Essays on Modern and Contemporary Arts of the Middle East by Hamid Dabashi reintroduces the work of a theorist of modern and contemporary arts to extrapolate more universal issues of concern to art criticism in general.
Essays on Modern and Contemporary Arts of the Middle East by Hamid Dabashi is a collection of writings by the acclaimed cultural critic and scholar of Middle Eastern history and culture. A comprehensive Introduction rigorously frames chapters and identifies in Dabashis writings a comprehensible 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 together. This 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 of the Middle East.
Papildus informācija
A collection of writings by an acclaimed cultural critic and scholar of Middle Eastern history and culture
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vii | |
| Acknowledgments |
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ix | |
| Introduction |
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1 | (12) |
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Section 1 Theorizing the Frame |
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13 | (84) |
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Chapter One Trauma, Memory, and History |
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15 | (12) |
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Chapter Two Recit de l'Exil Occidental |
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27 | (44) |
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Chapter Three Women Without Headaches |
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71 | (26) |
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Section 2 Visual Arts and Material Culture |
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97 | (180) |
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Chapter Four Artists Without Borders: On Contemporary Iranian Art |
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99 | (40) |
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Chapter Five The Gun and the Gaze: Shirin Neshat's Photography |
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139 | (6) |
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Chapter Six Bordercrossings: Shirin Neshat's Body of Evidence |
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145 | (22) |
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Chapter Seven Shirin Neshat: Transcending the Boundaries of an Imaginative Geography |
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167 | (30) |
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Chapter Eight Capturing the Illusion of Reality: Mapping the Visual Subconscious of a People in the Photography of Bahman Jalali |
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197 | (18) |
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Chapter Nine Tarek Al-Ghoussein Does Not Exist |
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215 | (14) |
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Chapter Ten Ardeshir Mohassess, Etcetera |
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229 | (24) |
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Chapter Eleven Shoja Azari: Making the Homely Unhomely |
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253 | (10) |
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Chapter Twelve Nicky Nodjoumi, Nahid Haghighat: Liberating Fragments against Totalizing Myths |
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263 | (14) |
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Section 3 World Cinema and Performing Art |
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277 | (62) |
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Chapter Thirteen The Sublime and the Beautiful in the Time of Terror |
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279 | (14) |
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Chapter Fourteen Warriors of Faith |
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293 | (8) |
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Chapter Fifteen The "300" Stroke |
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301 | (10) |
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Chapter Sixteen Amir Naderi's New York |
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311 | (20) |
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Chapter Seventeen A Deadly Cinematic Subconscious |
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331 | (8) |
| General Bibliography |
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339 | (8) |
| Index |
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347 | |
Hamid Keshmirshekan is an art historian, critic, senior teaching fellow at the Department of History of Art and Archaeology, School of Arts, and research associate at the London Middle East Institute, School of Oriental and African Studies (SOAS), University of London. He has been senior lecturer and head of Art History Department at the Advanced Research Institute of Art, Iranian Academy of Arts (201317) and associate fellow at the Khalili Research Centre, Faculty of Oriental Studies (200412) as well as in the History of Art Department at Oxford University (201213). He received his PhD in the history of art from SOAS in 2004 and was awarded two post-doctoral fellowships by Oxford University in 2004-5 and the British Academy, AHRC and ESRC in 2008, at Oxford University. His publications include the edited volume "Contemporary Art from the Middle East: Regional Interactions with Global Art Discourses" (2015) and "Contemporary Iranian Art: New Perspectives" (2013).
