The article 'The Other Modernism: Rediscovering Iran’s Avant-Garde' was published on the website 'Art News' on February 7, 2013. It was written by Robin Cembalest.
The aim of the article is to give the reader some information about the Modern Iran's post-war art. The author draws our attention to the most vibrant artists, who are famous for their independent point of view.
Robin Cembalest writes that nowadays the Asian, Latin and Iran Modernism attracts people's attention all over the world. So, such exhibitions can be found in the Museum of Modern Art, Tate Modern in London, Asia Society Museum in New York and others. But the greatest interest is shown to Iran's Modernism, maybe because nobody knows about it a lot. Though Iran was very much part of the conversation in the postwar era, when its artists studied abroad, the Islamic Revolution moved the conversation elsewhere.
Further the auther repotes that this September, Asia Society Museum in New York is going to show more than 100 objects from the ’50s to the ’70s. The exhibition will explore the ways these lesser-known Middle Eastern modernists forged their own version of an international style, borrowing liberally from Western-art traditions as they inventively updated their own.
Cembalest points out that earlier European modernism was a strong influence on Iran's artists. He gives examples of them and shows their best paintings: Houshang Pezeshknia 'Khark', Marcos Grigorian, Faramarz Pilaram, Parviz Tanavoli 'Heech'. And the author adds that the Irani modernists might have more in common with today’s global avant-garde than the fabled New York School did.
In conclusion, Robin Cembalest describes another Iran's painting of Ardeshir Mohassess. It was one of the final works in “Iran Modern”, as the Revolution had begun, and the era of Iran’s freewheeling avant-garde was over. But artists continued to work and created new pieces of art. The author is sure that was another sign that traditional boundaries are eroding.
And I couldn't but agree with the author, because the world community is tired of wars, people don't need wars. So, I think that art can help people to unite. And with the help of art people all over the world can not only be equal and united but also be spiritually enriched.
The aim of the article is to give the reader some information about the Modern Iran's post-war art. The author draws our attention to the most vibrant artists, who are famous for their independent point of view.
Robin Cembalest writes that nowadays the Asian, Latin and Iran Modernism attracts people's attention all over the world. So, such exhibitions can be found in the Museum of Modern Art, Tate Modern in London, Asia Society Museum in New York and others. But the greatest interest is shown to Iran's Modernism, maybe because nobody knows about it a lot. Though Iran was very much part of the conversation in the postwar era, when its artists studied abroad, the Islamic Revolution moved the conversation elsewhere.
Further the auther repotes that this September, Asia Society Museum in New York is going to show more than 100 objects from the ’50s to the ’70s. The exhibition will explore the ways these lesser-known Middle Eastern modernists forged their own version of an international style, borrowing liberally from Western-art traditions as they inventively updated their own.
Cembalest points out that earlier European modernism was a strong influence on Iran's artists. He gives examples of them and shows their best paintings: Houshang Pezeshknia 'Khark', Marcos Grigorian, Faramarz Pilaram, Parviz Tanavoli 'Heech'. And the author adds that the Irani modernists might have more in common with today’s global avant-garde than the fabled New York School did.
In conclusion, Robin Cembalest describes another Iran's painting of Ardeshir Mohassess. It was one of the final works in “Iran Modern”, as the Revolution had begun, and the era of Iran’s freewheeling avant-garde was over. But artists continued to work and created new pieces of art. The author is sure that was another sign that traditional boundaries are eroding.
And I couldn't but agree with the author, because the world community is tired of wars, people don't need wars. So, I think that art can help people to unite. And with the help of art people all over the world can not only be equal and united but also be spiritually enriched.
Good!
ОтветитьУдалитьSLIPS:
avoid writing the beginning of a sentence with "and"
the world community is tired of wars, people don't need wars. (WARS - repetition, use the synonims instead! armed conflicts, for example)
And with the help of art...-it's better to place it at the end of the sentence as object.