Relevant bibliographies by topics / Shirin Neshat

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Shirin Neshat'

Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Shirin Neshat"

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Millet, Bernard. "Shirin Neshat." La pensée de midi N° 5-6, no. 2 (September 1, 2001): 172–79. http://dx.doi.org/10.3917/lpm.005.0172.

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Traficante, Alana. "Shirin Neshat,Soliloquy." Senses and Society 10, no. 3 (September 2, 2015): 390–93. http://dx.doi.org/10.1080/17458927.2015.1108682.

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MacDonald, Scott, and Shirin Neshat. "Between Two Worlds: An Interview with Shirin Neshat." Feminist Studies 30, no. 3 (October 1, 2004): 620. http://dx.doi.org/10.2307/20458988.

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Vitali, Valentina. "Corporate art and critical theory: on Shirin Neshat." Women: A Cultural Review 15, no. 1 (March 2004): 1–18. http://dx.doi.org/10.1080/0957404042000197161.

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Rounthwaite, Adair. "Veiled Subjects: Shirin Neshat and Non-liberatory Agency." Journal of Visual Culture 7, no. 2 (August 2008): 165–80. http://dx.doi.org/10.1177/1470412908091936.

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K Shaw, Wendy Meryem. "Ambiguity and audience in the films of Shirin Neshat." Third Text 15, no. 57 (December 2001): 43–52. http://dx.doi.org/10.1080/09528820108576941.

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Moore, Lindsey. "Frayed Connections, Fraught Projections: The Troubling Work of Shirin Neshat." Women: A Cultural Review 13, no. 1 (January 2002): 1–17. http://dx.doi.org/10.1080/095740400210122959.

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KARAÇALI, Hülya. "THE EFFECT OF MIGRATION ON THE ARTISTIC CREATION PROCESS: SHİRİN NESHAT." INTERNATIONAL REFEREED JOURNAL OF DESIGN AND ARCHITECTURE, no. 7 (April 30, 2016): 224. http://dx.doi.org/10.17365/tmd.2016716523.

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Sivri, Melis Tanik. "Establishing an Authentic Artistic Identity." Romanian Journal of Psychoanalysis 11, no. 2 (December 1, 2018): 27–40. http://dx.doi.org/10.2478/rjp-2018-0015.

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Abstract Shirin Neshat is an Iranian contemporary female artist who is in exile by choice. Born in Qazvin, Iran, in 1957, the artist moved to the United States in 1974 in order to study arts. Due to the Islamic Revolution in 1979, she was prevented from going back to her country. In 1990, after almost 12 years, Neshat visited Iran for the first time after the revolution, which transformed her artistic life into a productive one, full of prizes. The aim of this article is to reflect on the impact of Neshat’s homecoming experience in developing an authentic artistic identity. The emphasis of the paper will be on the artist’s first cinematic film, Turbulent (1998), which will be discussed as a manifestation of the artist’s working through the turbulent encounter with the changes in the motherland after a long separation due to the revolution.
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Navab, Aphrodite Désirée. "Unsaying Life Stories: The Self-Representational Art of Shirin Neshat and Ghazel." Journal of Aesthetic Education 41, no. 2 (2007): 39–66. http://dx.doi.org/10.1353/jae.2007.0014.

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Dissertations / Theses on the topic "Shirin Neshat"

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Khosravi, Mojgan. "Shirin Neshat: A Contemporary Orientalist." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/73.

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This thesis analyzes Shirin Neshat’s Women of Allah photographs by exploring key socio-political events that have shaped Iranian history since the reign of Cyrus the Great, ca. 600 B.C. Since Neshat’s photographs have been largely intended for a Western audience, it is important to explore the concept of colonialism that has created East/West polarities and so greatly influenced our modern era. This paper intends to demonstrate that Neshat’s images perpetuate Edward Said’s concept of Orientalism, which allocates the Oriental to an inferior position vis-à-vis his Occidental counterpart. For a Western audience, Neshat’s consistent use of the Muslim veil, illegible Persian calligraphy, and guns symbolizes Islam’s violence and degeneracy; additionally, these elements position the Muslim woman as a subaltern entity in an archaic society. As a result, the Iranian Muslim woman remains restricted by her social, cultural, and religious praxis, as well as by Neshat’s formal and contextual depiction of her.
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Nelson, Margaret. "Karo-kari and chadors appropriation of oppressors' tools in Salman Rushdie's Shame and Shirin Neshat's visual art /." To access this resource online via ProQuest Dissertations and Theses @ UTEP, 2008. http://0-proquest.umi.com.lib.utep.edu/login?COPT=REJTPTU0YmImSU5UPTAmVkVSPTI=&clientId=2515.

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Ragnestam, Maria. "Drapering av en illusion : En komparativ studie med utgångspunkt i fotografierna av Leila Khaled och Shirin Neshat." Thesis, Södertörn University College, The School of Culture and Communication, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-1033.

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The aim of this paper is to perform a comparative study between the photography’s of Leila Khaled and Shirin Neshat in order to observe if the woman are able to recede from an conventional formation to become the bearer of the veil and not only reduced to that which

needs to be concealed. From a feministic perspective I have observed how the symbolic of the veil moulds the woman and how the woman in her context moulds the veil.

In the description of the news photography of Khaled and the art photography produced by Neshat the mechanisms that lies as a foundation for the modelling of the portraits becomes

the essays primary entrance. Mechanisms that evolve around the creation of the woman as aconcept, a subject shaped for being looked at and the woman’s self-image through others.

The textual discourse is visually enhanced through a comparative picture material visually enhanced and explained through photographs by the contemporary artist photographers Cindy Sherman, Catherine Opie, Laurie Simmons, Robert Mapplethorpe and Elin Berge. The visual comparative material also interacts with the essays primary picture material and further expresses the oppression of the woman that occurs irrespective of culture through a patriarch cal gender system.

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Machado, Ana Filipa Sérgio Romão. "Fotografia e espaço de (encen)acção do real. Para uma leitura da obra Women of Allah, de Shirin Neshat." Master's thesis, Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa, 2011. http://hdl.handle.net/10362/6973.

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Dissertação de Mestrado em Ciências da Comunicação Variante de Cultura Contemporânea e Novas Tecnologias
O carácter imediato e mecânico da fotografia confere-lhe um estatuto que, desde o início, a sustenta como apodíctica prova de verosimilhança com o real. Da automaticidade e ausência de intervenção humana decorrem, precisamente, os pilares onde assentou a sua implementação no século XIX. Este primeiro entendimento da fotografia sustentado pela naturalidade mimética será, mais tarde, confrontado com um quadro de pensamento que defende o carácter fortemente codificado do medium. A fotografia estaria, assim, impregnada da sua circunstância e por ela condicionada. Uma terceira linha de pensamento recupera o intransponível laço com o referente estando consciente de que, a partir do momento que a imagem é feita, está imbuída de códigos que nunca mais a abandonarão. O fascínio do homem pela representação de si mesmo e do outro não é recente. A necessidade de representação e, particularmente, a autorepresentação, é sintoma de uma presença no mundo e corresponde à constatação do hiato sentido pelo próprio ser humano dada a sua condição de ser finito. O rosto e o corpo surgem como lugares de constante inquirição e campo de trabalho por excelência. Os retratos mantêm viva a presença do referente, mesmo quando este está ausente ou morto. A ausência é colmatada pela imagem. A fotografia envia-nos, automaticamente, para uma realidade exterior e anterior, permitindo ao sujeito voltar a re-ver(-se). Embora, comummente, ainda esteja instituído um entendimento da fotografia indexado à promessa de relação privilegiada com o real, o sentido da imagem fotográfica tem sofrido alterações na sociedade contemporânea, e, nomeadamente, nos circuitos artísticos. A artista iraniana Shirin Neshat, na obra Women of Allah, socorre-se da fotografia, precisamente, pelas suas características de proximidade com o real, utilizando o medium fotográfico como espaço de encenação e ficção desse mesmo real.
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Afshani, Hadieh. "Double Displacement: The Iranian Immigrant Experience." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/368180.

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In a TED talk given in 2010, Iranian visual artist Shirin Neshat articulated the two battles that the Iranian diaspora are engaged in—one is against their government, whose regime gives cause to flee, and the other is against the Western perceptions of Iranian identity that Iranians face after immigrating. My experience of emigrating from Iran to Australia is consistent with Neshat’s statement. I call the feeling of being a nomad or not belonging anywhere ‘double displacement’, an idea central to this Master of Visual Arts project. Through painting, I have considered the ways in which people maintain their identity and cultural vision after experiencing the disruption and displacement of immigration. I am interested in what the experience of double displacement (from the birth country and the new destination country) means and how it feels, especially from a Middle Eastern perspective. The end result of this series of works is something like a visual diary recorded by a woman with a Persian-poetic view of experience. To describe double displacement, I have used metaphoric and metonymic visual elements that refer to transience, including doorways, corridors, or light coming from one space to another sited within intimate places and interiors. The purpose of this research is to visually encapsulate the experience of doubly displaced immigrants. Through this research, I have attempted to find a more nuanced language with which to understand double displacement via the visual and material language of painting.
Thesis (Masters)
Master of Visual Arts (MVA)
Queensland College of Art
Arts, Education and Law
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Qader, Shahram. "Konst och exil : En undersökning av Shirin Neshats fotografi och videokonst i relation till exil." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-27445.

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The Iranian artist Shirin Neshat has been living in self-imposed exile since the late 1970s, as she chose not to return to her home country following the ‘79 Islamic Revolution. Through her works Neshat examines Iran before and after the revolution and follows political and civil transformations through strong photographs of women in her country of birth.  My own use of the term exile deals with the analysis of the state of exile in relation to artistic work as a globalized and underlying motivation for art and artists. The new definition of exile is analyzed in relation with the artist’s photographs and the verbal and visual statements. The verbal and visual photographs in the work of Neshat are related to the term exile through different allegories and metaphors that are to be found in lyricist Rumi’s classical poetry, the Bible and the Quran. The artist’s use of the visual photographs where women appear with hijab covering their hair and with weapons in their hands- in some pictures without any audience at all, in others decorated with different calligraphic texts- are combined with the verbal photograph which is created through music (song) and language. The verbal and visual statements complete one another in a united effort to visualize exile as a term, therefore every attempt to separate these two a part, will inevitably deprive the audience of the statement itself, which is in this case the psychoanalytical inner exile. One does not have to be outside her home to feel the state of exile; it can be felt mentally even if one is at home. The inner exile is a global experience. This form of exile is born when the community is categorized from two extremes, with one side of the equation possessing power and the other being classified as weak and ”the other”. I use the status of women in Iran as an example in my investigation, where women are at home but are still very much outside of it, alienated for their gender (sex).
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Alwazzan, Maryam. "Reframing Borders: A Study of the Veil, Writing and Representation of The Female Body In The Photo-Based Artwork of Mona Hatoum, Shirin Neshat and Lalla Essaydi." Thesis, University of Oregon, 2019. http://hdl.handle.net/1794/24534.

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For a long time, most women believed they had to choose between their Muslim or Arab identity and their belief in social equality of sexes. It was almost impossible to choose between either betraying their religious beliefs or their desires for social, political and economic justice, up until an upsurge of a feminist sentiment started to grow among women who were seeking to reclaim the Islamic paradigm and the Quran for themselves in the late nineteenth century (Bardan, 2005). During that time, contemporary female artists from the Arab and Muslim worlds started to create their own tools in their fight against oppressive patriarchal societies in order to express their feminine powers and renegotiate their identities. In this thesis, I analyze the feminist tools used in paradigmatic photo-based artworks by three contemporary female artists from the Arab and Muslim worlds: Mona Hatoum, Shirin Neshat, and Lalla Essaydi.
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Khakbaz, Joybargholi Mozhdeh. "Feminism and identity in the work of contemporary Iranian female artists." Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/91313/4/Mozhdeh%20Khakbaz%20Joybargholi%20Thesis.pdf.

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This practice-led project focuses on the Iranian context and the role of female Iranian artists using digital mediums to influence the social, political and environmental life of Iranian women. The exegetical component presents a discussion on the intersection between three theoretical areas of artistic practice in Iran; feminism, cross-cultural practice and digital image making. Particular concern to this study is the growing role of female Iranian artists in challenging the social status quo. This is conducted through an investigation of a number of Iranian female artists in the form of case studies and interviews and a discussion on the impacts of their work on the resulting creative practice portion of this study.
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"Displacement, Belonging, Photography: Gender and Iranian Identity in Shirin Neshat's The Women of Allah (1993-7) and The Book of Kings (2012)." Master's thesis, 2015. http://hdl.handle.net/2286/R.I.30038.

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abstract: Shirin Neshat is recognized as the most prominent artist of the Iranian diaspora. Her two photographic series, Women of Allah (1993-97) and The Book of Kings (2012), are both reactions to the socio-political events and the change of female identity in Iran. The search for Iranian identity has a long tradition in Iranian photography. Neshat's figures, with their penetrating gazes, heavy draperies, and body postures, make reference to nineteenth-century Qajar photography. Through various cultural elements in her artworks, Neshat critiques oppression in Iranian society. Neshat employs and inscribes Persian poetry to communicate contradiction within Iranian culture. To read Neshat’s photography, it is crucial to register her use of Persian language and historical poetry. Although the reading and understanding of the Persian texts Neshat inscribes on her photographs plays a fundamental role in the interpretation of her work, Neshat’s artworks are not entirely conceptual. The lack of translation of these included texts in Neshat’s exhibitions indicates a decorative use of Persian calligraphy. The Western eye can aesthetically explore this exotic Eastern decorative calligraphy. The formal qualities of Neshat’s photographs remain, even if the viewer is unable to read or understand the Persian texts.
Dissertation/Thesis
Masters Thesis Art History 2015
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Books on the topic "Shirin Neshat"

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Neshat, Shirin. Shirin Neshat. Kassel: Museum Fridericianum, 1998.

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Neshat, Shirin. Shirin Neshat. London: Serpentine Gallery, 2000.

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Neshat, Shirin. Shirin Neshat. London: Serpentine Gallery, 2000.

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Neshat, Shirin. Shirin Neshat. Høvikodden: Henie Onstad Kunstsenter, 1999.

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Flammersfeld, Anna. Shirin Neshat. Berlin, Heidelberg: Springer Berlin Heidelberg, 2014. http://dx.doi.org/10.1007/978-3-662-58324-1.

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Neshat, Shirin. Shirin Neshat. Wien: Kunsthalle Wien, 2000.

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Gallery, Barbara Gladstone, ed. Shirin Neshat: 2002-2005. Milano: Charta, 2005.

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Neshat, Shirin. Shirin Neshat: Games of desire. Milano: Charta, 2009.

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Gallery, Barbara Gladstone, and Galerie Jérôme de Noirmont, eds. Shirin Neshat: Games of desire. Milano: Charta, 2009.

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Neshat, Shirin. Shirin Neshat: Women of Allah. Vancouver: Artspeak Gallery, 1997.

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Book chapters on the topic "Shirin Neshat"

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Flammersfeld, Anna. "Einführung." In Shirin Neshat, 1–12. Berlin, Heidelberg: Springer Berlin Heidelberg, 2014. http://dx.doi.org/10.1007/978-3-662-58324-1_1.

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Flammersfeld, Anna. "Hauptteil." In Shirin Neshat, 13–288. Berlin, Heidelberg: Springer Berlin Heidelberg, 2014. http://dx.doi.org/10.1007/978-3-662-58324-1_2.

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Flammersfeld, Anna. "Abschließende Zusammenfassung und Interpretation." In Shirin Neshat, 289–94. Berlin, Heidelberg: Springer Berlin Heidelberg, 2014. http://dx.doi.org/10.1007/978-3-662-58324-1_3.

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"SHIRIN NESHAT:." In Contemporary Art, World Cinema, and Visual Culture, 167–96. Anthem Press, 2019. http://dx.doi.org/10.2307/j.ctvf3w2p5.12.

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"12. Shirin Neshat: eine »leidenschaftliche Forscherin«." In Bildung vor Bildern, 207–24. transcript-Verlag, 2015. http://dx.doi.org/10.14361/9783839432778-013.

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"12. Shirin Neshat: eine »leidenschaftliche Forscherin«." In Bildung vor Bildern, 207–24. transcript Verlag, 2015. http://dx.doi.org/10.1515/9783839432778-013.

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Cummings, Brian. "Written on the Flesh." In Bibliophobia, 300–315. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192847317.003.0019.

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The chapter discusses the widespread practice of using writing as form of body art. This begins with the modern example of the Iranian artist Shirin Neshat, who transfers images of Persian and Islamic writing onto photographs of human subjects including herself. This opens out into a wide-ranging discussion of the history of the tattoo: its use as a stigma (and confusion with branding) in Jewish and early Christian culture; its reclamation in Japanese culture; and its ambiguous status in the anthropology of the Polynesian islands, from Captain Cook onwards. At stake is how far writing suggests internalization or externalization: this culminates in a discussion of the politics of inscription in the theoretical writings of Foucault, and in the history of the Inquisition up to the time of Goya.
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Sezer, Işık. "Post-Orientalist Comments by Contemporary Women Photographers." In Advances in Media, Entertainment, and the Arts, 375–97. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-7180-4.ch023.

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Today, Iran, Morocco, Tunisia, etc. women photographers have made the orientalist visual expression form the focal point of their art: the orientalist painting tradition as a result of the painter Delacroix's trip to Morocco in 1832, the imagination world and the painting tradition shaped by the economy-politics of the period, from the male-dominated point of view, the harem, the chamber, etc. It is based on fantasies based on the female body in oriental spaces. Although this painting movement maintained its effectiveness between 1832-1914, it is taken as a reference by photographers in today's postmodern art environment. In today's photography art, Shirin Neshat, Lalla Essaydi, Shadi Ghadirian, Majida Khattari, Meriem Bouderbala, who have Eastern and Western cultures and mostly live in Western countries, visualize the position of women in their countries with an interdisciplinary interpretation in their photographic visions that they shape with a post-orientalist attitude.
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"Shirin Neshat’s Political(ized) Aesthetics." In Women, Art, and Literature in the Iranian Diaspora, 103–34. Syracuse University Press, 2019. http://dx.doi.org/10.2307/j.ctvkwnnqg.10.

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Langford, Michelle. "Seeking Love in the Interstices: Acousmatic Listening as Counter-Memory in Abbas Kiarostami’s Shirin (2008)." In Counter-Memories in Iranian Cinema, edited by Matthias Wittmann and Ute Holl, 146–66. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474479752.003.0009.

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Michelle Langford proposes a new close reading or, better, close listening of Kiarostami’s film experiment. As is well known, Kiarostami’s adaptation of the classical Persian tale of Khosrow and Shirin completely withholds the images of the story, allowing us instead to watch the faces of 114 actresses – all Iranian except one – as they themselves watch the film that we only experience acousmatically. While Kiarostami’s self-reflexive attention to the act of watching has engendered a significant amount of scholarship that focuses largely on questions of vision, gender, and spectatorship, Langford focuses on the off-screen sounds, voices, and music, demonstrating how Kiarostami circumvents the hegemonic privilege of vision, which allows him to completely ignore the censorship guidelines. Langford argues that by rendering the love story acousmatically, Kiarostami makes audible a veritable ›blind spot‹ in Iranian cinema: romantic love, a figure that has been almost completely effaced in post-revolutionary cinema, returns as a counter-memory, »one that reactivates the traces of an epic-poetic tradition and in doing so challenges the hegemony of censorship« (p. 147). The counter-memories nest in the »richly allusive interstitial space between sound and image« (p. 163), encouraging affective listening and giving a sonic body to the woman’s desires.
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