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From the essay by Hamid Dabashi: "There is a palpable energy in Shirin Neshat's photographs, an almost tangible seduction obviating the violence it borders, deeply rooted in the historical culture she would ultimately have to call 'home.' As an artist living in New York and from there addressing a global audience, Shirin Neshat quietly corrodes the most violent metaphysical imperative assumptions about the nature and function of an 'Islamic' femininity. Enduring assumptions of what constitutes an 'Islamic woman' are at once domestic to that culture and colonially crafted on it. With a singular strike of creative genius, Shirin Neshat manages to target both of these divergent yet colliding agents. The history of Shirin Neshat's bodily portrayals of this 'Islamic woman' is the unwritten chronicle of a mute and concealed femininity. Her photographs show and tell what has been forbidden to show and tell. That she manages to do this without violating the bodily codes of an 'Islamic woman' marks the site of her creative imagination."

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When the novella Women without Men was published in Tehran in 1989, it was promptly banned and its author, Shahrnush Parsipur, imprisoned. Fifteen years later, Shirin Neshat has begun to make a film based on ParsipurÌs work, which will become her first feature-length work. The first installments, documented here, introduce the lives of five women who find themselves in a deceptively paradisiacal garden after a difficult journey. NeshatÌs subversively dual filmic language, orientated towards both Iranian and western modes of cinematography, brings viewers and readers the open-endedness of her perspective on authenticity in both ethnicity and art, and brings to the fore her complex identity and the complex identity of her artistic practice--historically Western art for a largely Western audience centered on Iranian topics. This new book offers a provocative allegory of life in Iran today, and this sneak peek at NeshatÌs earliest work on it offers an invaluable glimpse of her working methods.

Using photography and film, the New York-based artist investigates her native Islamic society, especially the position of women. Publication of the exhibition touring the United States throughout 2003.

In her mesmerizing films and photographs, Shirin Neshat (Iranian-American, b. 1957, Qazvin) examines the nuances of power and identity in the Islamic world--particularly in her native country of Iran, where she lived until 1975. Shirin Neshat: Facing History is the companion volume to the Smithsonian's Hirshhorn Museum exhibition of the same name. This beautiful volume presents an array of Neshat's most compelling works and illuminates the points at which cultural and political events have inflected her artistic practice. Included are the "Women of Allah" photographs that catapulted the artist to international acclaim in the 1990s; lyrical video installations that immerse the viewer in imagery and sound; and the photographic series "The Book of Kings"--including its latest chapter, Our House Is on Fire, created in the aftermath of the recent Egyptian revolution. Hirshhorn curator Melissa Ho provides an introduction to Neshat's deeply humanistic art, and executive director of the Foundation for Iranian Studies Mahnaz Afkhami contributes a cultural and political history of Iran to contextualize Neshat's work. Commenting on freedom and loss, the art of Shirin Neshat is at once personal, political, and allegorical, and this book is a testament to its enduring power.

Neshat's break-through project: In 1999, Neshat won the International Award at the Biennial of Venice with Turbulent and Rapture, a project involving almost 250 extras and produced by the Galerie Jerome de Noirmont. For the first time she tried to make pure photography with the intent of creating an aesthetic, poetic, and emotional shock. This is the exhibition catalog from the show at Galerie Jerome de Noirmont, Paris. Paperback original. 56 pages; 12 full-page b&w photographic plates; 8.5 x 6.75 inches. Text in English and French. From an edition of 1500 copies.

Shirin Neshat, an Iranian American artist living in New York City, is widely acclaimed for her extraordinary video installations and art photography. Through visual metaphor and compelling sound, Neshat confronts the complexities of identity, gender, and power to express her own vision that embraces the depth of Islamic tradition and Western concepts of individuality and liberty. This catalogue, which accompanies a mid-career retrospective at the Detroit Institute of Arts, includes insightful essays on her work and in-depth treatment of eight video installations and two series of art photography.

In her mesmerizing films and photographs, Shirin Neshat (Iranian-American, b. 1957, Qazvin) examines the nuances of power and identity in the Islamic world--particularly in her native country of Iran, where she lived until 1975. Shirin Neshat: Facing History is the companion volume to the Smithsonian's Hirshhorn Museum exhibition of the same name. This beautiful volume presents an array of Neshat's most compelling works and illuminates the points at which cultural and political events have inflected her artistic practice. Included are the "Women of Allah" photographs that catapulted the artist to international acclaim in the 1990s; lyrical video installations that immerse the viewer in imagery and sound; and the photographic series "The Book of Kings"--including its latest chapter, Our House Is on Fire, created in the aftermath of the recent Egyptian revolution. Hirshhorn curator Melissa Ho provides an introduction to Neshat's deeply humanistic art, and executive director of the Foundation for Iranian Studies Mahnaz Afkhami contributes a cultural and political history of Iran to contextualize Neshat's work. Commenting on freedom and loss, the art of Shirin Neshat is at once personal, political, and allegorical, and this book is a testament to its enduring power.

In Shirin Neshat's photographs, Persian calligraphic script is transcribed over black and white depictions of the exposed faces, hands and feet of Iranian women. In her video works, swarms of women in black hijabs ululate, or a man in a white dress shirt and black pants sings to an all-male audience, while a lone woman sings to herself in a darkened theater. Always aesthetically compelling, Neshat's work is equally thematically ambiguous, never settling on a simple or singular meaning, never offering social commentary within prescribed limits. Though focused on the particulars of sex segregation and the suppression of women in contemporary Iran, Neshat underscores the relevance of her poetic, disturbing, moving ensembles to a broader culture. This monograph documents and provides critical insight into the evolution of her work.

Tracing the Iranian-born artist's personal journey in exile from her native Iran, this book presents Shirin Neshat's iconic early videos and photographs along with new work making its global debut.In the 1990s, Shirin Neshat's startling black-and-white videos of Iranian women won enormous praise for their poetic reflections on post-revolutionary life in her native country. Writing in the New Yorker, Peter Schjeldahl called her multi-screen video meditations on the culture of the chador in Islamic Iran "the first undoubtable masterpieces of video installation." Over the next twenty-five years Neshat's work has continued its passionate engagement with ancient and recent Iranian history, extending its reach to the universal experience of living in exile and the human impact of political revolution. This book connects Neshat's early video and photographic works--including haunting films such as Rapture, 1999 and Tooba, 2002--to her current projects which focus on the relation of home to exile and dreams such as The Home of My Eyes, 2015, and a new, never-before-seen project, Land of Dreams, 2019. It includes numerous stills from her series, Dreamers, in which she documents the lives of outsiders and exiles in the United States. This volume also includes essays by prominent Iranian cultural figures as well as an interview with the artist. Neshat has always been a voice for those whose individual freedoms are under attack. With this monograph, her audience will gain a deeper understanding of Neshat's own emotional, psychological, and political identities, and how they have helped her create compassionate portraits of the fraught and delicate spaces between attachment and alienation.Published with The Broad

Internationally acclaimed photographer, videographer, and filmmaker Shirin Neshat first came to prominence in the mid-1990s when she exhibited her series the Women of Allah, an extraordinary body of work exploring women in Islamic culture. Since then, the Iranian-born artist has continued to explore difficult subjects: the boundaries between East and West, men and women, the sacred and the profane, exile and belonging. Her work is marked by its graphic boldness and stirring imagery: photographs of women cloaked in black veils with excerpts of Farsi poetry inscribed across the surface; videos of clans of men and women in barren landscapes chanting or groups of men and women listening to rousing moralistic sermons in a public hall; and, as in her most recent projects, magical realist works in which women fly or plant themselves in gardens to ensure their fertility.Renowned art critic and historian Arthur C. Danto explores the entirety of the artist’s rich and varied oeuvre, from the earliest photographs to her latest work, the film Women Without Men. Her first feature film, for which she was awarded the prestigious Silver Lion for Best Director at the Venice Film Festival, is based on the novella of the same name that was banned in Iran; it has taken nearly seven years to complete. In addition to the important essay by Danto, the book includes a foreword in the form of a letter by artist Marina Abramović and commentaries for each series of work by Neshat herself, allowing a glimpse into the creative process of one of the most unique artists of her time.

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When the novella Women without Men was published in Tehran in 1989, it was promptly banned and its author, Shahrnush Parsipur, imprisoned. Fifteen years later, Shirin Neshat has begun to make a film based on ParsipurÌs work, which will become her first feature-length work. The first installments, documented here, introduce the lives of five women who find themselves in a deceptively paradisiacal garden after a difficult journey. NeshatÌs subversively dual filmic language, orientated towards both Iranian and western modes of cinematography, brings viewers and readers the open-endedness of her perspective on authenticity in both ethnicity and art, and brings to the fore her complex identity and the complex identity of her artistic practice--historically Western art for a largely Western audience centered on Iranian topics. This new book offers a provocative allegory of life in Iran today, and this sneak peek at NeshatÌs earliest work on it offers an invaluable glimpse of her working methods.

Internationally acclaimed photographer, videographer, and filmmaker Shirin Neshat first came to prominence in the mid-1990s when she exhibited her series the Women of Allah, an extraordinary body of work exploring women in Islamic culture. Since then, the Iranian-born artist has continued to explore difficult subjects: the boundaries between East and West, men and women, the sacred and the profane, exile and belonging. Her work is marked by its graphic boldness and stirring imagery: photographs of women cloaked in black veils with excerpts of Farsi poetry inscribed across the surface; videos of clans of men and women in barren landscapes chanting or groups of men and women listening to rousing moralistic sermons in a public hall; and, as in her most recent projects, magical realist works in which women fly or plant themselves in gardens to ensure their fertility.Renowned art critic and historian Arthur C. Danto explores the entirety of the artist’s rich and varied oeuvre, from the earliest photographs to her latest work, the film Women Without Men. Her first feature film, for which she was awarded the prestigious Silver Lion for Best Director at the Venice Film Festival, is based on the novella of the same name that was banned in Iran; it has taken nearly seven years to complete. In addition to the important essay by Danto, the book includes a foreword in the form of a letter by artist Marina Abramović and commentaries for each series of work by Neshat herself, allowing a glimpse into the creative process of one of the most unique artists of her time.

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One of the most exciting and important young artists of the past decade, Iranian-born Shirin Neshat has addressed issues of nation, colonialism, and gender in a variety of media, always challenging our preconceptions about art and society. She is particularly renowned for her film installations, which have been featured at several Whitney Biennials--and this new catalogue accompanies Raptureand Fervor, the second and third films in a trilogy exploring the social, political and psychological dimensions of women's experience in contemporary Islamic societies. The emphasis here is on the interplay between the explicit text and the implicit subtext in Islamic ritual, and how the emotions stirred up by these rituals can take on mercurial and contradictory forms.

Tracing the Iranian-born artist's personal journey in exile from her native Iran, this book presents Shirin Neshat's iconic early videos and photographs along with new work making its global debut.In the 1990s, Shirin Neshat's startling black-and-white videos of Iranian women won enormous praise for their poetic reflections on post-revolutionary life in her native country. Writing in the New Yorker, Peter Schjeldahl called her multi-screen video meditations on the culture of the chador in Islamic Iran "the first undoubtable masterpieces of video installation." Over the next twenty-five years Neshat's work has continued its passionate engagement with ancient and recent Iranian history, extending its reach to the universal experience of living in exile and the human impact of political revolution. This book connects Neshat's early video and photographic works--including haunting films such as Rapture, 1999 and Tooba, 2002--to her current projects which focus on the relation of home to exile and dreams such as The Home of My Eyes, 2015, and a new, never-before-seen project, Land of Dreams, 2019. It includes numerous stills from her series, Dreamers, in which she documents the lives of outsiders and exiles in the United States. This volume also includes essays by prominent Iranian cultural figures as well as an interview with the artist. Neshat has always been a voice for those whose individual freedoms are under attack. With this monograph, her audience will gain a deeper understanding of Neshat's own emotional, psychological, and political identities, and how they have helped her create compassionate portraits of the fraught and delicate spaces between attachment and alienation.Published with The Broad

Book is in Used-VeryGood condition. Pages and cover are clean and intact. Used items may not include supplementary materials such as CDs or access codes. May show signs of minor shelf wear and contain very limited notes and highlighting. 1.52