. consists of the external conditions that surround a work of art. She also explores various philosophical and ideological aspects of the revolution including the concept of “martyrdom,” which had become most popular in Iran since the removal of the shah. 1893-94. At times, the model, gazing directly at the viewer, poses with a rifle or gun in a provocative manner, while nonetheless complying with an Islamic code of dress. Shirin Neshat has not only inspired a new generation of artists in the Middle East, especially Iran, but her art also concerns and often coincides with what we experience on the evening news. Celebrate Reigning Men with Rhonda INTL at Muse 'til Midnigh. November 2, 2015. (Dannawi 23). "Speechless" is the eighth work out of ten pieces …show more content… Misery or Need. Missouri: ProQuest, 2008. Print. It is challenging,-especially for the Western observer whose image of the Muslim world is generally based not on experience, but on media clichés. Sistine Chapel, Florence. Thus, the woman represents the ability for women to control their own lives, outside of the Western intervention. Artists have many ways of conveying meaning using visual language. For example, Eve from The Expulsion from the Garden of Eden is crying over being kicked out of the Garden of Eden while the woman in Misery by Kathe Kollwitz is mourning over her dead child. under the image in French. Cite this page as: Dr. Allison Young, "Shirin Neshat, Featured | Art that brings U.S. history to life, At-Risk Cultural Heritage Education Series. She studied painting at the University of California at Berkeley. Have a question? Jaune Quick-To-See Smith's, Roger Shimomura, Diary: December 12, 1941, https://smarthistory.org/shirin-neshat-rebellious-silence-women-of-allah-series/. 2011.http://www.britannica.com/EBchecked/topic/438648/Western-painting . 1998. . The face, except for the eye, is covered with Persian text written directly on the image. Tate Britain. But for those who take the broader view, Speechless speaks with many voices: it serves as a feminist tract perhaps standing for the entire twentieth century; it embodies the purported paradoxical nature of women; and, most important, it possesses that rare magic—even while holding our gaze, it takes us out of time and place, and yet it has the unique ability to bring us right back to today and the ideological war being waged over gender, religion, and democracy. In Speechless, Neshat's subject is Islamic_____ in a country where women's actions and rights are limited by religious law. Shirin Neshat is an Iranian-born visual artist who has made her home country's turbulent history the subject of high art. The words are those of the Iranian poet Tahereh Saffarzadeh, in which she addresses her brothers in the Revolution, asking if she can participate: Here Neshat is neither endorsing the Revolution nor countenancing martyrdom; she is not documenting women in the Islamic Republic of Iran in either 1979 or in 1990 (or even today) nor is she speaking on their behalf. Shirin Neshat. This implies that even though the goal of the revolution was to overthrow an oppressive ruler, Iran once again became a country that was under the dictatorship of a Shah. 27 Apr. (Dabashi 78) Yet, most of the texts are transcriptions of poetry and other writings by women who expressed multiple viewpoints and date both before and after the Revolution. At times the model, gazing directly at the viewer, poses with a rifle or gun in a provocative manner, while nonetheless complying with an Islamic code of dress. Neshat chose to depict her women this way because she challenges those preconceived views by juxtaposing the women with guns evoking a sense of power and confidence. The solemn look on the woman’s face with the tears brimming at her eyes gives a look of strength and also a cry for help. Unframed is supported in part by LACMA's Director's Circle. In the exhibition Islamic Art Now, Neshat’s photograph is one of over a dozen images of women, several of them wearing hijab while others are depicted in various states of dress and undress. The gaze, here, might also reflect exotic fantasies of the East. No Woman, No Cry. Shirin Neshat is perhaps the best-known artist of the Iranian diaspora following the 1979 Revolution, which replaced a secular regime with an Islamic republic. Emily Kame Kngwarreye, Earth’s Creation. Clothes may make the man but not necessarily the woman. 2011. (Dabashi 78) Some of the texts that Neshat chose are feminist in nature. 29 Apr. Mercer Univeristy, 2000. Her works cover several themes including politics in Muslim nations, issued of gender equity and disparity, identity, as well as the link between the personal and the political. 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