نوع مقاله : مقاله پژوهشی
دکتری تاریخ تطبیقی و تحلیلی هنر اسلامی، گروه هنر اسلامی، دانشکده هنر، دانشگاه شاهد، تهران، ایران. firstname.lastname@example.org
عنوان مقاله [English]
Iranian art has always fascinated Western researchers, and the Islamic revolution attracted growing attention due to its distinct cultural attitudes. This article investigates major themes in post-revolutionary Iranian visual art studies from the United State of America, the United Kingdom, France, and Germany. There is no comprehensive research in this direction as the existing literature mainly concentrates on historical trends in contemporary art studies. The methodology of this research is descriptive-analytic, in which 50 selected texts (including book chapters, articles, and doctoral or master theses) are analyzed using meta-synthesis to see whether there are dominant themes in these texts. Though inductive researches have no presumption, as current art studies address the challenges of living in the modern world, themes of these studies are expected to be linked to complications of contemporary art practice. The findings of this research confirmed this assumption and revealed that the studies are focused on four major themes including identity, contemporaneity, ideology, and gender. Due to the crucial role of cross-cultural exchanges in the delineation of strategic functions of art and the exigency of recognition of western views to track these exchanges, the results of this research are significant for the art community as well as policymakers in the artistic arena. In particular, in the context of continuous and constructive communication between domestic artists and researchers of contemporary Iranian art abroad, it may be possible to use the resources of Iranian-Islamic culture to answer the questions arising from the identity crisis in the contemporary world, and while ensuring the contemporaneity of Iranian artists, avoid relying on the desired stereotypes of the colonial system.
هانتیگتون، ساموئل (1374). نظریه برخورد تمدنها: هانتینگتون و منتقدانش، ترجمه مجتبی امیریوحید، تهران: وزارت امور خارجه.
Eagleton, Terry (1991). Ideology: An introduction, London: Verso.
Foucault, Michel (1972). The Archeology of knowledge and discourse on languege, Alan M. Sheridan Smith (Trans.), New York: Pantheon.
Gupta, Suman (2007). Social constructionist identity politics and literary studies, New York: Palgrave Macmillan.
Hall, Stuart (1990). “Cultural identity and diaspora”, In: Jonathan Rutherford (ed) Identity: Community, culture, difference, London: Lawrence and Wishart.
Jackson, Ronald L. (2010). Encyclopedia of identity, Thousand Oaks: Sage Publications.
Lacan, Jacques (1966). Ecrits, Paris: Editions du Seuil.
Said, Edward (1978). L’Orientalisme. L’Orient créé par l’Occident, Paris: Seuil
Sandelowski, M., and J. Barroso (2007). Handbook for synthesizing qualitative research, New York: Springer.
Scheiwiller, Staci Gem (2013). Performing the Iranian state: Visual culture and representations of Iranian identity, London: Anthem Press.
Spivak, G. (1991). “Identity and alterity: An interview with Nikos Papastergiadis”, Arena, 97: 65–76.
پژوهشهای بررسی شده در تحقیق اصلی
1. Babaie, Sussan (2011). “Voices of authority: Locating the “modern” in “Islamic” arts”, Getty Research Journal, 3: 133–49.
6. Carpanzano, Michelle (2014). “Conditions of being a contemporary Iranian woman: Shirin Neshat, Shirin Aliabadi, and Shadi Ghadirian’s manipulated images of “real life”, An authentic history or a construct of memory?”, Master’s thesis, US. Sotheby’s Institute of Art.
10. Eimen, Alisa (2006). “Museum and mosque: The shifting identities of modem Tehran”, PhD Thesis, University of Minnesota.
13. Foroutan, Aida (2016). “Fictive layering and inversion in the paintings of Ali-Akbar Sadeghi”, Iranian Studies, 49 (4): 533-553.
14. Foroutan, Aida (2017). “Art is a sincere martyrdom: Circumventing censorship by encryption in the work of Alireza Espahbod”, Iranian Studies, 50 (1): 1-22.
15. Fromanger, Marine (2012). “Variations in the martyrs' representations in south Tehran's private and public spaces”, Visual Anthropology, 25: 47-67.
16. Gruber, Christiane (2012). “The martyrs' museum in Tehran: Visualizing memory in post-revolutionary Iran”, Visual Anthropology, 25: 68-97.
17. Gruber, Christiane (2013). “Strategic strikes: Images of war and disaster from Iran to America”, In: Linenthal, Hyman and Gruber (ed) The landscapes of 9/11: A photographer's journey, Austin: University of Texas Press, pp. 155-178.
18. Gruber, Christiane (2018). Posters in Iran, Encyclopædia Iranica, online edition.
21. Karimi, Pamela (2003). “Women’s portable habitat”, ISIM Newsletter, December 13.
22. Karimi, Pamela (2014). “Weapons of the resilient: A postscript to ‘She who tells a story: Women photographers from Iran and the Arab World”, Jadaliyya, March 27.
23. Karimi, Pamela (2019). “Mehdi Farhadian: The painter of history's blind spots”, Catalog essay for Richard Taittinger gallery, NYC.
30. Keyghobadi, Roshanak (2014). “Mona Lisa speaks Persian: an Iranian artist’s visual response to an iconic painting”, Visual Inquiry: Learning and Teaching Art, 3 (1): 9-19.
39. Simonowitz, David (2013). “Performativity and ritual space in postrevolutionary Tehran”, In: Staci Scheiwiller (ed) Performing the Iranian state, Visual culture and representations of Iranian identity, London: Anthem Press, pp. 201-220.
40. Skurvida, Sandra (2013). “Who, by whom, and for whom: Presentation of contemporary art in Iran and representations of the art of Iran elsewhere”, Interventions Journal, pp. 1-15.
41. Skurvida, Sandra (2015). “Iranian or not: Dislocations of contemporary art and its histories”, Art Journal 74 (3): 73-77.
42. Sohrabi, Narcisse (2017). “Etude comparée de l’évolution de l’art modern urbain à Téhéran et Paris jusqu’à 2000”, IWAN, 1: 161-173.
43. Sohrabi, Narcisse (2018a). “Étude comparative sur la place sociale et protestataire des graffitis dans les espaces publics de Téhéran et de Paris”, IWAN, 3: 94-103.
45. Sreberny-Mohammadi, Annabelle (1990). “Small media for a big revolution: Iran”, International Journal of Politics, Culture, and Society, 3 (3): 341-371.
46.Tikhonova, Yulia (2009). “Self orientalise: Iran inside out”, Contemporary Practices in Visual Art from the Middle East, VI: 108-116.
47.Torshizi, Foad (2012). “The unveiled apple: Ethnicity, gender, and the limits of inter-discursive interpretation of Iranian contemporary art”, Iranian Studies, 45: 549-569.
48.Torshizi, Foad (2017). “Clarity of meaning: Contemporary Iranian art and the cosmopolitan ethics of reading in art history”, PhD Thesis, Columbia University.
49.Walker-Parker, Sharon LaVon (2005). “Embodied exile: Contemporary Iranian women artists and the politics of place”, PhD thesis, University of Arizona.
50.Yarmohammad Touski, Golnar (2014). “Odes to incongruity: Iranian contemporary art in diaspora”, Master’s thesis, Ohio University.