In the first comprehensive look at Iranian art and visual culture since the 1979 revolution, Talinn Grigor investigates the official art sponsored by the Islamic Republic, the culture of avant-garde art created in the studio and its display in galleries and museums, and the art of the Iranian diaspora within Western art scenes. Divided into three parts—street, studio, and exile—the book argues that these different areas of artistic production cannot be understood independently, revealing how this art offers a mirror of the sociopolitical turmoil that has marked Iran’s recent history. Exploring the world of galleries, museums, curators, and art critics, Grigor moves between subversive and daring art produced in private to propaganda art, martyrdom paraphernalia, and museum interiors. She examines the cross-pollination of kitsch and avant-garde, the art market, state censorship, the public-private domain, the political implications of art, and artistic identity in exile. Providing an astute analysis of the workings of artistic production in relation to the institutions of power in the Islamic Republic, this beautifully illustrated book is essential reading for anyone interested in Iranian history and contemporary art.

Exploration of Iranian art and artists over the past 100 years.

How is home-grown contemporary art viewed within the Middle East? And is it understood differently outside the region? What is liable to be lost when contemporary art from the Middle East is 'transferred' to international contexts - and how can it be reclaimed? This timely book tackles ongoing questions about how 'local' perspectives on contemporary art from the Middle East are defined and how these perspectives intersect with global art discourses. Inside, leading figures from the Middle Eastern art world, western art historians, art theorists and museum curators discuss the historical and cultural circumstances which have shaped contemporary art from the Middle East, reflecting on recent exhibitions and curatorial projects and revealing how artists have struggled with the label of 'Middle Eastern Artist'. Chapters reflect on the fundamental methodologies of art history and cultural studies - considering how relevant they are when studying contemporary art from the Middle East - and investigate the ways in which contemporary, so-called 'global', theories impact on the making of art in the region. Drawing on their unique expertise, the book's contributors offer completely new perspectives on the most recent cultural, intellectual and socio-political developments of contemporary art from the Middle East.

Following the tradition and style of the acclaimed Index Islamicus, the editors have created this new Bibliography of Art and Architecture in the Islamic World. The editors have surveyed and annotated a wide range of books and articles from collected volumes and journals published in all European languages (except Turkish) between 1906 and 2011. This comprehensive bibliography is an indispensable tool for everyone involved in the study of material culture in Muslim societies.

A Companion to Contemporary Art in a Global Framework explores the ways specialists and institutions in the fine arts, curation, cultural studies, and art history have attempted to situate art in a more global framework since the 1980s. Offering analyses of the successes and setbacks of these efforts to globalize the art world, this innovative volume presents a new and exciting way of considering art in its global contexts. Essays by an international panel of leading scholars and practicing artists assert that what we talk about as ‘art’ is essentially a Western concept, thus any attempts at understanding art in a global framework require a revising of established conceptual definitions. Organized into three sections, this work first reviews the history and theory of the visual arts since 1980 and introduces readers to the emerging area of scholarship that seeks to place contemporary art in a global framework. The second section traces the progression of recent developments in the art world, focusing on the historical and cultural contexts surrounding efforts to globalize the art world and the visual arts in particular global and transnational frameworks. The final section addresses a wide range of key themes in contemporary art, such as the fundamental institutions and ontologies of art practice, and the interactions among art, politics, and the public sphere. A Companion to Contemporary Art in a Global Framework is essential reading for undergraduate and graduate students, scholars, researchers, and general readers interested in exploring global art beyond the traditional Euro-American context.

"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.

Published to accompany the exhibition at the Curve Gallery, Barbican Centre, London, 12 April - 3 June 2001.

Iran dominates the media headlines once again and has taken center stage in the U.S. and European Union strategy toward the Middle East. A more nuanced understanding of Iranian society has assumed even greater significance and urgency. Iran Today: An Encyclopedia of Life in the Islamic Republic offers crucial insight for students and the general reader into an often misunderstood and complex country that is shrouded in mystery and misperception. Heir to a long history and a great culture and civilization, Iran embodies a rich, complex, and diverse mosaic that defines its national identity. Diversity is also the operative word that describes Iranian landscapes and geography, its multiple ethnic groups and their varied cultures and traditions, as well as the uneven and vastly different levels of economic and industrial development, conflicting political tendencies, and different and often contradictory social and cultural outlooks. Because of its tumultuous recent political history, Iran appears to encapsulate all of these internal differences and stark contrasts somewhat more distinctly than most of its neighbors. The 1978-1979 revolution transformed the society and culture in fundamental ways and redefined social life. It created new institutions of governance and Islamicized the culture, education and the legal system in an attempt to create a new society that would usher in the reign of piety and virtue. Yet, Islamization had to come to terms with pre-Islamic and illustrious Persian history and culture, as well as the realities of an interdependent, postmodern, globalized world in which, as a developing country, Iran resides in the periphery. Within this framework, the dynamics and complexity of social life in the Islamic Republic unfold. This encyclopedia is the source for up-to-date, authoritative information on a full range of critical topics of interest. Coverage of the Islamic Republic here falls into the general categories of history, politics, economics, society and culture. The most significant aspects of the life in Iran since the revolution-the era of the Islamic Republic so far-are stressed. The wide range of entries shows the richness and complexity of Iranian society, its multiple and varied facets, its expressions and outward manifestations, and its nuanced responses to political repression, instability, war, pervasive crisis and the chronic tension between modernity and tradition. Some of the entries designed to highlight these important phenomena revolve around the country's ethnic mosaic, the social role and position of women, veiling, the educational system, sports, intellectuals, the arts and artistic expression, literature, poetry, cuisine, healthcare, and the family. Other entries range from regionalism and urban development to the petroleum industry, agriculture, the banking system, issues of wealth and poverty, class structure and economic mobility, and the private sector. In a number of significant areas economic, social and cultural phenomena intersect. These intersections are reflected in entries on broadcasting and communications technology, the Internet, public relations, electronic and print media, and family planning and healthcare. A chronology, selected bibliography, and photos complement the entries.

This book discusses what it means to “perform the State,” what this action means in relation to the country of Iran and how these various performances are represented. The concept of the “State” as a modern phenomenon has had a powerful impact on the formation of the individual and collective, as well as on determining how political entities are perceived in their interactions with one another in the current global arena.