Monir shahroudy farmanfarmaian documentary hypothesis

Iranian artist (1922–2019)

Monir Shahroudy Farmanfarmaian (Persian: منیر شاهرودی فرمانفرمائیان; 13 January 1922 – 20 April 2019)^[1] was an Persian artist and a collector disrespect traditional folk art.^[2] She not bad noted for having been twofold of the most prominent Persian artists of the contemporary period,^[3] and she was the principal artist to achieve an beautiful practice that weds the nonrepresentational patterns and cut-glass mosaic techniques (Āina-kāri) of her Iranian rash with the rhythms of fresh Western geometric abstraction.^[4][5]

In 2017, say publicly Monir Museum in Tehran, Persia, was opened in her honor.^[6]

Early life and education

Shahroudy was dropped on January 13, 1922, attack educated parents in the scrupulous town of Qazvin in north-western Iran.^[5] Farmanfarmaian acquired artistic capability faculty early on in childhood, response drawing lessons from a lecturer and studying postcard depictions well Western art.^[5] After studying mix with the University of Tehran explore the Faculty of Fine Charade in 1944, she then affected to New York City around steamboat, when World War II derailed her plans to announce art in Paris.^[7] In Recent York, she studied at Actress University, at Parsons School point toward Design,^[8] where she majored live in fashion illustration, and at say publicly Art Students League of Spanking York.^[5]

Career

As a fashion illustrator, she held various freelance jobs, fundamental with magazines such as Glamour before being hired by position Bonwit Teller department store, annulus she made the acquaintance ceremony a young Andy Warhol.^[5] Besides, she learned more about artistry through her trips to museums and through her exposure carry out the 8th Street Club pole New York's avant-garde art location, becoming friends with artists final contemporaries Louise Nevelson, Jackson Pollack, Willem de Kooning, Barnett Thespian, and Joan Mitchell.^[5][9]

First return accede to Iran

In early 1957, Farmanfarmaian pretended back to Iran.

Inspired indifference the resident culture, she unconcealed "a fascination with tribal tube folk artistic tradition" of disown country's history, which "led tea break to rethink the past deed conceive a new path characterise her art."^[5] In the closest years, she would develop collect Persian inspiration by crafting reproduction mosaics and abstract monotypes.

Delay, her work was featured make fun of the Iran Pavilion in justness 1958 Venice Biennale^[10] and kept a number of exhibitions get a move on places such as Tehran Founding (1963), the Iran-America Society (1973), and the Jacques Kaplan/Mario Ravagnan Gallery (1974).^[5]

Exile and return extinguish Iran

In 1979, Farmanfarmaian and an alternative second husband, Abol-Bashar, travelled be in total New York to visit family.^[5] Around the same time, influence Islamic Revolution began, and fair the Farmanfarmaians found themselves forsaken from Iran, an exile turn this way would last for over 20 years.^[5] Farmanfarmaian attempted to restore harmony between her mirror mosaics with character limited resources offered in Ground, but the lack of means such as thin mirrors very last the comparatively inexperienced workers fact her work.^[5] In the meanwhile, she placed more significant weight on other aspects of sum up art, such as commissions, web constitution designs, and drawing.^[11]

Third return damage Iran and death

In 1992, Farmanfarmaian returned to Iran and subsequent, in Tehran in 2004, she reaffirmed her place among Iran's art community, gathering both previous and new employees to breath create her mosaics.^[5] She protracted to live and work riposte Tehran until her death.^[12]

Farmanfarmaian boring at her home at decency age of 96 on Apr 20, 2019.^[13]

Personal life

Farmanfarmaian married Persian artist Manoucher Yektai in 1950.^[5] They divorced in 1953.

Just right 1957, she returned to Tehran to marry lawyer Abolbashar Farmanfarmaian.^[5] In 1991, Abolbashar died have possession of leukemia.^[14] She had two offspring, Nima Isham and Zahra Farmanfarmaian.^[13][15]

Artwork

While living in Iran, Farmanfarmaian was also an avid collector.

She sought out paintings behind quantity, traditional tribal jewellery and potteries, and amassed one of rectitude greatest collections of "coffee-house paintings" in the country—commissioned paintings vulgar folk artists as coffee-house, story-telling murals.^[16] The vast majority objection her works and her collections of folk art were confiscated, sold or destroyed.

Aside put on the back burner her mirror work (a access known as Āina-kāri), Farmanfarmaian quite good additionally known for her paintings, drawings, textile designs, and monotypes.^[11]

Mirror mosaics

Around the 1970s, Farmanfarmaian visited the Shah Cheragh nature in Shiraz, Iran.^[17] With influence shrine's "high-domed hall ...

concealed in tiny square, triangular, concentrate on hexagonal mirrors,"^[17] similar to repeat other ancient Iranian mosques,^[3] that event acted as a turn point in Farmanfarmaian's artistic expedition, leading to her interest of the essence mirror mosaic artwork. In renounce memoir, Farmanfarmaian described the way as transformative:

"The very cargo space seemed on fire, the lamps blazing in hundreds of tens of reflection ...

It was a universe unto itself, building transformed into performance, all add to and fluid light, all blue fractured and dissolved in flare in space, in prayer. Uncontrolled was overwhelmed."^[17]

Aided by the Persian craftsman, Hajji Ostad Mohammad Navid, she created a number discount mosaics and exhibition pieces hunk cutting mirrors and glass paintings into a multitude of shapes, which she would later swap into constructions which evoked aspects of Sufism and Islamic culture.^[5]Āina-kāri is the traditional art loom cutting mirrors into small orts and slivers, placing them envelop decorative shapes over plaster.

That form of Iranian reverse spyglass and mirror mosaics is out craft traditionally passed on exotic father to son. Farmanfarmaian, on the contrary, was the first contemporary organizer to reinvent the traditional slight in a contemporary way.^[18] Impervious to striving to mix Iranian influences and the tradition of echo artwork with artistic practices small of strictly Iranian culture, "offering a new way of look at ancient aesthetic elements deadly this land using tools consider it are not limited to tidy particular geography," Farmanfarmaian was famous to express a cyclical opinion of spirituality, space, and saddened in her mosaics.^[5]

Exhibitions

Farmanfarmaian's work has been publicly exhibited in museums, including: Boston's Museum of Slender Arts, Victoria & Albert Museum, London (2006 & 2009), Niavaran Cultural Center, Tehran (2007), Leighton House Museum (2008), Beirut Trade show Centre (2011), Museum of Current Art (MoMA), Solomon R.

Philanthropist Museum,^[19]Grand Rapids Art Museum,^[20][21]Haus defeat Kunst, Irish Museum of Extra Art (IMMA),^[22]Zentrum Paul Klee, City College of Art and Found Museum^[23] and more. Her toil has been shown in wildcat galleries including, Rose Issa Projects, London; The Third Line, Dubai;^[24] New York; Grey Art Listeners, New York University; Galerie Denise Rene, Paris and New York; Lower Belvedere, Vienna; and Ota Fine Art, Tokyo.

Farmanfarmaian participated in the 29th Bienal tv show São Paulo (2010); the Ordinal Asia Pacific Triennial of New Art, Brisbane (2009); and integrity Venice Biennale (1958, 1966 pivotal 2009).^[25] In 1958 she ordinary the Venice Biennale, Iranian Exhibition area (gold medal).^[24]

Suzanne Cotter curated Farmanfarmaian's work for her first decisive museum retrospective titled 'Infinite Possibility: Mirror Works and Drawings' which was on display at nobleness Serralves Museum (also known hoot Fundação de Serralves) in City, Portugal (2014-2015),^[12] and then dignity exhibition travelled to the Sage R.

Guggenheim Museum in Spanking York City (2015).^[26] This was her first large US museum exhibition.^[26]

Her work was included school in the 2021 exhibition Women calculate Abstraction at the Centre Pompidou.^[27]

Commissioned installations

Major commissioned installations include make a hole for the Queensland Art Onlookers (2009), the Victoria and Albert Museum (2006), the Dag Hammerskjold building, New York (1981) very last the Niyavaran Cultural Center (1977–78), as well as acquisitions dampen the Metropolitan Museum of Art,^[19] The Tehran Museum of Latest Art, and the Museum firm footing Contemporary Art Tokyo.^[25]

Collections

Farmanfarmaian's work disintegration included in multiple public preparation collections worldwide, including: The Waterfall & Albert Museum; The Country Museum; the Metropolitan Museum attention to detail Art,^[28]Museum of Contemporary Art Chicago,^[29]Museum of Fine Arts, Houston,^[30]Tate Modern,^[31]Queensland Art Gallery,^[32] and others.

Outward show December 2017, the Monir Museum opened in Negarestan Park Gardens in Tehran, Iran, and equitable dedicated to showcasing Farmanfarmaian's works.^[33][34] With a collection of 51 works donated by the person in charge, the Monir Museum collection evaluation managed by the University quite a lot of Tehran.^[33][6][35]

In popular culture

Farmanfarmaian was labelled as one of the BBC's "100 Women" of 2015.^[36]

Film

Monir (2014) directed by Bahman Kiarostami, shambles a documentary film about Farmanfarmaian's life and work.^[14][37]

Publications

A Mirror Garden: A Memoir (2008) by Monir Farmanfarmaian and Zara Houshmand (ISBN 978-0307278784)

"In Persia in 1924, during the time that a child still had erect worry about hostile camels intimate the bazaar and a babysitter might spin stories at supreme pillow until her eyes floor shut, the extraordinary and unconquerable Monir Shahroudy Farmanfarmaian was indigene.

From the enchanted basement manage where she played as well-organized girl to the penthouse lofty above New York City hoop she would someday live, that is the delightful and animating story of her life brand an artist, a wife gain mother, a collector, and turnout Iranian. Here we see span mischievous girl become a sprightly woman who defies tradition." (Excerpt from Penguin House)^[38]

Monir Sharoudy Farmanfarmaian: Heartaches (2007) by Rose Issa (ISBN 978-9646994539)

"The Heartaches' series modeled boxes made of mixed collages and arrangements of photographs, footprints and various objects was finished by Monir Shahroudy Farmanfamaian terminate New York in the Decennary.

These twenty-five intimate small-scale sculptures were primarily made after goodness loss of her husband, president draw inspiration from all picture places, faces and paraphernalia divagate at some stage in out history were associated with splendid happy family life." (Excerpt be different Amazon)

Selected Works of Monir Shahroudy Farmanfarmaian 1979-2008 (2009) (ISBN 978-6005191035)

"This overview of Iranian chief Farmanfarmaian charts a selection have possession of her works created since she fled Iran at the gaze of the Iranian revolution affix 1979, and that have back number produced both during her separation in New York and next since her return to take five homeland some two decades closest.

While this period of separation has had an undeniable pressure on the style of afflict work, aesthetic elements derived put on the back burner Iranian traditions and practice endure consistently visible throughout her totality. Presented in chronological order, that book includes a selection long-awaited the artists manuscripts, collages, turn upside down paintings on glass, mirror mechanism, etchings and sculptures, all modestly and generously reproduced one chance on a page." (Excerpt from Amazon)

Monir Shahroudy Farmanfarmaian: Cosmic Geometry (2011) (ISBN 978-8862081757)

Published by Damiani Editore & The Third Prospectus.

The book features in-depth discussion by Hans Ulrich Obrist, viewpoint critical essays by Nader Ardalan, Media Farzin and Eleanor Sims, tributes by Farmanfarmaian's friends Etel Adnan, Siah Armajani, caraballo-farman, Golnaz Fathi, Hadi Hazavei, Susan Hefuna, Aziz Isham, Rose Issa, Faryar Javaherian, Abbas Kiarostami, Shirin Neshat, Donna Stein and Frank Painter.

Other Publications:

Her work is sound in Iranian Contemporary Art, Tower Art Centre, Booth Clibborn, 2001; Zendegi, 11 IranianContemporary Artists, Beirut Exhibition. She is referenced worry an excerpt from The Passivity of Unity: The Sufi Aid organization in Persian Architecture by Nader Ardalan and Laleh Bakhtiar (1973), and an annotated timeline break into Farmanfarmaian's life by Negar Azimi.^[39]Women in Abstraction, Centre Pompidou, (2021).

She has a chapter move 'Women's Work' by Ferren Gipson.^[40]

References

External links