IRAN MODERN Edited by
Fereshteh Daftari and Layla S. Diba
ASIA SOCIETY MUSEUM in association with
Yale UNiversity Press New Haven and London
Published on the occasion of the exhibition “Iran Modern” organized by Asia Society Museum.
The paper in this book meets the requirements of ANSI/NISO Z39.48-1992 (Permanence of Paper).
Asia Society Museum New York, NY September 6, 2013–January 5, 2014
Front cover: Monir Shahroudy Farmanfarmaian. Untitled (detail), 1977. Mirror, reverse-glass painting, and plaster on wood. 41½ x 41½ in. (105.4 x 105.4 cm). Collection of Zahra Farmanfarmaian. Frontispiece: Parviz Tanavoli. Heech (Nothing), 1972. Bronze on wood base. 22¼ x 12 x 8 in. (56.5 x 30.5 x 20.3 cm). Base: 5 x 5 x 5 in. (12.7 x 12.7 x 12.7 cm) Grey Art Gallery, New York University Art Collection, Gift of Abby Weed Grey, 1975.
© Asia Society, New York, NY, 2013 All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers.
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Distributed by Yale University Press P.O. Box 209040 302 Temple Street New Haven, CT 06520-9040 www.yalebooks.com
Project Manager: Marion Kocot In-House Curator: Michelle Yun Production Coordinator: Katherine Williamson Copy Editor: Linda Truilo Designers: Miko McGinty and Rita Jules Typeface: Marat Sans Printing: Trifolio S.R.L., Verona, Italy
The transliteration system in this volume is a modified version of the style used by the Journal of the International Society for Iranian Studies (Oxford: International Society of Iranian Studies). Our system was derived with an emphasis on helping non-specialists pronounce Persian words properly. Names either follow the aforementioned transliteration system or are given a form preferred by participating artists. Every effort has been made to credit the photographers and the sources; if there are errors or omissions, please contact Asia Society Museum so that corrections can be made in subsequent editions. Any opinions, findings, conclusions, or recommendations expressed in the texts are the views of the individual authors and do not necessarily reflect those of the guest curators. ASIA SOCIETY is a registered trademark of Asia Society, New York. © 2013 Asia Society, 725 Park Ave., New York, NY
Contents
6
Director’s Preface
Melissa Chiu
8
Curatorial Acknowledgements
Fereshteh Daftari
9
Curatorial Acknowledgements
Layla S. Diba
10
Exhibition Funders
11
Lenders to the Exhibition
93
K a Mountain and Guardenia Terrace: A Story about a Family and Some People Changing, a 168 Hour Play for the 1972 Festival of Shiraz
Robert Wilson
97 A Remarkable Oversight: Iranian Art
Photography of the 1960s and 1970s
Hamid Severi
103
Works in the Exhibition Historical Documents
13
Iranian History 1945–79
Houchang Chehabi
225
17
Historiography of Modern Iranian Art
Hamid Keshmirshekan
225 Foreword Inaugural Tehran Biennial Catalogue, 1958
25 Redefining Modernism: Pluralist Art
Before the 1979 Revolution
Fereshteh Daftari
45 The Formation of Modern Iranian Art:
From Kamal-al-Molk to Zenderoudi
Layla S. Diba
226 Foreword Tehran Biennial Catalogue, 1966 Director General of Cultural Relations— Ministry of Culture and the Arts
227 “ Why Persian Carpets Fly! An art expert
hits Iran to find out—and a lot more you need to know”
67 A Short History of Art Exhibitions in Iran,
1946–78
Media Farzin
73
Modern Iranian Architecture, 1941–79
Nader Ardalan
79
Interview with Kamran Diba
Nagar Azimi
87 Perspectives on the Shiraz Arts Festival:
Ehsan Yarshater
Arne Glimcher
230 “ Saqqakhaneh School Revisited” from Saqqakhaneh, 1977
Karim Emami
231 “ The Saqqa-Khaneh” from Saqqakhaneh, 1977
Peter Lamborn Wilson
A Radical Third World Rewriting Vali Mahlouji
234 Chronology of Historical and Art Events 242 Select Bibliography 248 Contributors’ Biographies 250 List of Participating Artists 251 Index 256 Photography Credits
Works in the Exhibition
plate 1. Ahmad Aali. Self-Portrait, 1964–Reconstructed in 2010. Mixed media. 84 1 /4 x 30 1 /4 x 24 1 /2 in. (214 x 76.8 x 61.6 cm). Aaran Art Gallery.
104
plate 17. Mohammad Ehsai. GEREHAYE KHAYAM , 1968. Acrylic and oil on canvas. 39 x 53 15/16 in. (99.1 x 137 cm). Collection of the artist. plate 18. Mohammad Ehsai. Untitled, 1974. Oil on canvas. 37 7/16 x 68 1 /8 in. (95.1 x 173 cm). Collection of the artist.
128
plate 22. Monir Shahroudy Farmanfarmaian. Heart Beat, 1975. Mirror, reverse-glass painting, and plaster on wood. 35 7/16 x 47 1 /4 in.
(90 x 120 cm). Collection of Nima Isham. plate 23. Monir Shahroudy Farmanfarmaian. Untitled, 1977. Mirror, reverse-glass painting, and plaster on wood. 41 1 /2 x 41 1 /2 in.
(105.4 x 105.4 cm). Collection of Zahra Farmanfarmaian. 134
plate 62. Nicky Nodjoumi. Standing Tall, 1976. Oil on canvas. 70 x 45 in. (177.8 x 114.3 cm). Collection of the artist. plate 63. Nicky Nodjoumi. Untitled, 1976. Oil and charcoal on canvas. 70 x 45 in. (177.8 x 114.3 cm). Collection of the artist.
180
plate 81. Parviz Tanavoli. Innovation in Art, 1964. Mixed media. 60 5/8 x 45 1 /4 x 7 7/8 in. (154 x 115 x 20 cm). Collection of the artist. plate 82. Parviz Tanavoli. The Poet and the Beloved King (Lovers), 1964. Wood, tin plate, copper, steel, fluorescent light, perspex, and oil paint.
76 1/4 x 40 3/16 x 43 5/16 in. (194 x 102 x 110 cm). Tate: Purchased using funds provided by Edward and Maryam Eisler, 2011. 206
ISBN 978-0-300-19736-5
PRINTED IN ITALY