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- All Subjects: photography
- Creators: Mesch, Claudia
Description
I have conducted a creative that captures the power of women through an artistic perspective. The title of the creative project is “A Tribute to the Women Among us,” because this project’s purpose is to express gratitude for the women that fought for the rights I have today, and for the women I encounter in marches, continuing the fight. I have taken photographs of women and children at women's marches in the United States and in France, yielding a total of 10 photographs I will be presenting at my defense, and printing out to sell. All the profits made from the photographs will be donated to planned parenthood.
ContributorsMiss Ozuna, Alejandra Miss (Author) / Anand, Julia (Thesis director) / Mesch, Claudia (Committee member) / School of Politics and Global Studies (Contributor) / Department of Psychology (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
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.
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.
ContributorsBokharachi, Elnaz (Author) / Mesch, Claudia (Thesis advisor) / Hoy, Meredith (Committee member) / Anand, Julie (Committee member) / Ghanem, Carla (Committee member) / Arizona State University (Publisher)
Created2015
Description
This book review considers three books on Conceptual Art that appeared in this year, by Anne Rorimer, Michael Newman and Jon Bird, and Rosalind Krauss. In 2011 this review was distinguished as one of the most consulted in the history of caa.reviews; see Patricia Kelly, “2002,” at: http://www.caareviews.org/centennial/2002
ContributorsMesch, Claudia (Author)
Created2002