"Contemporary Art, World Cinema, and Visual Culture: Essays by Hamid Dabashi" brings together the work of a theorist of modern and contemporary arts to map out more universal issues of concern to art theory and criticism.
"Contemporary Art, World Cinema, and Visual Culture: Essays by Hamid Dabashi" brings together the work of a theorist of modern and contemporary arts to map out more universal issues of concern to art theory and criticism.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Hamid Keshmirshekan is an art historian, critic, senior teaching fellow at the Department of History of Art and Archaeology, School of Arts, and research associate at the London Middle East Institute, School of Oriental and African Studies (SOAS), University of London. He has been senior lecturer and head of Art History Department at the Advanced Research Institute of Art, Iranian Academy of Arts (2013-17) and associate fellow at the Khalili Research Centre, Faculty of Oriental Studies (2004-12) as well as in the History of Art Department at Oxford University (2012-13). He received his PhD in the history of art from SOAS in 2004 and was awarded two post-doctoral fellowships by Oxford University in 2004-5 and the British Academy, AHRC and ESRC in 2008, at Oxford University. His publications include the edited volume "Contemporary Art from the Middle East: Regional Interactions with Global Art Discourses" (2015) and "Contemporary Iranian Art: New Perspectives" (2013).
Inhaltsangabe
Section 1: Theory 1.1 Récit de l'Exil Occidental 1.2 East Is Not East 1.3 Trauma, Memory, and History Section 2: Visual Arts 2.1 Artists without Borders: On Contemporary Iranian Art 2.2 Persian Blues 2.3 It Was in China, Late One Moonless Night 2.4 The Gun and the Gaze: Shirin Neshat's Photography 2.5 Bordercrossings: Shirin Neshat's Body of Evidence 2.6 Shirin Neshat: Transcending the Boundaries of an Imaginative Geography 2.7 Capturing the Illusion of Reality: Mapping the Visual Subconscious of a People in the Photography of Bahman Jalali 2.8 Shoja Azari: Making the Homely Unhomely 2.9 Ardeshir Mohassess, Etcetera 2.10 Nicky Nodjoumi, Etcetera Section 3: Cinema 3.1 Quis Custodiet ipsos Custodes: Who Watches the Watchers? 3.2 The Sublime and the Beautiful in the Time of Terror 3.3 Women without Headaches 3.4 Warriors of Faith 3.5 The Rostamaneh Complex and Sohrab Syndrome 3.6 Amir Naderi's New York 3.7 The '300' Stroke 3.8 Tarek Al-Ghoussein Does Not Exist 3.9 A Deadly Cinematic Subconscious 3.10 In the Shadow of Two Monuments Index.
Section 1: Theory 1.1 Récit de l'Exil Occidental 1.2 East Is Not East 1.3 Trauma, Memory, and History Section 2: Visual Arts 2.1 Artists without Borders: On Contemporary Iranian Art 2.2 Persian Blues 2.3 It Was in China, Late One Moonless Night 2.4 The Gun and the Gaze: Shirin Neshat's Photography 2.5 Bordercrossings: Shirin Neshat's Body of Evidence 2.6 Shirin Neshat: Transcending the Boundaries of an Imaginative Geography 2.7 Capturing the Illusion of Reality: Mapping the Visual Subconscious of a People in the Photography of Bahman Jalali 2.8 Shoja Azari: Making the Homely Unhomely 2.9 Ardeshir Mohassess, Etcetera 2.10 Nicky Nodjoumi, Etcetera Section 3: Cinema 3.1 Quis Custodiet ipsos Custodes: Who Watches the Watchers? 3.2 The Sublime and the Beautiful in the Time of Terror 3.3 Women without Headaches 3.4 Warriors of Faith 3.5 The Rostamaneh Complex and Sohrab Syndrome 3.6 Amir Naderi's New York 3.7 The '300' Stroke 3.8 Tarek Al-Ghoussein Does Not Exist 3.9 A Deadly Cinematic Subconscious 3.10 In the Shadow of Two Monuments Index.
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