Skip to main content Accessibility help
×
Hostname: page-component-848d4c4894-wg55d Total loading time: 0 Render date: 2024-05-12T05:22:42.054Z Has data issue: false hasContentIssue false

Select Bibliography

Published online by Cambridge University Press:  07 September 2023

Katrin Nahidi
Affiliation:
Universität Graz, Austria
Get access

Summary

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
The Cultural Politics of Art in Iran
Modernism, Exhibitions, and Art Production
, pp. 265 - 282
Publisher: Cambridge University Press
Print publication year: 2023

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Select Bibliography

Abahsain, Muhammad Mansour. ‘The Supra–Symbolic Moth in Arabic Religious Poetry from the Late Ottoman Period.’ Journal of Arabic Literature, vol. 24, no. 1 (1993), 2127.Google Scholar
Abrahamian, Ervand. The Coup: 1953, the CIA and the Roots of Modern U.S.-Iranian Relations. New York: New Press, 2013.Google Scholar
Abrahamian, Ervand. A History of Modern Iran. Cambridge: Cambridge University Press, 2008.Google Scholar
Adib-Moghaddam, Arshin. What Is Iran? Domestic Politics and International Relations in Five Musical Pieces. Cambridge: Cambridge University Press, 2021.Google Scholar
Afary, Janet, and Anderson, Kevin B.. Foucault and the Iranian Revolution: Gender and the Seductions of Islamism. Chicago: University of Chicago Press, 2005.Google Scholar
Afsarian, Iman. ‘Chera ma nemitavanim honar-e moaser dashte bashim?’ [‘Why Can’t We Have Contemporary Art?’]. Herfeh: Honarmand (Autumn, 2015). 101–102.Google Scholar
Afsarian, Iman. ‘The Fortunate Adolescents (Part 1).’ 2012. https://iran.britishcouncil.org/en/underline/visual-arts/fortunate-adolescents. Accessed 23 July 2018.Google Scholar
Aghaee, Ehsan. A Retrospective Exhibition of Works of Saqqakhana Movement. Exh.-Cat. Tehran: Museum of Contemporary Art Tehran, 2013.Google Scholar
Aghaie, Kamran Scot (ed.). The Women of Karbala: Ritual Performance and Symbolic Discourses in Modern Shi’i Islam. Austin: University of Texas Press, 2005.Google Scholar
Ahmed, Shahab. What Is Islam? The Importance of Being Islamic. Princeton: Princeton University Press, 2016.Google Scholar
Al-Din Rumi, Jalal. The Masnavi. Translated by Mojaddedi, Jawid. Oxford: Oxford University Press, 2004.Google Scholar
Al-e Ahmad, Jalal. ‘The Fifth Triple Yolk Egg’ [‘Tohme seh zarde panjom Tochme morgh’]. In Zamaninya, Mustafa (ed.), Adab wa hunar-i imruz-i Īrān: Maǧmūʿa-i maqālāt-I. Tehran: Nashr-e Mitra, 1994. 13771385.Google Scholar
Al-e Ahmad, Jalal. ‘For Mohassess and the Wall’ [‘Be Mohassess va baray-e divar’]. In Zamaninya, Mustafa (ed.), Adab wa hunar-i imruz-i Īrān: Maǧmūʿa-i maqālāt-I. Tehran: Nashr-e Mitra, 1994. 13411355.Google Scholar
Al-e Ahmad, Jalal. Occidentosis: A Plague from the West (Gharbzadegi). Translated by Campbell, R.. Berkeley: Mizan Press, 1983.Google Scholar
Al-e Ahmad, Jalal. ‘Painting Exhibition in “Apadana”’ [‘Namayesgah-ye naqashi dar “Apadana”’]. In Zamaninya, Mustafa (ed.), Adab wa hunar-i imruz-i Īrān: Maǧmūʿa-i maqālāt-I. Tehran: Nashr-e Mitra, 1994. 12861293.Google Scholar
Al-e Ahmad, Jalal. Plagued by the West (Gharbzadegi). Translated by Sprachman, Paul. Delmar, NY: Center for Iranian Studies Columbia University, 1981.Google Scholar
Al-e Ahmad, Jalal. Weststruckness (Gharbzadegi). Translated by Green, John and Alizadeh, Ahmad. Costa Mesa, CA: Mazda Publisher, 1997.Google Scholar
Alavi, Bozorg. Geschichte und Entwicklung der modernen persischen Literatur. Berlin: Akademie Verlag, 1964.Google Scholar
Albrecht, Judith. ‘“How to Be an Iranian Woman in the 21st Century?” Female Identities in the Diaspora.’ In Heinrich Böll Foundation in Cooperation with Transparency for Iran (eds.), Identity and Exile: The Iranian Diaspora between Solidarity and Difference, vol. 40 of the Publication Series on Democracy. Berlin: Heinrich Böll Foundation, 2016. 4761.Google Scholar
Alinejad, Donya, and Ghorashi, Halleh. ‘From Bridging to Building: Discourses of Organizing Iranian Americans across Generations.’ In Heinrich Böll Foundation in cooperation with Transparency for Iran (eds.), Identity and Exile: The Iranian Diaspora between Solidarity and Difference, vol. 40 of the Publication Series on Democracy. Berlin: Heinrich Böll Foundation, 2016. 6275.Google Scholar
Alvandi, Roham, Nixon, Kissinger, and the Shah: The United States and Iran in the Cold War. Oxford: Oxford University Press, 2014.Google Scholar
Aminrazavi, Mehdi. The Wine of Wisdom: The Life, Poetry and Philosophy of Omar Khayyam. Oxford: Oneworld Publications, 2005.Google Scholar
Anderson, Benedict R. Imagined Communities: Reflections on the Origin and Spread of Nationalism. London: Verso, 1991.Google Scholar
Ansari, Ali M. Modern Iran: The Pahlavis and After. London: Routledge, 2007.Google Scholar
Ansari, Ali M.The Myth of the White Revolution: Mohammad Reza Shah, “Modernization” and the Consolidation of Power.’ Middle Eastern Studies, vol. 37, no. 3 (July 2001), 124.Google Scholar
Ansary Pettys, Rebecca. ‘The Ta’zieh: Ritual Enactment of Persian Renewal.’ Theatre Journal, vol. 33, no. 3 (October 1981), 341354.Google Scholar
Antliff, Mark Robert. ‘Bergson and Cubism: A Reassessment.’ Art Journal, vol. 47, no. 4 ‘Revising Cubism’ (Winter, 1988), 341349.Google Scholar
Antliff, Mark, and Dee Leighten, Patricia. Cubism and Culture. New York: Thames & Hudson, 2001.Google Scholar
Ardalan, Nader, and Bakhtiar, Laleh. The Sense of Unity: The Sufi Tradition in Persian Architecture. Chicago: The University of Chicago Press, 1973.Google Scholar
Arjomand, Said Amir. The Turban for the Crown: The Islamic Revolution in Iran. New York: Oxford University Press, 1988.Google Scholar
Attar, Farid al-din. The Conference of the Birds. Translated by Davis, Dick. London: Penguin Books, 2005.Google Scholar
Babaie, Sussan. ‘Voices of Authority: Locating the “Modern” in “Islamic” Arts.’ Getty Research Journal, no. 3 (2011), 133–149.Google Scholar
Babaie, Sussan, and Grigor, Talinn (eds.). Persian Kingship and Architecture: Strategies of Power in Iran from the Achaemenids to the Pahlavis. London: Tauris, 2015.Google Scholar
Bajoghli, Narges. Iran Reframed: Anxieties of Power in the Islamic Republic. Stanford: Stanford University Press, 2019.Google Scholar
Balaghi, Shiva. ‘Iranian Visual Arts in “The Century of Machinery, Speed, and the Atom”: Rethinking Modernity.’ In Balaghi, Shiva and Gumpert, Lynn (eds.), Picturing Iran: Art, Society and Revolution. London and New York: I. B. Tauris, 2002. 2137.Google Scholar
Balaghi, Shiva, and Gumpert, Lynn (eds.). Picturing Iran: Art, Society and Revolution. London and New York: I. B. Tauris, 2002.Google Scholar
Banai, Nuit. ‘From Nation State to Border State.’ Third Text, vol. 27, no. 4 (2013), 456469.Google Scholar
Barnhisel, Greg. Cold War Modernists: Art, Literature, and American Cultural Diplomacy. New York: Columbia University Press, 2015.Google Scholar
Behdad, Ali. ‘The Powerful Art of Qajar Photography: Orientalism and (Self)-Orientalizing in Nineteenth-Century Iran.’ Iranian Studies, vol. 34, no. 1/4, ‘Qajar Art and Society’ (2001), 141151.Google Scholar
Behpoor, Bavand. ‘Introduction to “The Nightingale’s Butcher’s Manifesto” and “Volume and Environment II”.’ ARTMargins, vol. 3, no. 2 (June 2014), 118128.Google Scholar
Belting, Hans, and Buddensieg, Andrea (eds.). The Global Art World: Audiences, Markets, and Museums. Ostfildern: Hatje Cantz, 2009.Google Scholar
Benjamin, Rogers. The Oriental Mirage, Orientalism: Delacroix to Klee. Sydney: Art Gallery of New South Wales, 1997.Google Scholar
Bennett, Tony. The Birth of the Museum: History, Theory, Politics. London: Routledge, 2005.Google Scholar
Bergson, Henri. An Introduction to Metaphysics. Translated by Hulme, T. E.. Indianapolis: Hackett Publishing Company, 1999.Google Scholar
Bhabha, Homi. The Location of Culture. London: Routledge, 1994.Google Scholar
Biswas, Shampa. Nuclear Desire: Power and the Postcolonial Nuclear Order. Minneapolis: University of Minnesota Press, 2014.Google Scholar
Blank, Richard. Schah Reza – der letzte deutsche Kaiser. Dokumente aus der Regenbogenpresse. Reinbek bei Hamburg: Rowohlt, 1977.Google Scholar
Bloch, Werner. ‘Warten auf Farah.’ DIE ZEIT. No. 49 (24 November 2016).Google Scholar
Bombardier, Alice. ‘A Contemporary Illustrated Qur’an. Zenderoudi’s Illustration of Grosjean’s Translation (1972).’ In Alessandro, Cancian (ed.), Approaches to the Qur’an in Contemporary Iran. Oxford: Oxford University Press, 2019. 325352.Google Scholar
Bombardier, Alice. Les pionniers de la Nouvelle peinture en Iran. Œuvres méconnues, activités novatrices et scandales au tournant des années 1940. Bern: Peter Lang, 2017.Google Scholar
Boroujerdi, Mehrzad. Iranian Intellectuals and the West: The Tormented Triumph of Nativism. New York: Syracuse University Press, 1996.Google Scholar
Bourdieu, Pierre. Distinction: A Social Critique of the Judgement of Taste. Cambridge, MA: Harvard University Press, 1984.Google Scholar
Bourdieu, Pierre, and Haacke, Hans (eds.). Free Exchange. Cambridge: Polity Press, 1995.Google Scholar
Brill, Dorothée, Jäger, Joachim, and Montua, Gabriel (eds.). The Tehran Modern: A Reader about Art in Iran since 1960. Berlin: Nationalgalerie, Staatliche Museen zu Berlin, 2017.Google Scholar
Chelkowski, Peter J.Iconography of the Women of Karbala: Tiles, Murals, Stamps, and Posters.’ In Aghaie, Kamran Scot (ed.), The Women of Karbala: Ritual Performance and Symbolic Discourses in Modern Shi’I Islam. Austin: University of Texas Press, 2005. 119138.Google Scholar
Chelkowski, Peter J. Mirror of the Invisible World: Tales from the Khamseh of Nizami. Exh.-Cat. New York: Metropolitan Museum of Art, 1975.Google Scholar
Chelkowski, Peter. ‘Narrative Painting and Painting Recitation in Qajar Iran.’ Muqarnas, vol. 6 (1989), 98111.Google Scholar
Chelkowski, Peter, and Debashi, Hamid. Staging a Revolution: The Art of Persuasion in the Islamic Republic of Iran. London: Booth-Clibborn, 1993.Google Scholar
Chichoki, Nina. ‘Sculpted Poetry.’ In Pakbaz, Ruyin and Emdadian, Yaghoub (eds.), Pioneers of Modern Iranian Art: Parviz Tanavoli. Tehran: Tehran Museum of Contemporary Art, 2003. 915.Google Scholar
Clifford, James. The Predicament of Culture: Twentieth-Century Ethnography, Literature, and Art. Cambridge, MA: Harvard University Press, 1998.Google Scholar
Clifford, James. Routes: Travel and Translation in the Late Twentieth Century. Cambridge, MA: Harvard University Press, 1997.Google Scholar
Cockcroft, Eva. ‘Abstract Expressionism: Weapon of the Cold War.’ Artforum, vol. 15 (1974), 3941.Google Scholar
Cronin, Stepanie (ed.). Reformers and Revolutionaries in Modern Iran: New Perspectives on the Iranian Left. London: Routledge, 2004.Google Scholar
Dabashi, Hamid. ‘Ardeshir Mohassess, Etcetera.’ In Nodjoumi, Nicky and Neshat, Shirin (eds.), Ardeshir Mohassess: Art and Satire in Iran. Exh.-Cat. New York: Asia Society Antique Collectors’ Club, 2008. 1729.Google Scholar
Dabashi, Hamid. The Last Muslim Intellectual: The Life and Legacy of Jalal Al-e Ahmad. Edinburgh: Edinburgh University Press, 2021.Google Scholar
Dabashi, Hamid. ‘Nima Yushij and Constitution of a National Subject.’ In Andrew, Davison and Muppidi, Himadeep (eds.), The World Is My Home: A Hamid Dabashi Reader. London: Transaction, 2010. 147185.Google Scholar
Dabashi, Hamid. ‘Ta’ziyeh as Theatre of Protest.’ TDR, vol. 49, no. 4 ‘Special Issue on Taʿziyeh’ (Winter 2005), 9199.Google Scholar
Dabashi, Hamid. Theology of Discontent: The Ideological Foundation of the Islamic Revolution in Iran. New York: New York University Press, 1996.Google Scholar
Daftari, Fereshteh. ‘Another Modernism: An Iranian Perspective.’ In Balaghi, Shiva and Gumpert, Lynn (eds.), Picturing Iran: Art, Society and Revolution. London and New York: I. B. Tauris, 2002. 3982.Google Scholar
Daftari, Fereshteh. ‘Another Modernism: An Iranian Perspective.’ In Gumpert, Lynn (ed.), Modernisms: Iranian, Turkish, and Indian Highlights from NYU’s Abby Weed Grey Collection. New York and Munich: Grey Art Gallery, New York University, 2019. 4363.Google Scholar
Daftari, Fereshteh. Persia Reframed: Iranian Visions of Modern and Contemporary Art. London: I. B. Tauris, 2019.Google Scholar
Daftari, Fereshteh. ‘Redefining Modernism: Pluralist Art before the 1979 Revolution.’ In Daftari, Fereshteh and Diba, Layla S. (eds.), Iran Modern. Exh. Cat. New York: Asia Society Museum in association with Yale University Press New Haven, 2013. 2543.Google Scholar
Daneshmir, Reza, and Spiridonoff, Catherine. ‘Subterranean Landscape: The Far-Reaching Influence of the Underground Qanat Network in Ancient and Present-Day Iran.’ Architectural Design, vol. 82, no. 3 (2012), 6269.Google Scholar
Daneshvar, Simin. ‘Painters’ Roundtable Report’ [‘Gozaresh-e mizgerd-e naqashan’]. In Zamaninya, Mustafa (ed.), Adab wa hunar-i imruz-i Īrān. Maǧmūʿa-i maqālāt-I. Tehran: Nashr-e Mitra, 1994. 12971325.Google Scholar
Darabi, Helia. ‘Tehran Museum of Contemporary Art as a Microcosm of the State’s Cultural Agenda.’ In Keshmirshekan, Hamid (ed.), Contemporary Art from the Middle East: Regional Interactions with Global Art Discourses. London: I. B. Tauris, 2015. 221245.Google Scholar
Deleuze, Gilles, and Guattari, Félix. Kafka: Toward a Minor Literature. Minneapolis: University of Minnesota Press, 1986.Google Scholar
Deylami, Shirin S.In the Face of the Machine: Westoxification, Cultural Globalization, and the Making of an Alternative Global Modernity.’ Polity, vol. 43, no. 2 (April 2011), 242263.Google Scholar
Diba, Farah. Interview with Donna Stein. ‘For the Love of her People: An Interview with Farah Diba about the Pahlavi Programs for the Arts in Iran.’ In Scheiwiller, Staci Gem (ed.), Performing the Iranian State. London: Anthem Press, 2013. 7582.Google Scholar
Diba, Kamran. ‘Iran.’ In Ali, Wijdan (ed.), Contemporary Art from the Islamic World. London: Scorpion Publication, 1989. 150158.Google Scholar
Diba, Kamran. ‘The Origins of TMoCA: A Personal Account.’ In Brill, Dorothée, Jäger, Joachim, and Montua, Gabriel (eds.), The Tehran Modern: A Reader about Art in Iran since 1960. Berlin: Nationalgalerie, Staatliche Museen zu Berlin, 2017. 2437.Google Scholar
Diba, Layla S.The Formation of Modern Iranian Art: From Kamal al-Molk to Zenderoudi.’ In Daftari, Fereshteh and Diba, Layla S. (eds.), Iran Modern. Exh. Cat. New York: Asia Society Museum in association with Yale University Press New Haven, 2013. 4565.Google Scholar
Dixon, John Morris. ‘Tehran Museum of Contemporary Art: A Cultural Hybrid.’ Progressive Architecture, no. 5 (May 1978), 68–71.Google Scholar
Drucker, Johanna. ‘Formalism’s Other History.’ The Art Bulletin, vol. 78, no. 4 (1996), 750751.Google Scholar
Eiman, Alisa. ‘Shaping and Portraying Identity at the Tehran Museum of Contemporary Art (1977–2005).’ In Scheiwiller, Staci Gem (ed.), Performing the Iranian State: Visual Culture and Representations of Iranian Identity. London: Anthem Press, 2013. 8399.Google Scholar
Eisenstadt, Shmuel. ‘Multiple Modernities.’ Daedalus, vol. 129, no. 1 (Winter 2000), 129.Google Scholar
Elkins, James. Is Art History Global? New York: Routledge, 2007.Google Scholar
Elkins, James. ‘Style.’ Grove Art Online. Oxford Art Online. 2003. https://doi.org/10.1093/gao/9781884446054.article.T082129. Accessed 23 October 2019.Google Scholar
Elser, Oliver. ‘Just What Is It That Makes Brutalism Today So Appealing? A New Definition from an International Perspective.’ In Elser, Oliver, Kurz, Philip, and Cachola Schmal, Peter (eds.), SOS Brutalism: A Global Survey. Exh.-Cat. German Architecture Museum, Frankfurt am Main. Zurich: Park Books, 2017. 1519.Google Scholar
Emami, Karim. ‘ART IN IRAN xi. POST-QAJAR.’ Encyclopædia Iranica, Online edition, 2009. www.iranicaonline.org/articles/art-in-iran-xi-post-qajar. Accessed 23 October 2019Google Scholar
Emami, Karim. ‘Artists Must Be Able to Sell.’ In Yavari, Houra (ed.), Karim Emami on Modern Iranian Culture, Literature & Art. New York: Persian Heritage Foundation, 2014. 173175.Google Scholar
Emami, Karim. ‘Making Reciprocity Stick: Artists Are Becoming Critics.’ In Yavari, Houra (ed.), Karim Emami on Modern Iranian Culture, Literature & Art. New York: Persian Heritage Foundation, 2014. 226227.Google Scholar
Emami, Karim. ‘A New Iranian School.’ In Yavari, Houra (ed.), Karim Emami on Modern Iranian Culture, Literature & Art. New York: Persian Heritage Foundation, 2014. 160162.Google Scholar
Emami, Karim. ‘Saqqa-khaneh Dominant.’ In Yavari, Houra (ed.), Karim Emami on Modern Iranian Culture, Literature & Art . New York: Persian Heritage Foundation, 2014. 170172.Google Scholar
Emami, Karim. ‘Saqqakhaneh School Revisited.’ In Saqqakhaneh, Exh.-Cat Tehran: Tehran Museum of Contemporary Art, 1977.Google Scholar
Engelhardt, Katrin. ‘Die Ausstellung ‘Entartete Kunst’ in Berlin 1938.’ In Fleckner, Uwe (ed.), Angriff auf die Avantgarde: Kunst und Kunstpolitik im Nationalsozialismus. Berlin: Akademie Verlag, 2007. 9498.Google Scholar
Enwezor, Okwui. ‘Mega-Exhibitions and the Antinomies of a Transnational Global Form.’ Manifesta Journal: Journal of Contemporary Curatorship, no. 2 (2003), 94–119.Google Scholar
Enwezor, Okwui, Condee, Nancy, and Smith, Terry (eds.). Antinomies of Art and Culture: Modernity, Postmodernity, Contemporaneity. Durham, NC: Duke University Press, 2008.Google Scholar
Enwezor, Okwui, Siegel, Katy, and Wilmes, Ulrich (eds.). Postwar: Art between the Pacific and the Atlantic, 1945–1965. London: Prestel Publishing, 2016.Google Scholar
Eshaghi, Peyman. ‘Quietness beyond Political Power: Politics of Taking Sanctuary (Bast Neshini) in the Shi‘ite Shrines of Iran.’ Iranian Studies, vol. 49, no. 3 (2016), 493514.Google Scholar
Etemadi, Parvaneh. ‘“In Order to Create, One Must First Destroy”: An Interview with Parvaneh Etemadi.’ Payvand, 2017. www.payvand.com/news/17/apr/1123.html. Accessed 23 October 2019.Google Scholar
Ettinghausen, Richard, and Yarshater, Ehsan. Highlights of Persian Art. Boulder: Wittenborn Art Books, 1979.Google Scholar
Fanon, Frantz. The Wretched of the Earth. New York: Grove Press, 1963.Google Scholar
Farahi, Farshad. ‘World of Similitude: The Metamorphosis of Iranian Architecture.’ Architectural Design, vol. 82, no. 3 (1 May 2012), 5261.Google Scholar
Farhad, Massumeh. ‘Isfahan xi. SCHOOL OF PAINTING AND CALLIGRAPHY.’ Encyclopedia Iranica, Online edition. 2007. www.iranicaonline.org/articles/art-in-iran-xi-post-qajar. Accessed 23 October 2019.Google Scholar
Ferdowsi, Abolqasem. Shahnameh: The Persian Book of Kings. New York: Mage, 1997.Google Scholar
Finbarr, Barry Flood. ‘From Prophet to Postmodernism? New World Orders and the End of Islamic Art.’ In Mansfield, Elisabeth (ed.), Making Art History: A Changing Discipline and Its Institutions. London: Routledge, 2007. 31–53.Google Scholar
Fischer, Michael M. J. Iran: From Religious Dispute to Revolution. Madison: University of Wisconsin Press, 1989.Google Scholar
Flaskerud, Ingvild. Visualizing Belief and Piety in Iranian Shiism. London: Continuum, 2010.Google Scholar
Fock, Gisela. Die iranische Moderne in der Bildenden Kunst: Der Bildhauer und Maler Parviz Tanavoli. Vienna: Verlag der Österreichischen Akademie der Wissenschaften, 2011.Google Scholar
Foroutan, Aida. ‘Why the Fighting Cock? The Significance of the Imagery of the Khorus Jangi and Its Manifesto “The Slaughterer of the Nightingale”.’ Iran Namag, no. 1 (Spring 2016), XXVIII–XLIX.Google Scholar
Fouladvand, Hengameh. ‘Mohammed Ehsai’s Modernist Explorations in Calligraphic Form and Content.’ Arte East, 2008. https://arteeast.org/quarterly/mohammed-ehsais-modernist-explorations-in-calligraphic-form-and-content/?issues_season=summer&issues_year=2008. Accessed 11 June 2018.Google Scholar
Frampton, Kenneth. ‘Towards a Critical Regionalism: Six Points of Architecture of Resistance.’ In Foster, Hal (ed.), The Anti-Aesthetic: Essays on Postmodern Culture. London: Pluto Press, 1983. 1630.Google Scholar
Fraser, Andrea. ‘From the Critique of Institutions to an Institution of Critique.’ Artforum, vol. 44, no. 1 (2005), 100106.Google Scholar
Galloway, David. Parviz Tanavoli: Sculptor, Writer, and Collector. Tehran: Iranian Art Publishing, 2000.Google Scholar
Galloway, David. ‘Remembering TMoCA.’ In Brill, Dorothée, Jäger, Joachim, and Montua, Gabriel (eds.), The Tehran Modern: A Reader about Art in Iran since 1960. Berlin: Nationalgalerie, Staatliche Museen zu Berlin, 2017. 3849.Google Scholar
Gertje, R. Utlej. Picasso, The Communist Years. New Haven: Yale University Press, 2000.Google Scholar
Gharib, Gholam Hossein. ‘Nabsh.’ Fighting Rooster Magazine, no. 1 (Tehran, 1948), 16–30.Google Scholar
Goldzamt, Edmund. ‘Das Erbe von William Morris und das Bauhaus [1].’ Hochschule für Architektur und Bauwesen, Weimar, vol. 23, no. 5–6 (1976), 485488.Google Scholar
Goudarzi, Mortezza. Chostoochooy-e hoviat dar naghashi-e moaser-e Iran [The Search for Identity in Iran’s Modern Painting]. Tehran, 2002.Google Scholar
Grasskamp, Walter. Die unbewältigte Moderne: Kunst und Öffentlichkeit. München: Beck, 1994.Google Scholar
Green, Nile. ‘Between Heidegger and the Hidden Imam: Reflections on Henry Corbin’s Approaches to Mystical Islam.’ Method & Theory in the Study of Religion, vol. 17, no. 3 (2005), 219226.Google Scholar
Grenier, Catherine. Modernités Plurielles 1905–1970 Dans Les Collections Du Musée National D’art Moderne. Paris: Centre Pompidou, 2013.Google Scholar
Grigor, Talinn. Building Iran: Modernism, Architecture, and National Heritage under the Pahlavi Monarchs. New York: Periscope Pub, 2009.Google Scholar
Grigor, Talinn. Contemporary Iranian Art: From the Street to the Studio. London: Reaktion Books, 2014.Google Scholar
Grigor, Talinn. ‘Kingship Hybridized, Kingship Homogenized: Revivalism under the Qajar and the Pahlavi Dynasties.’ In Babaie, Sussan and Grigor, Talinn (eds.), Persian Kingship and Architecture: Strategies of Power in Iran from the Achaemenids to the Pahlavis. London: Tauris, 2015. 219254.Google Scholar
Grigor, Talinn. ‘Recultivating “Good Taste”: The Early Pahlavi Modernists and Their Society for National Heritage.’ Iranian Studies, vol. 37, no. 1 (2004), 1745.Google Scholar
Grigor, Talinn. ‘Shifting Gaze: Irano-Persian Architecture from the Great Game to a Nation State.’ In Vimalin, Rujivachkurul (ed.), Architecturalized Asia: Mapping a Continent through History. Honolulu: University of Hawai’i Press, 2013. 217230.Google Scholar
Grigorian, Marcos. ‘Foreword.’ In Catalogue First Tehran Biennial. Tehran: Ministry of Art and Culture Tehran, 1958. 28.Google Scholar
Gruber, Christiane. ‘The Martyrs’ Museum in Tehran: Visualizing Memory in Post-Revolutionary Iran.’ Visual Anthropology, vol. 25, no. 1–2 (2012), 6897.Google Scholar
Guilbaut, Serge. How New York Stole the Idea of Modern Art: Abstract Expressionism, Freedom, and the Cold War. Chicago: University of Chicago Press, 1983.Google Scholar
Gumpert, Lynn. Modernisms; Iranian, Turkish, and Indian Highlights from NYU’s Abby Weed Grey Collection. New York and Munich: Grey Art Gallery, New York University, 2019.Google Scholar
Haghani, Fakhri. ‘The City of Ray and the Holy Shrine of Shah/Hazrat Abdol Azim: History of the Sacred and Secular in Iran though the Dialectic of Space.’ In Shahshahani, Soheila (ed.), Cities of Pilgrimage. Berlin: Lit, 2009. 159176.Google Scholar
Hakkak, Ahmad Karimi. ‘Nima Jushij. A Life.’ In Hakkak, Ahmad Karimi and Talattof, Kamran (eds.), Essays on Nima Yushij: Animating Modernism in Persian Poetry. Leiden: Brill, 2004. 1168.Google Scholar
Hakkak, Ahmad Karimi. Recasting Persian Poetry: Scenarios of Poetic Modernity in Iran. Salt Lake City: University of Utah Press, 1996.Google Scholar
Hakkak, Ahmad Karimi, and Talattof, Kamran. Essays on Nima Yushij: Animating Modernism in Persian Poetry. Leiden: Brill, 2004.Google Scholar
Hall, Stuart. ‘Cultural Identity and Diaspora.’ In Williams, Patrick and Chrisman, Laura (eds.), Colonial Discourse and Post-colonial Theory: A Reader. London: Routledge, 1994. 227237.Google Scholar
Han, Byung-Chul. Hyperkulturalität. Kultur und Globalisierung. Berlin: Merve Verlag, 2005.Google Scholar
Hannaneh, Mortezza. ‘Musiqi. (Music).’ Fighting Rooster Magazine, no. 1 (Tehran, 1948), 3–10.Google Scholar
Harmanşah, Ömür. ‘ISIS, Heritage, and the Spectacles of Destruction in the Global Media.’ Near Eastern Archaeology, vol. 78, no. 3 ‘Special Issue: The Cultural Heritage Crisis in the Middle East’ (September 2015).Google Scholar
Heidegger, Martin. ‘Building Dwelling Thinking.’ In Heidegger, Martin (ed.), Poetry, Language, Thought. New York: Harper Colophon, 1976. 141159.Google Scholar
Hillmann, Michael (ed.). Iranian Society: An Anthology of Writings by Jalal Al-e Ahmad. Lexington, KY: Mazda Publication, 1988.Google Scholar
Hobsbawm, Eric, and Ranger, Terence. The Invention of Tradition. Cambridge: Cambridge University Press, 2012.Google Scholar
Hosseini-Rad, Abdolmajid. ‘Iranian Contemporary Art.’ In Iranian Modern Art Movement: The Iranian Collection of the Tehran Museum of Contemporary Art. Tehran: Tehran Museum of Contemporary Art, 2006.Google Scholar
Huntington, Samuel P. The Clash of Civilizations and the Remaking of World Order. London: Penguin Books, 1996.Google Scholar
Huyssen, Andreas. ‘German Painting in the Cold War.’ New German Critique, no. 110 (2010), 209–227.Google Scholar
Huyssen, Andreas. Present Pasts: Urban Palimpsets and the Politics of Memory. Stanford: Stanford University Press, 2003Google Scholar
Hyder, Syed Akbar. ‘Iqbal und Karbala: Re-reading the Episteme of Martyrdom for a Poetics of Appropriation.’ Cultural Dynamics, vol. 13, no. 3 (November 2001), 339362.Google Scholar
Moeini, Iradj, Hossein, Seyed, Arefian, Mehran, Kashani, Bahador, and Abbasi, Golnar (eds.). Urban Culture in Tehran: Urban Processes in Unofficial Cultural Spaces. Cham: Springer, 2018.Google Scholar
Jackson, A. V. Williams. ‘The Allegory of the Moths and the Flame. Translated from the Manṭiq aṭ-Tair of Farīdad-Dīn ‘Attār.’ Journal of the American Oriental Society, vol. 36 (1916), 345347.Google Scholar
Jacobi, Hannah. Stimmen aus Teheran: Interviews zur zeitgenössischen Kunst im Iran. Frankfurt: Edition Faust, 2017.Google Scholar
Jafari, Parastoo. New Word, Other Value: Artistic Modernism and Private Patronage: Associations and Galleries in Pre-Islamic Revolution Iran. Munich: OPH Press, 2020.Google Scholar
Jalali, Bahman. Days of Blood: Days of Fire, 1978–1979. Tehran: Zamineh, 1979.Google Scholar
Juneja, Monica. ‘Alternative, Peripheral or Cosmopolitan? Modernism as a Global Process.’ In Allerstorfer, Juli and Leisch-Kiesl, M. (eds.), »Global Art History«: Transkulturelle Verortungen von Kunst und Kunstwissenschaft. Bielefeld: Transcript, 2018. 79108.Google Scholar
Karjoo-Ravary, Ali. ‘Shi’i Rituals in Pahlavi Iran: Audio Recordings from the Ajam Archive.’ https://ajammc.com/2017/11/10/archive-iranian-islam-1979-shii-rituals-mohammad-reza-shah. Accessed 14 January 2020.Google Scholar
Keshmirshekan, Hamid (ed.). Amidst Shadow and Light: Contemporary Iranian Art and Artists. Hong Kong: Liaoning Creative Press, 2005.Google Scholar
Keshmirshekan, Hamid (ed.). Contemporary Art from the Middle East: Regional Interactions with Global Art Discourses. London: I. B. Tauris, 2015Google Scholar
Keshmirshekan, Hamid. Contemporary Iranian Art. New Perspectives. London: Saqi Books, 2013.Google Scholar
Keshmirshekan, Hamid. Koorosh Shishegaran: The Art of Altruism. London: Saqi Books, 2016.Google Scholar
Keshmirshekan, Hamid. ‘Neo-Traditionalism and Modern Iranian Painting: The ‘Saqqa-khaneh’ School in the 1960s.’ Iranian Studies, vol. 38, no. 4 (2005), 607630.Google Scholar
Keshmirshekan, Hamid, ‘The Question of Identity vis-à-vis Exoticism in Contemporary Iranian Art.’ Iranian Studies, vol. 43, no. 4 (2010), 489512.Google Scholar
Keshmirshekan, Hamid. ‘Reclaiming Cultural Space: The Artist’s Performativity versus the State’s Expectations in Contemporary Iran.’ In Scheiwiller, Staci Gem (ed.), Performing the Iranian State: Visual Culture and Representations of Iranian Identity. London: Anthem Press, 2013. 145155.Google Scholar
Keshmirshekan, Hamid. ‘SAQQĀ-ḴĀNA SCHOOL OF ART.’ Encyclopedia Iranica. Online edition, 2009. www.iranicaonline.org/articles/saqqa-kana-ii-school-of-art. Accessed 4 July 2018.Google Scholar
Khalili, E. Nader. Art and Architecture. ‘Iran Yesterday, Today, Tomorrow.’ No. 18–19 (June–November 1973).Google Scholar
Khan, Saira. Iran and Nuclear Weapons: Protracted Conflict and Proliferation. London: Routledge, 2005.Google Scholar
Kohn, Margaret, and McBride, Keally. Political Theories of Decolonization: Postcolonialism and the Problem of the Foundation. New York: Oxford University Press, 2011.Google Scholar
Korycki, Katarzyna, and Nasirzade, Abouzar. ‘Desire Recast: The Production of Gay Identity in Iran.’ Journal of Gender Studies, vol. 25, no. 1 (2016), 5065.Google Scholar
Kuban, Zeynab, and Simone, Wille (eds.). André Lhote and His International Students. Innsbruck: Innsbruck University Press, 2020.Google Scholar
Künkler, Mirjam, Madeley, John T. S, and Shankar, Shylashri. A Secular Age beyond the West: Religion, Law and the State in Asia, the Middle East and North Africa. Cambridge: Cambridge University Press, 2019.Google Scholar
Lacan, Jacques. ‘The Mirror Stage as Formative of the Function of the I as Revealed in Psychoanalytic Experience.’ In Leitch, Vincent B., et al. (eds.), The Norton Anthology of Theory and Criticism. New York: W. W. Norton, 2001. 11631169.Google Scholar
Lampe, Franziska. ‘Zum Holzschnitt als visuelle Strategie um 1918/19.’ In Grosch, Nils (ed.), Novembergruppe 1918. Studien zu einer interdisziplinären Kunst für die Weimarer Republik. Münster: Waxmann, 2018. 4360.Google Scholar
Lashkari, Amir, and Kalantari, Mojde. ‘Pardeh Khani: A Dramatic Form of Storytelling in Iran.’ Asian Theatre Journal, vol. 32, no. 1 (2015), 245258.Google Scholar
Lenze, Franz. Der Nativist Ǧalāl-e Āl-e Aḥmad und die Verwestlichung Irans im 20. Jahrhundert. Berlin: Klaus Schwarz Verlag, 2008.Google Scholar
Mahlouji, Vali. ‘Perspectives on the Shiraz Arts Festival: A Radical Third World Rewriting.’ In Daftari, Fereshteh and Diba, Layla S. (eds.), Iran Modern. Exh. Cat. New York: Asia Society Museum in association with Yale University Press New Haven, 2013. 8791.Google Scholar
Mansfield, Elisabeth (ed.). Making Art History: A Changing Discipline and Its Institutions. London: Routledge, 2007.Google Scholar
Marx, Karl, and Engels, Friedrich. The Communist Manifesto. New York: International Publishers, 1948.Google Scholar
Mashhadizadeh, Abbas. ‘Abbas Mashhadizadeh Talks History of Iranian Academic Art.’ Honaronline, 2007. www.honaronline.ir/Section-visual-4/96791-abbas-mashhadizadeh-talks-history-of-iranian-academic-art. Accessed 23 October 2019.Google Scholar
Mashhadizadeh, Abbas. ‘Honar dar zendegi va zendegi dar honar. Darbare-ye Lilit Teryan.’ http://old.sharghdaily.ir/pdf/90-09-03/vijeh/22.pdf Accessed 21 October 2019.Google Scholar
Matin-Asgari, Afshin. ‘From Social Democracy to Social Democracy: The Twentieth Century Odyssey of the Iranian Left.’ In Cronin, Stephanie (ed.), Reformers and Revolutionaries in Modern Iran: New Perspectives on the Iranian Left. London: Routledge, 2004. 37–64.Google Scholar
Michels, Eckard. Schahbesuch 1967. Fanal für die Studentenbewegung. Berlin: Ch. Links Verlag, 2017.Google Scholar
Mignolo, Walter D. The Darker Side of Western Modernity: Global Futures. Decolonial Options. Durham, NC: Duke University Press, 2011.Google Scholar
Mirsepassi, Ali. Democracy in Iran: Islam, Culture, and Political Change. New York: New York University Press, 2010.Google Scholar
Mirsepassi, Ali. Intellectual Discourse and the Politics of Modernization: Negotiating Modernity in Iran. Cambridge: Cambridge University Press, 2004.Google Scholar
Mirsepassi, Ali. Iran’s Quiet Revolution: The Downfall of the Pahlavi State. Cambridge: Cambridge University Press, 2019.Google Scholar
Mirsepassi, Ali. Political Islam, Iran, and the Enlightenment: Philosophies of Hope and Despair. Cambridge: Cambridge University Press, 2010.Google Scholar
Mirsepassi, Ali. Transnationalism in Iranian Political Thought: The Life and Times of Ahmad Fardid. Cambridge: Cambridge University Press, 2017Google Scholar
Mirsepassi, Ali, and Yousefi, Hamed. ‘Abby Weed Grey’s Journey to the East: Iranian Modernity during the Cold War.’ In Gumpert, Lynn (ed.), Modernisms: Iranian, Turkish, and Indian Highlights from NYU’s Abby Weed Grey Collection. New York and Munich: Grey Art Gallery, New York University, 2019. 6577.Google Scholar
Mitchell, Timothy. ‘The Stage of Modernity.’ In Mitchell, Timothy (ed.), Questions of Modernity. Minneapolis: University of Minnesota Press, 2000. 134.Google Scholar
Mitter, Partha. The Triumph of Modernism, India’s Artists and the Avant-Garde 1922–1947. London: Reaktion, 2007.Google Scholar
Mojabi, Javad. Pioneers of Contemporary Persian Painting, First Generation. Tehran: Iranian Art Publishing, 1996.Google Scholar
Mojabi, Javad. Saramdan-e Honar-e Noh [The Pioneers of New Art]. Tehran: Behnegar, 2015.Google Scholar
Mollanoroozi, Majid. Selected Works of Tehran Museum of Contemporary Art: Berlin – Rome Travelers. Exh.-Cat. Tehran: Tehran Museum of Contemporary Art, 2017.Google Scholar
Montazami, Morad, and Sadeg, Narmine (eds.). Behdjat Sadr: Traces. Paris: Zaman Books, 2014.Google Scholar
Mouffe, Chantal. Agonistics: Thinking the World Politically. London: Verso, 2013.Google Scholar
Moussavi-Aghdam, Combiz. ‘Art History, “National Art” and Iranian Intellectuals in the 1960s.’ British Journal of Middle Eastern Studies, vol. 41, no. 1 (2014), 132150.Google Scholar
Muhammad, Abdel Haleem. The Qur’an. New York: Oxford University Press, 2004.Google Scholar
Naef, Silvia, Maffi, Irene, and Shaw, Wendy. ‘“Other Modernities”: Art, Visual Culture and Patrimony Outside the West. An Introduction.’ Artl@s Bulletin, vol. 9, no. 1 (2020), Article 1.Google Scholar
Naficy, Hamid. The Making of Exile Cultures: Iranian television in Los Angeles. Minneapolis: University of Minnesota Press, 1993.Google Scholar
Nahidi, Katrin. ‘How It Breaks My Heart to Leave You’: Images of Women in Shirin Neshat’s Video Works. Exh.-Cat. Tübingen: Stiftung Kunsthalle Tübingen, 2017. 135147.Google Scholar
Najmabadi, Afsaneh. ‘The Erotic Vatan [Homeland] as Beloved and Mother: To Love, to Possess, and to Protect.’ Comparative Studies in Society and History, no. 3 (1997), 442–467.Google Scholar
Nasr, Seyyed Hossein. The Garden of Truth: The Vision and Promise of Sufism, Islam’s Mystical Tradition. New York: Harper Collins, 2007.Google Scholar
Nirumand, Bahman. Persien, Modell eines Entwicklungslandes. Reinbek b. Hamburg: Rowohlt, 1967.Google Scholar
Nodjoumi, Nicky, and Neshat, Shirin (eds.). Ardeshir Mohassess: Art and Satire in Iran. Exh.-Cat. Asia Society. New York: Asia Society Antique Collectors’ Club, 2008.Google Scholar
Nye, Joseph S. Soft Power: The Means to Success in World Politics. New York: Public Affairs, 2004.Google Scholar
Pahlavi, Mohammad Reza. Toward the Great Civilization: A Dream Revisited. London: Satrap Publishing, 1994.Google Scholar
Pakbaz, Ruyin. Contemporary Iranian Painting and Sculpture. Tehran: Ministry of Fine Arts and Culture, 1974.Google Scholar
Pakbaz, Ruyin. ‘Dar jostiju-ye hoviyat’ [‘Seeking Identity’]. Herfeh: Honarmand. Tehran: Herfeh:Honarmand, 2007. 18.Google Scholar
Pakbaz, Ruyin. Encyclopedia of Art. Tehran: Farhang-e Moaser, 1999.Google Scholar
Pakbaz, Ruyin. Naqashi-ye Iran: Az diruz ta emruz [Iranian Painting: From Yesterday to Today]. Tehran: B Nashr-e Naristan, 2000.Google Scholar
Pakbaz, Ruyin, and Emdadian, Yaghoub. Massoud Arabshahi: Pioneers of Iranian Modern Art. Exh.-Cat. Tehran: Tehran Museum of Contemporary Art, 2001.Google Scholar
Pakbaz, Ruyin, and Emdadian, Yaghoub. Pioneers of Iranian Modern Art: Charles Hossein Zenderoudi. Exh.-Cat. Tehran: Tehran Museum of Contemporary Art, 2001.Google Scholar
Pakbaz, Ruyin, and Emdadian, Yaghoub (eds.). Pioneers of Modern Iranian Art: Parviz Tanavoli. Exh.-Cat. Tehran: Tehran Museum of Contemporary Art, 2003.Google Scholar
Parsi, Trita. Losing an Enemy: Obama, Iran, and the Triumph of Diplomacy. Yale: Yale University Press, 2017.Google Scholar
Parsikia, Farshid, et al. Horus-e changi, Pazuheshi darbare-ye anjoman-e honari [The Fighting Rooster, Research about the Artistic Association]. Tehran: Poshtebaamag.ir, 2019Google Scholar
Parzinger, Helmut. ‘On the Unifying Power of Art and an Unrealised Exhibition.’ In Brill, Dorothée, Jäger, Joachim, and Montua, Gabriel (eds.), The Tehran Modern: A Reader about Art in Iran since 1960. Berlin: Nationalgalerie, Staatliche Museen zu Berlin, 2017. 613.Google Scholar
Pfisterer, Ulrich (ed.). Metzler Lexikon Kunstwissenschaft: Ideen, Methoden, Begriffe. Stuttgart: Metzler, 2019.Google Scholar
Pickett, James. ‘Soviet Civilization through a Persian Lens: Iranian Intellectuals, Cultural Diplomacy and Socialist Modernity 1941–55.’ Iranian Studies, vol. 48, no. 5 (2015), 805826.Google Scholar
Pope, Arthur Upham, and Ackerman, Phyllis, A Survey of Persian Art from Prehistoric Times to the Present. London: Oxford University Press, 1938.Google Scholar
Popp, Roland. ‘An Application of Modernization Theory during the Cold War? The Case of Pahlavi Iran.’ The International History Review, vol. 30, no. 1 (2008), 7698.Google Scholar
Pratt, Marie Louise. ‘Arts of the Contact Zone.’ Profession (1991), 33–40.Google Scholar
Prita, Meier. ‘Authenticity and Its Modernist Discontents. The Colonial Encounter and African and Middle Eastern Art History.’ The Arab Studies Journal, vol. 18, no. 1 (Spring 2010), 1245.Google Scholar
Rancière, Jacques. Aesthetics and Its Discontents. Cambridge: Polity, 2009. 23.Google Scholar
Rancière, Jacques. Dissensus: On Politics and Aesthetics. London: Bloomsbury Academic, 2010. 21.Google Scholar
Ridgeon, Lloyd. Morals and Mysticism in Persian Sufism: A History of Sufi-futuwwat in Iran. London: Routledge, 2014.Google Scholar
Ridgeon, Lloyd. Sufi Castigator, Ahmad Kasravi and the Iranian Mystical Tradition. London: Routledge, 2006.Google Scholar
Roaf, S. ‘BĀDGĪR.’ Encyclopædia Iranica, Online edition, 1988. www.iranicaonline.org/articles/badgir-traditional-structure-for-passive-air-conditioning. Accessed 4 February 2017.Google Scholar
Robbins, Daniel. André Lhote, 1885–1962. Cubism. Exh. Cat. New York: Leonard Hutton Galleries, 1976.Google Scholar
Rosalyn, Deutsche. ‘Property Values: Hans Haacke, Real Estate and the Museum.’ In Deutsche, R. (ed.), Evictions: Art and Spatial Politics. Cambridge, MA: MIT Press, 1996. 159192.Google Scholar
Rutherford, Jonathan. ‘The Third Space: Interview with Homi Bhabha.’ In Rutherford, J. (ed.), Identity, Community, Culture, Difference. London: Lawrence and Wishart, 1990. 207221.Google Scholar
Sadeghi-Boroujerdi, Eskandar. ‘Gharbzadegi, Colonial Capitalism and the Racial State in Iran.’ Postcolonial Studies, vol. 24, no. 2 (2021), 173194.Google Scholar
Safran, William. ‘Diasporas in Modern Societies: Myths of Homeland and Return.’ Diaspora: A Journal of Transnational Studies, no. 1 (1991), 83‒99.Google Scholar
Said, Edward. Orientalism. New York: Penguin Books, 1978.Google Scholar
Salemy, Mohammed, and Heidenreich, Stefan. ‘Vultures over TMOCA? What’s behind the Cancellation of the Berlin Exhibition from the Collection of Tehran Museum of Contemporary Art.’ E-flux, 2016.Google Scholar
Samadzadegan, Behrang, Kamrani, Behnam, and Delzendeh, Siamak. Etemad Newspaper, 9 April 2014. www.magiran.com/article/2926864. Accessed 23 October 2019.Google Scholar
Sandijian, Manuchehr. ‘Temporality of “Home” and Spatiality of Market in Exile: Iranians in Germany.’ New German Critique, no. 64 (Winter 1995), 3–36.Google Scholar
Sarshar, Houman. ‘From Allegory to Symbol: Emblems of Nature in the Poetry of Nima Yushij.’ In Hakkak, Ahmad Karimi and Talattof, Kamran (eds.), Essays on Nima Yushij: Animating Modernism in Persian Poetry. Leiden: Brill, 2004. 99138.Google Scholar
Saunders Stonor, Frances. Who Paid the Piper? CIA and the Cultural Cold War. London: Granta, 1999.Google Scholar
Savoy, Bénédicte. Die Provenienz der Kultur. Von der Trauer des Verlusts zum universalen Menschheitserbe. Berlin: Matthes & Seitz Berlin, 2018.Google Scholar
Schimmel, Annemarie. Mystical Dimensions of Islam. Chapel Hill: University of North Carolina Press, 1975.Google Scholar
Severi, Hamid. ‘Mapping Iranian Contemporary Publications and Knowledge-Production.’ In Keshmirshekan, Hamid (ed.), Contemporary Art from the Middle East: Regional Interactions with Global Art Discourses. London: I. B. Tauris, 2015. 6988.Google Scholar
Shahshahani, Soheila (ed.). Cities of Pilgrimage. Berlin: Lit, 2009.Google Scholar
Shams, Alex. ‘The Weaponization of Nostalgia: How Afghan Miniskirts Became the Latest Salvo in the War on Terror.’ Ajam Media Collective 6. 2017. https://ajammc.com/2017/09/06/weaponization-nostalgia-afghan-miniskirts/. Accessed 4 July 2018.Google Scholar
Shariati, Ali. Fatima Is Fatima. Translated by Bakhtiar, Laleh. Tehran: Shariati Foundation, 1981.Google Scholar
Shaw, Wendy M. K. What Is ‘Islamic’ Art? Between Religion and Perception. Cambridge: Cambridge University Press, 2019.Google Scholar
Sheybani, Manuchehr. Poem (Untitled). Fighting Rooster Magazine, no. 1 (Tehran, 1948), 43–45.Google Scholar
Shirazi, Reza M. Contemporary Architecture and Urbanism in Iran: Tradition, Modernity, and the Production of ‘Space-in-Between’. Cham: Springer, 2018.Google Scholar
Shirvanloo, Firouz. ‘Creative Return to Iran’s Ancient Art.’ Tehran, 1977. Cited in Pakbaz, Ruyin and Emdadian, Yaghoub (eds.). Massoud Arabshahi: Pioneers of Iranian Modern Art. Exh.-Cat. Tehran: Tehran Museum of Contemporary Art, 2001. 89.Google Scholar
Slobodian, Quinn. Foreign Front: Third World Politics in Sixties West Germany. Durham, NC: Duke University Press, 2012.Google Scholar
Spivak, Gayatri Chakravorty. ‘The Rani of Sirmur: An Essay in Reading the Archives.’ History and Theory, vol. 24, no. 3 (October 1985), 247272.Google Scholar
Spivak, Gayatri Chakravorty. ‘Three Women’s Texts and a Critique of Imperialism.’ Critical Inquiry, vol. 12, no. 1 ‘Race, Writing, and Difference’ (Autumn 1985), 243261.Google Scholar
Stowasser, Barbara Freyer. Women in the Qur’an, Traditions, and Interpretation. New York: Oxford University Press, 1996Google Scholar
Tadjvidi, Akbar. L’art moderne en Iran. Tehran: Ministry of Fine Arts and Culture, 1967.Google Scholar
Talar-e Qandriz. Tehran: Herfeh Honarmand, 2016.Google Scholar
Talattof, Kamran. ‘Ideology and Self-Portrayal in the Poetry of Nima Yushij.’ In Hakkak, Ahmad Karimi and Talattof, Kamran (eds.), Essays on Nima Yushij: Animating Modernism in Persian Poetry. Leiden: Brill, 2004. 6998.Google Scholar
Tanavoli, Parviz. ‘Atelier Kaboud.’ In Galloway, David (ed.), Parviz Tanavoli: Sculptor, Writer, and Collector. Tehran: Iranian Art Publishing, 2000.Google Scholar
Taylor, Charles. A Secular Age. Cambridge, MA: Belknap Press of Harvard University Press , 2007.Google Scholar
Tekiner, Deniz. ‘Formalist Art Criticism and the Politics of Meaning.’ Social Justice, vol. 33, no. 2 ‘Art, Power, and Social Change’ (2006), 3144.Google Scholar
Tottoli, Roberto. ‘At Cock-Crow: Some Muslim Traditions About the Rooster.’ Der Islam, Bd., vol. 76 (1999), 139144.Google Scholar
Vahabi, Nader. ATLAS de la diaspora Iranienne. Paris: Ed. Karthala, 2012.Google Scholar
Van Hook, James C., and Howard, Adam M. (eds.). Foreign Relations of the United States, 1952–1954, Iran, 1951–1954. Vol. XIX. Washington: Government Printing Office, 2017. https://static.history.state.gov/frus/frus1951–54Iran/pdf. Accessed 23 October 2017.Google Scholar
Wasserstrom, Steven M. Religion after Religion: Gershom Scholem, Mircea Eliade and Henry Corbin at Eranos. Princeton: Princeton University Press, 1997.Google Scholar
Wedekind, Gregor. ‘Abstraktion und Abendland: Die Erfindung der documenta als Antwort auf ‘unsere deutsche Lage.’ In Doll, Nikola (ed.), Kunstgeschichte nach 1945: Kontinuität und Neubeginn in Deutschland. Köln: Böhlau, 2006. 165182.Google Scholar
Weibel, Peter. ‘Globalization: The End of Modern Art?’ ZKM Magazine, 2013. https://zkm.de/en/magazine/2013/02/globalization-the-end-of-modern-art. Accessed 25 October.Google Scholar
Weingarden, Lauren S.Aesthetics Politicized: William Morris to the Bauhaus.’ Journal of Architectural Education, vol. 38, no. 3 (1985), 813.Google Scholar
Wilson, Peter Lamborn. ‘“The Saqqa–Khaneh” from Saqqakhaneh, 1977.’ In Daftari, Fereshteh and Diba, Layla S. (eds.), Iran Modern. Exh. Cat. New York: Asia Society Museum in Association with Yale University Press New Haven, 2013. 231233.Google Scholar
Winegar, Jessica. ‘The Humanity Game: Art, Islam, and the War on Terror.’ Anthropological Quarterly, vol. 81, no. 3 (2008), 651681.Google Scholar
Wünsche, Isabel. ‘Expressionist Networks, Cultural Debates, and Artistic Practices: A Conceptual Introduction.’ In Wünsche, Isabel (ed.), The Routledge Companion to Expressionism in a Transnational Context. New York: Routledge Taylor & Francis Group, 2019. 130.Google Scholar
Yarshater, Ehsan. ‘Contemporary Persian Painting.’ In Ettinghausen, Richard and Yarshater, Ehsan (eds.), Highlights of Persian Art. Boulder: Wittenborn Art Books, 1979. 363377.Google Scholar
Yarshater, Ehsan. ‘Foreword’ VIV. In Al-e Ahmad, Jalal (ed.), Plagued by the West (Gharbzadegi). Delmar, NY: Center for Iranian Studies Columbia University, 1981.Google Scholar
Yavari, Houra. Karim Emami on Modern Iranian Culture, Literature & Art. New York: Persian Heritage Foundation.Google Scholar
Young, Robert J. C. Postcolonialism: An Historical Introduction. Oxford: Blackwell, 2001.Google Scholar
Yousefi, Hamed. ‘ART+ART: The Avant-Garde in the Streets.’ E–Flux Journal, no. 82 (May 2017).Google Scholar
Yushij, Nima. ‘About the City of the Morning.’ Fighting Rooster Magazine, no. 1 (Tehran, 1948), 12.Google Scholar
Zia-Ebrahimi, Reza. ‘Self-Orientalization and Dislocation: The Uses and Abuses of the “Aryan” Discourse in Iran.’ Iranian Studies, vol. 4, no. 4 (July 2011), 445472.Google Scholar
Ziapour, Jalil. ‘Naqashi’ (Painting). Fighting Rooster Magazine, no. 1 (Tehran, 1948), 1215.Google Scholar
Ziapour, Jalil. Refute of the Theories of Past and Contemporary Ideologies from Primitive to Surrealism. 1948. www.ziapour.com/wp-content/uploads/2008/12/jalil_ziapour_theory.pdf. Accessed 4 April 2019.Google Scholar
Zolghadr, Tirdad. Ethnic Marketing. Zurich: JRP/Ringier, 2006.Google Scholar
Zolghadr, , Traction. Berlin: Sternberg Press, 2016.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Select Bibliography
  • Katrin Nahidi, Universität Graz, Austria
  • Book: The Cultural Politics of Art in Iran
  • Online publication: 07 September 2023
  • Chapter DOI: https://doi.org/10.1017/9781009361392.007
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Select Bibliography
  • Katrin Nahidi, Universität Graz, Austria
  • Book: The Cultural Politics of Art in Iran
  • Online publication: 07 September 2023
  • Chapter DOI: https://doi.org/10.1017/9781009361392.007
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Select Bibliography
  • Katrin Nahidi, Universität Graz, Austria
  • Book: The Cultural Politics of Art in Iran
  • Online publication: 07 September 2023
  • Chapter DOI: https://doi.org/10.1017/9781009361392.007
Available formats
×