Sentences with phrase «modern iranian»

Iranian artist Afshin Pirhashemi is immediately recognizable, the signature black and white paintings depicting the dichotomies that define modern Iranian women.

Following his formal training as a sculptor in Italy, Tanavoli returned to Iran, where he was influenced by historic Persian and modern Iranian folk art, culture, and poetry.

Tanavoli is widely recognized as the father of Iran's modern sculpture movement and a founder of the Saqqakhaneh movement, a form of modern Iranian art that borrows from local folklore and religious iconography.

Especially strong are Iranian works from the 1960s and»70s, which were shown in the exhibition Between Word and Image: Modern Iranian Visual Culture, at the Grey Art Gallery in Fall 2002.

The Museum epitomized the Shah's modern Iranian state, the collection was therefore essentially Western: from Impressionism to Abstract Expressionism, Pop and Conceptual Art.

The Salesman Rated PG - 13 for mature thematic elements and a brief bloody image In Persian with English Subtitles Rotten Tomatoes Score: 97 % Iranian writer / director Asghar Farhadi claimed his second foreign film Oscar with this latest tale about a modern Iranian couple struck by tragedy and emotional damage when the wife is brutally attacked in their home.

• Sadegh Hedayat, The Blind Owl: The greatest work of modern Iranian literature, by a writer whose devotion to Poe inspired at least one work far greater than anything of which Poe was capable.

I have heard modern Iranians still complain about the Arab sacking of their culture long ago.

Finally, we show that Parsis are genetically closer to Neolithic Iranians than to modern Iranians, who have witnessed a more recent wave of admixture from the Near East.

Not exact matches

Throw in the possibility there will be more Iranian rocket attacks and the week ahead is shaping up as an extreme metaphor for the good, the bad and the ugly of Israel's modern existence.

The research team found that the Iranian genomes represent the main ancestors of modern - day South Asians.

The main aim is to encourage marriage and give young Iranians from more conservative backgrounds the comfort they seek in using internet dating by adhering to the traditional concept but with a modern twist.

Filtered almost exclusively through Amir's muddled consciousness, Moon Brow is intimate in its inquiries and epic in its scope, ushering the reader through some of the most turbulent decades in Iranian history, and from locations as diverse as the polluted heat - haze of modern Tehran to the burning battlefields of the Iran - Iraq War, to the near - mystical calm and beauty of the Caspian Sea.

Dubai; Gstaad, Switzerland; London; New York Private equity; real estate; commodities Modern and contemporary Iranian and international art Top 200 appearance: 2017

Abby Weed Grey Collection of Modern Asian and Middle Eastern Art — truly an unparalleled and unique resource — includes some of the largest institutional holdings of Iranian, Indian, and Turkish modern art outside those counModern Asian and Middle Eastern Art — truly an unparalleled and unique resource — includes some of the largest institutional holdings of Iranian, Indian, and Turkish modern art outside those counmodern art outside those countries.

A new solo exhibition of Monir Farmanfarmaian's works at the Grand Rapids Art Museum showcases the Iranian artist's ability to synthesize Islamic tradition and modern abstraction into objects of great beauty and depth.

Parastou Forouhar paints torture in Iran, in a cross between breaking news, a Persian miniature, contemporary Iranian art or «Iran Modern,» and bunny comics.

Screening: «An Evening with Raha Raissnia» at the Museum of Modern Art The Iranian - born artist and filmmaker presents an evening of her multidisciplinary practice, which combines painting, drawing, filmmaking and performance.

This lecture by group member Payam Sharifi looks at the unlikely similarities between two key moments in modern history — the Iranian Revolution of 1979 and Poland's Solidarnosc movement in the 1980s.

79.89.09, 7:30 p.m. April 13, Asia Society Texas Center, 1370 Southmore Blvd.: 79.89.09 looks at two key modern moments — the Iranian Revolution of 1979 and Poland's Solidarność movement in the 1980s — as bookends to the two major geopolitical narratives of the 20th and 21st century, respectively — Communism and political Islam.

Kamrooz Aram «Focus Series» The Modern Art Museum of Fort Worth, Fort Worth March 31 — June 17 The work of the Iranian - born, Brooklyn - based artist Kamrooz Aram challenges the narrative of art history, making the case for non-Western influences on modernism and abstraction.

79.89.09 April 13, 2016 7:30 pm 79.89.09 looks at two key modern moments — the Iranian Revolution of 1979 and Poland's Solidarność movement in the 1980s — as bookends to the two major geopolitical narratives of the 20th and 21st century, respectively — Communism and political Islam.

«I find it highly disconcerting that sanctions should affect the representation of Iranian modern art,» she comments, stressing that the opinion is her own.

Tehran Changing times for Iranian - British exchanges Czech Republic The shame of Ostrava London The Tate expands (inside); Trading mummies for jade; Saatchi to cross Thames Brühl, Germany Celebrating a Surrealist Zurich A more modern Kunsthaus

13 Aug 2001 Shirin Neshat Exhibition at the Irish Museum of Modern Art The first exhibition in Ireland of the work of the internationally - acclaimed Iranian - born film and photographic artist, Shirin Neshat, opens to the public in the New Galleries at the Irish Museum of Modern Art on Wednesday 5 September 2001.

The 29 artists in this show aim to challenge assumptions about Iranian art, shaking up the basic conception of the country's modern canon.

Meem Gallery is a leading international presence in the management and promotion of modern and contemporary Arab, North African and Iranian art.

He broke with tradition and began creating modern art with a distinctly Iranian aesthetic.

More of a coffee table book than a beach - read, Honar: The Afkhami Collection of Modern and Contemporary Iranian Art is an invaluable look into a rich and textured history of art that's unfortunately overlooked in Western museums.

Featuring: Amna Asghar, Dana Davenport, Umber Majeed, Tammy Nguyen, Ke Peng, Sahana Ramakrishnan, Sheida Soleimani Amna Asghar speaks on the construction and translation of disparate references, cultures, geographies, and generations from Pakistan and America; Dana Davenport addresses the complexity of interminority racism within her own community and institutions from her experiences as a Black Korean American; Umber Majeed's practice attempts to unpack the temporalities within South Asia as site, familial archival material, popular culture, and modern national state narratives; Tammy Nguyen interrogates natural sciences and non-human forms to explore racial intimacies and US military involvement in the Pacific Rim; Ke Peng documents the feeling of alienation and disorientation from urbanization and immigration by taking a journey into an imagined childhood in China, Hunan, where she was born and Shenzhen, a modern city where her family relocates to; Sahana Ramakrishan explores myths and religion from Buddhist and Hindu tales to speak upon the magic of childhood and the power dynamics of sexuality, race, and violence; Sheida Soleimani is an Iranian - American artist and a daughter of political refugees, making work to highlight her critical perspective on the historical and contemporary socio - political occurrences in Iran.

Recent commissions include The Victoria & Albert, London for their National Art Library's new initiative to archive contemporary & modern Arab, Turkish & Iranian art and design in 2012.

A exhibition explores Iranian modern and contemporary art, shining a spotlight on visual culture in Iran and examining the impact of history on artistic production.

One produced by British Petroleum (BP — then known as the Anglo - Iranian Oil Company) documents the company's operations in Iran beginning in 1908 and ending with the nationalisation of the oil industry in 1951; the other the collection of modern Western art acquired by the Tehran Museum of Contemporary Art during the late 1970s and withdrawn from public display for twenty years following the Islamic revolution in 1979.

Behjat Sadr also known as Behjat Sadr Mahallāti (Persian: بهجت صدر, 29 May 1924 - 11 August 2009) was an Iranian modern art painter whose works have been exhibited in major cities across the world, such as New York, Paris, and Rome.

In parallel, Phillips de Pury, which funds free public entry to the Saatchi Gallery and has a space on the top floor, is showing 21 modern Arab and Iranian paintings.

He is currently co-curator with Catherine David, of a group exhibition on Iranian modern visual culture opening in May 2014 at the Musée d'Art Moderne de la Ville de Paris.

The artist's work has been included in extensive group exhibitions, including Iran Modern, Asia Society, New York (2013); Spectacular of the Vernacular, Minneapolis Institute of Arts, MN (2011); Word Into Art: Artists of the Modern Middle East, British Museum, London (2006); Far Near Distance: Contemporary Positions of Iranian Artists, House of World Cultures, Berlin (2004); Carnegie International, Pittsburgh, PA (1988); Sculptur Projekte Muster» 87, Germany (1987); International Survey of Recent Painting and Sculpture, Museum of Modern Art, New York (1984); 74th Annual American Exhibition, Art Institute of Chicago, IL (1982); Biennial of American Art; Whitney Museum of American Art, New York (1981); 39th Venice Biennale, American Pavilion, Italy (1980); Information, Museum of Modern Art, New York (1970); and Documenta 5 (1972), 7 (1982) and 8 (1987), Kassel, Germany.

More than a monograph of a six - decades - long oeuvre, this is a lavish tribute by critics and admires to the grand dame of Iranian art, renowned for her mirrored geometric constructions, which speak with equal fluency of classic and modern beauty.

In the decades to follow, during successive exiles in Tehran and New York, Farmanfarmaian developed an intuitive yet painstakingly crafted artistic practice in mirror mosaic and reverse - painted glass that weds the cosmic patterning of her Iranian heritage with the rhythms of modern Western geometric abstraction.

A richly illustrated catalogue accompanies the exhibition with essays by leading scholars of Iranian art, modern art and cultural criticism.

In 2013 she co-curated IranModern, the first major exhibition devoted to Iranian Modern Art for the Asia Society Museum, New York (Sept. 5, 2013 - January 5, 2015) and coedited the accompanying publication.