of dating-service models.

However, not all of them advocate social causes. Some artists employ a less aggressive tone:

Ahmad Morshedloo’s tender paintings of sleepers, Reza Paydari’s portrait of school friends and the mysterious little films of Shoja Azari are in this category.

Nevertheless, ambiguity does not equate with absence of politics in these artwork:

Repression both inside and outside Iran is under scrutiny in a piece by Mitra Tabrizian about the roles of both the West and Muslim clergy in Iran’s modern history. In photographs by Arash Hanaei, brutal scenes from the Iran-Iraq war and Abu Ghraib are played out by bound and gagged dolls.

Flavorpill New York: Leah Taylor

Sara Rahbar, ‘Flag #5′, 2007. Textile/mixed media, 65×35 inches

Taylor praises Iran Inside Out as one of the timeliest exhibitions in history:

With violence and political unrest roiling in that country, this exhibit takes a closer look at its inherent contradictions, tradition, culture, identity, and struggle — especially as faced by its younger generation of artists. As gruesome descriptions and footage of the election-protest clampdown continue to slip through Iranian censors daily, having Iran Inside Out’s creative insight into the country seems a privilege, indeed.

Huffington Post: Marissa Bronfman

Shocked and enthralled by the creative artwork at the exhibition, Bronfman comments:

A sense of duality was apparent in all the various pieces I saw at the exhibit, and there is an interesting geographical duality influencing the artists as well. The artists still living in Iran must struggle with avoiding government censors while not compromising with self-censorship, and those living outside strive to assume an “unlabeled artist-status” within a West-centric contemporary art world. The museum reminds us of their important commonality, however, such that all 56 artists desire to “establish an individual artistic identity free from the stigma of “stereotype” and “locality.”

She explains what draws her the most about the Tehran Shopping Malls by Saghar Daeeri:

Saghar Daeeri, Shopping Malls of Tehran – Acrylic (Aaron Gallery).

The paintings came to life with a stunning palette of vibrant colors and women depicted in a grotesque, almost fantastical rendering. Heavily made up faces, lacquered nails and peroxide hair instantly made me think these Iranian women were influenced by typical American ideals of beauty. However, Hanna Azemati, who works at CAM and presided over the show, offered a wonderful perspective that I hadn’t originally considered. She told me that, “Because of the compulsory veil, women express their femininity through venues that are allowed in exaggerated ways. They resort to excessive make-up, overdone highlighted hair, thin eyebrows, long colored nails and even suggestive behavior.” This dualism that Iranian women must grapple with, between veiling and self-expression, was communicated with profound contradiction and was really quite mesmerizing.

Friday, 11 September 2009

My Tehran For Sale

An Iranian woman seeking artistic and sexual freedom finds her ambitions stymied in Oz-funded, Iran-shot indie "My Tehran for Sale." Featuring superior bilingual perfs, the pic was lensed guerrilla-style in the titular city without knowledge of the Iranian government. It's an enterprising effort, but its erratic narrative reflects the drawbacks of filming in such uncertain circumstances. Toronto-bound "Tehran" is enjoying a tour of the fest circuit, but commercial prospects are few.

A dance party displays a funky, sexy Iran that will be novel to many. Oppressive fundamentalists shut the festivities down, but luckily, aspiring actress Marzieh (Marzieh Vafamehr) has just hooked up with returning Oz emigre, Saman (Amir Chegini), with whom she hides in nearby stables. Enchanted by Saman's Australian stories and fearing authorities seeking to quash her artistic freedom, Marzieh plans to leave Iran with him. Naturally, love neither runs smoothly nor is leaving Tehran so simple. Vafamehr is a natural on camera, but the meandering narrative takes its toll; when a cloying niece plays with a video camera for "experimental" visuals, the yarn loses its focus. Lensing is above average for a clandestine operation, as is sound quality.

A South Australian Film Corp., Adelaide Film Festival presentation of a Cyan Films production. (International sales: Media Luna, Cologne.) Produced by Julie Ryan, Kate Croser, Granaz Moussavi. Directed, written by Granaz Moussavi.

With: Marzieh Vafamehr, Amir Chegini, Asha Mehrabi, Mobina Karimi.

Camera (color, HD), Bonnie Elliot; editor, Bryan Mason; music, Mohsen Namjou. Reviewed at Intercolour Post House, Lindfield, Sept. 1, 2009. (In Toronto Film Festival -- Discovery; Adelaide Film Festival.) Farsi, English dialogue. Running time: 97 MIN.

Watch 'My Tehran For Sale' Trailer

Via variety.com

Related Links:
Cyanfilms
Tehran in the eyes of the young
Screen Daily

Tuesday, 8 September 2009

Women in Ancient Art

Author(s): Betty L. Schlossman and Hildreth J. York

The feminist movement has awakened our critical interest in woman's role and status in society. The culture-bound nature of our attitudes is cast in high relief not only by the investigation of contemporary mores, but also through the exploration of some of the cultures which are the cornerstones of Western civilization. Many of our attitudes in regard to women arise from the ancient Near Eastern origins of our Judeo- Christian traditions. It is interesting that so many of the roles of women today are close reflections of their Biblical prototypes. [1] The tenacity of these stereotypes is all the more surprising in view of the radical shifts elsewhere in society.

While it is difficult to resurrect the emotional and intellectual climate of the distant past, the art of the ancient Near East which has survived has an immediacy which surpasses the boundaries of time and space. It certainly can reveal to us some of the roles of women in antiquity, as well as the pervasive ideals of beauty in the various lands of origin.

The primal nature of the female element in the ancient Near East is demonstrated by the scope and variety of female images thought to be associated with cult practices at least as early as the Neolithic Period (c. 9000-3500 B.C.). In Egypt, for example, female deities continue to be represented and worshiped until the end of the Late Period (c. 700 B.C.-A.D. 100),[2] often incorporating important roles of women in human society (Fig. 1).[3] This is merely one example of a multitude of female divinities in Egypt who fulfill roles as diverse as personifying truth and justice (Maat), protecting women in childbirth (Thueris), guarding coffins and canopic jars (Neith), and representing the sky (Nut).

One of the best known female divinities of Mesopotamia is Inanna-lshtar, goddess of love and war. A manifestation of this goddess, represented as a nude woman lying on a couch, [4] obviously suggests ritualized aspects of sexuality and fertility (Fig. 2). The cult of this goddess in Phoenicia is thought to have involved ritual prostitution. A Phoenician ivory showing a frontal female head, usually seen within a window frame (Fig. 3), may represent the goddess or one of her votaresses. [5] The significance of the window motif and the woman looking out of it is nicely illustrated by the Biblical story of Jezebel (II Kings 9:30): "When Jehu came to Jezreel, Jezebel heard of it; and she painted her eyes, and adorned her head, and looked out of the window."

There are numerous other examples of female cult images from Mesopotamia, some of which can be identified as specific members of the pantheon, while others, of commanding appearance (Fig. 4), cannot be associated with a specific divinity. Imagery of cult is expanded by a number of terracotta plaques which show abbreviated scenes from ritual practice or perhaps religious myths (Figs. 2, 5-8). Some are quite general and could refer to activities in other spheres of life, while the explicit erotic nature of Fig. 8 undoubtedly has ritual connotations. [6] The potency of the female principle in Iranian religion and imagery is well-attested throughout its early history (Figs. 9-12). The numinous powers of these forms are inherent in their fantastic or demonic features.

Not only can we glean information about the roles and status of women from these ancient artifacts, but as works of art, they more than likely incorporate the ideals of beauty or femininity of a given time and place. This approach to the works of art must be tempered, however, by a careful consideration of the qualities of artistic style, the conventions which define it, and the purpose for which the object was made. Artistic style can oscillate between naturalism and abstraction, and one must be careful not to confuse the artistic or aesthetic ideal with the physical ideal of the woman being represented. The more naturalistic the representation, the more tangible is the information given; the less naturalistic the forms, the less concrete can our statements be about ideals of beauty. One should not make the mistake of attempting a literal interpretation of an abstract or highly schematized image. Conversely, one must recognize that naturalistic imagery in antiquity inevitably incorporates a body of conventions and stylizations.

It is interesting in considering four regions of the ancient Near East, that the distinctions in modes of representation do not rest solely on the distinguishable ethnic differences, although these undoubtedly form some part of the beauty ideal cultivated in each region. However, the pervasiveness of canonic forms of representation in a given region demonstrates a cultural ideal which clearly supersedes mere ethnic traits and individualized representation.

The ideal which suffuses all female Egyptian sculpture is one of slender, smooth-flowing curves. In Egyptian images women appear to be small-boned, long-limbed, and graceful (Fig. 13). All the fleshy parts of the body, such as breasts, thighs, hips, are always firm and rounded and have a subtle sensuality. They are never enlarged or exaggerated. In fact, the Egyptian is so conscious of his ideal, that one of the rare times one sees fat women is in Egyptian representations of foreigners. [7] By contrast, Egyptian men could be represented with carefully stylized rolls of fat to indicate age, rank, or status. [8] The seated pose, the cubic nature of the volumes, and the immobility of the forms (Figs. 1, 13, 14), are symptomatic of Egyptian art in general rather than any specific ideal of female beauty.

Typical of Egyptian art, women's garments, seemingly transparent, cling to the body, revealing all its parts, while transforming them into subtly geometricized forms. Jewelry obviously played an important role in Egyptian society for men and women, and therefore it is carefully translated on most human images in Egyptian art. Not only did it beautify the individual and lend vibrancy to the image, but it clearly reflected wealth and status, and often served an amuletic purpose. Its representation in art is in many ways a metaphor for the function it served in real life, setting off the smooth planes of the face with colorful forms and patterns.

Interestingly enough, painted representations of Egyptian men and women typically show the women lighter-skinned than the men, a convention which suggests that women ideally spent more time indoors. Characteristic of Egyptian fashion-consciousness are the elaborate hairdos and wigs that enlarge and focus attention upon the head. These vary considerably from period to period. Here, however, the goddess Neith (Fig. 13) wears the pharaonic Red Crown of Lower Egypt, and her hair is not revealed. The quality of aesthetic contrast, as well as the demonstration of personal status and rank, are inherent in all accessories, such as hairdress and costume.

Mesopotamian images in general are squatter and stockier than their Egyptian counterparts. This does not necessarily reflect reality, but rather an ideal, since in both regions the tendencies persist in art from earliest times on. The Mesopotamian female image is almost always heavier and more full- bodied than its Egyptian counterpart. Face, limbs, and torso are often thick and well-rounded. Faces of Mesopotamian images are often broad and massive, articulated by thick eyebrows meeting over a prominent nose, wide, heavy- rimmed eyes, full lips, and rounded chin. This contrasts with the more refined Egyptian faces with small noses and almond-shaped eyes delicately extended by cosmetic lines. The Mesopotamian ideal can produce an attractive, if somewhat hefty, representation (Figs. 6-7).

In contrast to the diaphanous quality of Egyptian garments, the weighty, tiered garments of Mesopotamian goddesses are de rigeur for divinities, while everyday garments are simpler in their rendering. While hair on female images in Mesopotamia may be dressed elaborately, i.e., in buns or plaits, it does not show the extravagance of Egyptian wigs. Headgear may vary depending on the role and status of the wearer (e.g., the horned headdresses of goddesses). Necklaces and pendants are often seen on women of high status and on goddesses (Figs. 2, 4, 5, 7), and seem to serve similar functions as in Egypt.

A glass head from Syria (Fig. 15) reflects the non-naturalistic style more typical of that region. The remnants of a knobbed headgear and large hoop earrings can be compared with renderings of Syrian deities. [9] The head retains strong stylistic coherence, treating the facial features in much the same way as the decorative details of the headgear. On the other hand, the art of the Phoenicians, inhabitants of the Levantine coast, is traditionally more naturalistic than that of the inland towns, and often absorbs features of neighboring cultures. Most striking is the Egyptianizing tendency which dominates in the first millennium B.C., and is here exemplified by an ivory head said to be from Arslan Tash (Fig. 3), which probably decorated a piece of furniture. The ideal of feminine beauty here is a composite of more traditional Egyptian elements such as wig and ear placement, combined with the fleshier facial type of the Levant. This is an example of how foreign fashions and ideals can be assimilated to create a native style with its own functioning criteria.

Within the art of Iran, the pervasive mode is imaginative abstraction. Naturalistic styles do appear, but they tend to aggregate in specific geographic regions (e.g., Elam). The pieces illustrated here (Figs. 9-12) exemplify a tendency, typical of northwestern Iran, toward striking distortion of anatomy with an imaginative reorganization of the parts. Although not demonstrated by our pieces, often elements of different beings are combined to create fantastic and composite figures to represent superhuman forces. These fanciful and sophisticated forms have a special appeal to contemporary taste, and numerous examples of this art have found their way into private and public collections.

While the gender of the figure on the bronze standards is not always clear, our example (Fig. 12) specifically depicts small knobby breasts supported by atrophied hands and arms, a gesture of female fertility that goes back to the Old Stone Age. A related gesture can be seen on the three ceramic figurines (Figs. 9-11), two of which may also be cult vessels (Figs. 9-10). The demonic qualities of these creatures, emphasized by their mask-like faces, suggests that they may also have served apotropaic functions. The concept of the female as a vessel, which has Neolithic prototypes, is the perfect assimilation of the biological function of the female to the ritual purpose of the ceramic form.

These figures illustrate only a small selection of the varied roles exemplified by female imagery in ancient Near Eastern art. Portraits exist of important women who were queens, royal mothers, and spouses. In one case at least, a woman usurped the royal prerogatives of a male ruler, showing herself with the attributes of kingship usually reserved for males. This was Hatshepsut, a ruler of the Eighteenth Dynasty of Egypt. [10] This assumption of the throne by a female was quite unique in ancient history, although many women clearly exercised enormous power in ancient politics.

Aside from royal marriages which are documented historically, many images of couples exist which illustrate the conjugal state, from modest displays of affection (Fig. 5) to representations of sexual intercourse, probably ritual in nature (Fig. 8). [11] Renderings of motherhood exist which may also have cultic significance, in addition to the more secular depictions of serving maids, craftswomen, and entertainers. A vast repertoire of objects associated with the world of women, many of which can find contemporary parallels, reflects woman's continuing interest in self-adornment. These include toilet articles, perfume bottles, cosmetic palettes, mirrors, and jewelry. The changing styles and regional variations show that fashions in the past were at least as elaborate and meaningful as any of our own time, and that then, as now, fashion was a reflection of the social structure.

Biblical literature supplies us with numerous examples of women as matriarchs, helpmeets, heroines, lovers, seductresses, prostitutes, virgins, and concubines, all of which still function as the basic stereotypes of today, and most of which are grounded in sexual role-playing. The concepts, then as now, illustrate the basically subservient position of women, who have thus unwittingly sustained through the millennia a world dominated by men.

This article is a preliminary investigation of material which the authors are studying in depth for future publication.
[1] See Ilse Seibert, Women in the Ancient Near East, New York, 1974, p. 11 and passim, and bibliography, p. 63 ff.
[2] Bernard V. Bothmer, Egyptian Sculpture of the Late Period, 700 B.C.-A.D. 100, New York, The Brooklyn Museum, 1960, pp. xxx-xxxi.

[3] The objects which were used to illustrate this paper have been made available through the kindness of Mr. and Mrs. Joseph Ternbach, Forest Hills, New York. Our thanks also to Ms. Nancy Williams for information derived from her work cataloging the Ternbach collection.

[4] For comparative examples see also E. Douglas Van Buren, Clay Figurines of Babylonia and Assyria, Yale Oriental Series. Researches, Vol. XVI; New Haven: Yale University Press, 1930, pp. 222-23, nos. 1083-1088; pi. LVII, figs. 275-76 (nude woman on couch); pp. 223-24, nos. 1089-1095 (embracing couple on couch); Donald E. McCown and Richard C. Haines, assisted by Donald P. Hansen, Nippur I: Temple of Enlil, Scribal Quarter and Soundings Oriental Institute Publications, Vol. LXXVIII; Chicago: The University of Chicago Press, 1967, p. 94; pi. 144, nos. 2-4 (model beds, one with female pudenda), pi. 144, nos. 5-6 (nude woman on couch).

[5] R. D. Barnett, A Catalogue of the Nimrud Ivories, London, The British Museum, 1957, pp. 145-51. On this example the earlobes are enlarged as though for earrings. According to Barnett, pp. 147-48, both the earrings and the frontlet worn over the forehead can be associated with Ishtar.

[6] See comments concerning "scenes of copulation" in ancient art by Otto J. Brendel, "The Scope and Temperament of Erotic Art in the Greco-Roman World," in Studies in Erotic Art, ed. Theodore Bowie and Cornelia V. Christenson, New York, 1970, pp. 7-8 and n. 5. See also Edith Porada, "Iconography and Style of a Cylinder Seal from Kantara in Cyprus," Vorderasiatische Archaologie: Festschrift A. Moortgat, Berlin, 1964, pp. 234-39, especially n. 3 and pi. 33:4. Also Henri Seyrig, "Antiquites syriennes, 60. 'Quelques cylindres orientaux. 4: Scene de hierogamie' ", Syria, 32 (1955), 38-41; Henri Frankfort, Cylinder Seals, London, 1939, pp. 75-76, 77. A related example may be seen in McCown, Haines and Hansen, pl. 137:4.

[7] For an easily available illustration see W. Stevenson Smith, The Art and Architecture of Ancient Egypt, Harmondsworth, 1958, pl. 92 B; also Edward L. B. Terrace and Henry G. Fischer, Treasures of Egyptian Art from the Cairo Museum, Museum of Fine Arts, Boston, and the Metropolitan Museum of Art, New York, 1970, pp. 101-102.

[8] Smith, pl. 31 B; for other easily available examples see Kazimir Michalowski, Art of Ancient Egypt, New York, 1968, p. 364, no. 211; Terrace and Fischer, pp. 113-14 (no. 24).

[9] A bronze female figurine from Beirut in the Louvre in Paris has one of its gold earrings preserved and wears a high polos headdress decorated with knobs. An easily accessible illustration of this can be seen in Henri Frankfort, The Art and Architecture of the Ancient Orient, 1st paperback ed., Harmonds- worth, 1970, p. 259, figs. 299-300. The headdress on the glass head may have been somewhat different in configuration since its upper edge appears to be finished and not broken off and the embossed band above the knobs is vertically hatched.

[10] Smith, pls. 94 A, 95 A, and p. 135.

[11] See n. 4 above.

Betty L. Schlossman is an Assistant Professor in the Department of Fine Arts at Montclair State College, Upper Montclair, New Jersey.
Hildreth J. York is an Associate Professor in the Art Department of Rutgers University, Newark College of Arts and Sciences, New Jersey.

Source: Art Journal
Published by: College Art Association
Via Women in Ancient Art

Tuesday, 1 September 2009

Two Films on Iran 1970

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Baadeh Sabah / The Lovers' Wind / Vent Des Amoureux by Albert Lamorisse (1922-1970)

Shot 1970, completed posthumously 1978, 35mm

Baadeh Sabah (English Version)

Baadeh Sabah (Farsi Version)

Title Unknown (Postscript to Baadeh Sabah)

"A well- known French filmmaker, Albert Lamorisse, under the auspices of Iran's Ministry of Culture and Art, produced the poetic film "Lovers' Wind" (1969). Eighty-five percent of this dramatically visual film is shot from a helicopter, providing a kaleidoscopic view of the vast expanses, natural beauty, historical monuments, cities and villages of Iran. The "narrators" of the film are the various winds (the warm, crimson, evil and lovers' winds), which according to folklore, inhabit Iran. They sweep the viewers from place to place across the Iranian landscape, introducing the incredible variety of life and scenery in Iran. The camera, defying gravity, with smoothness and agility, provides a bird's eye view, caressing minarets and domes, peeking over mountain tops beyond, gliding over remote villages to reveal the life enclosed within the high mud-brick walls, bouncing along with the local wildlife, following the rhythmic, sinuous flow of the oil pipelines and train tracks, and hovering over the mirror-like mosaic of the rice paddies that reflect the clouds and sky. The film is a testimonial to the Iranian landscape and people over which so many dynasties and kings have ruled and have, in turn, passed away. Ironically, on the tenth anniversary of the completion of the film, yet another seemingly powerful dynasty (Pahlavi) has fallen, leaving, as the film points out, the land and the migrating tribal nomads who have survived more or less intact for centuries. Upon completion of the film, the Ministry of Culture and Art decided that Lamorisse had not sufficiently emphasized the industrialization of Iran. So he was called back to film additional sequences documenting that progress. This task was never completed, because the helicopter crashed while filming the Karaj Dam near Tehran, plunging Lamorisse and his crew to their deaths. This film, whose storybook style of narration is often contrived, does not purport to be a social document on Iran; nevertheless, it has never been shown publicly in theaters in Iran." -- Hamid Naficy

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Iran (1971)
A documentary by Claude LeLouch (b. 1937)

Audio/Visual: sound, color

Music: Francis Lai

18 Minutes

This film is best understood after watching Albert Lamorisse's Baadeh Sabah, an ostentatious propaganda film of the same commission that was originally rejected for it's inadequate portrayal of Iran's nouveau-modernism (urban youth, industrial marvels) and it's overly-lyrical style. In LeLouche's rendition, there are no such inadequacies. The focus is on culture - heritage, modernity and (what soon would be named) Westernization. Past and present meet - veils and miniskirts, camels and helicopters, remains of ancient Persia, the highlights of Islamic art, caviar and the oil fields and gas pumps. The Shah looks good in white turtlenecks and Farah Diba is seen in the Farah Diba hairstyle. This charming couple didn't copy Europan royalty, rather appeared as an Eastern equivalent to Mr. and Mrs. John F. Kennedy - Pax Americana had succeeded Rule Britannia. The Pahlavi dynasty was a young one, but here the Shah is depicted as the modern link in an old tradition. Many emperors have used this trick to establish a dynasty, or at least their own position. By this time the picture of Iran was changing. There was more talk of political refugees than of hairstyles. Some years passed. Came the Islamic revolution, and Westernization was banned. Very soon it was about good or evil, black or white. This film has the quality of being both entertaining and evoking the big question of our time.

RELATED RESOURCES:

UbuWeb

Bidoun Magazine

Bidoun Website

Saturday, 22 August 2009

Fly with the Cage

Art Exhibition Showcasing Artists Inspired by The Recent Iranian Movement

"If you can't fly out of the cage, Fly with the Cage" - Sufi Proverb

The introduction to this event reads:
In an attempt to draw attention to the recent events in Iran, this exhibition brings together artists to tell the stories of Iranian people. The exhibition aims to provide an opportunity for artists to convey their concerns through the unique medium of art, as an alternative way of expression.
The occasion is intended to unite artists and extend public awareness of the current crisis in Iran. Works to be featured include performance arts, music, poetry-readings, paintings, photography, documentary films and much more from around the world. In addition, there will be panel discussions on the state of the artistic community in Iran.

Leyla Mostafavi, along with Peyman Soheili and Levon Haftvan are among the organizers of this event. “The recent violence in Iran has affected a variety of people, including the artistic community. As a result, many intellectuals inside the country have been jailed or silenced.” She said.
Leyla believes that widespread censorship in Iran has made it extremely difficult for the citizens of the country to communicate their message to the rest of the world. It is of great importance to have Iranian artists from all countries submit their works to represent the growing amount of silenced voices inside Iran. The exhibition will be a rare opportunity for everyone to exchange, enjoy, and inspire from artistic and intellectual freedom.
“Since art is a universal language, we wanted artists from all around the world to submit works and tell the stories of the Iranian people through the medium of art.”

Sources: Salam Toronto: 'Beauty overcomes brutality' & Fly with the Cage Exhibition

Representation of Women in Iranian Art

Aida Foroutan Artist and Independent Scholar (University of Manchester, England)

I approach the subject of the representation of women in Iranian art both as a working artist and as an academic art historian having obtained my doctorate with a PhD thesis in Art History. As a working artist I have already a large body of work, some of which speaks directly to the question of how the life of women is observed and expressed in Iran. One of the main components of this part of my work is a series of 28 paintings Zendegi-ye Zanān `Women's Life', which portrays aspects of the struggle for women's rights in Iran. This series is painted in a Surrealist style, in oils, on canvas. My main inspiration for this series of works was the struggle of Iranian women to achieve their social and national freedom through their human rights as women being incorporated into the Iranian National Constitution. My work was to reflect this process and was based on a longstanding research project on the social aspects of women's lives. The research was carried out by looking at Iranian women from different angles and at different stages of their lives, provided by personal stories and observations of commonly understood experiences. Each of the paintings was an element in the drama of the life of women in Iran, from birth and giving birth, to bereavement and death. I also tried to look at women's lives outside Iran, and to find commonalities with what women experience all around the world. This I try to achieve through a visual language of signs and symbols that is internationally recognised as denoting feminine meanings.

As part of this work, I came to reflect on the possibilities and limits of the surrealist genre of art and literature as a medium of expression of social and cultural issues. This strong interest led me in recent years towards a doctoral research project to discover the roots and relevance of Surrealism in Iran. I worked with one of the world's foremost experts on Western Surrealism, David Lomas, at the University of Manchester. My intention has been to discover how surrealist styles and techniques are used in Iran in modernity and post-modernity, what is their importance, and also, crucially for the history of Surrealism, to make a case that for centuries a ‘proto-Surrealist’ style and strategy has been present in Persian/Iranian art and literature. This proto-Surrealism has acted, as Surrealist art continues to do in contemporary Iranian culture, as a subversive channel of expression and comment in a society where censorship and suppression of the artist and writer have always been present.

19- Search

70×90cm

Click here to view 'Women's Life'

Saturday, 1 August 2009

Forbidden Peace

Foroutan, Aida. Forbidden Peace, A Long Poem in English, Published by Alfabet Maxima, Stockholm, Sweden

2003. - 79 s. ; 15 x 21 cm. ISBN 91-974418-4-8

Forbidden Peace is the story of the struggles, thoughts and perspectives of a child growing up in a climate of war: a child who, in spite of his own wishes, ideals and natural human desires, has to give in to the status quo. Yet he never for a moment stops believing in life and survival – in fact it makes him all the more determined to create a better world.

Forbidden Peace is a long poem written in a particular time frame. It opens in the voice of a mature man who has become exhausted by his struggles yet who still tries to continue his life journey, reflecting and speaking of his old dreams and the present reality. The narrator revisits his childhood, referring his questions to a ‘Mother’, who is someone who represents secure growth, pride and many other meanings. He tries to fathom out the words, and in doing so the very presence of the words, and other words which scarcely have any meaning left today, is juxtaposed with ‘Mother’ and ‘World Mother’. Having endured war and come to believe in death, he is determined to experience life – even though the conditions of life and survival are very hostile. He takes himself to another part of the world, and faces problems of a very different nature. The child has now come of age, yet he still continues with the questions of his childhood, even though he knows that there are no more answers to his questions. There are many words in many languages, for common concepts which are abandoned and deserted – a problem for all who are émigrés and in exile – and many words for what he has experienced, which have made him a weaker creature, in spite of his own strong being, because of his ignorance of those languages. He cannot blame anyone. He can only blame himself, realising that he has struggled in vain to create a world full of love and freedom. The final chapter addresses the future, in which the narrator paints a picture of the ideal world of his cherished beliefs, where his true home lies, a world beyond convention, where peace is not forbidden.

“Forbidden Peace”