Talk:Shirin Neshat

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Untitled[edit]

I just want to thank whomever initially wrote this page, as I found it informative. I couldn't bear some of the editorializing, grammar, and hype, so I made changes to correct grammar and value-laden claims like "most colossal work ever." Again, thanks for the article.

Edits[edit]

Considering this page has not been posted on for quite some time it seems, I think I will edit this piece a bit since I have a great interest in Neshat. I have been doing a very thorough research piece on her and this article does not do her or her work justice. While overall informative it is all too brief. 137.229.172.143 (talk) 21:10, 29 April 2010 (UTC) M. Roberts April 30th, 2010 [University of Anchorage Alaska.][reply]

I will attempt to clean up this article when I get a bit of extra time. Freshacconci 01:12, 7 August 2007 (UTC)[reply]

Neutrality[edit]

This Article is definitly Pro-Iran as it is now, it is not neutral, it needs to be rewritten, and a neutrality disputed sign attached to it until it becomes neutral. —Preceding unsigned comment added by 86.32.109.14 (talk) 15:31, 29 November 2010 (UTC)[reply]

External links modified[edit]

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Separation of her photography and film[edit]

As Neshat's career is so expansive and includes so many different mediums with a variety of exhibitions, it would be beneficial to have these sections split into at least two categories.

For her photography, the section should begin with her Women of Allah series, which was her entryway back into the art world after her 10 year hiatus. The photographs from the Women of Allah series was almost a therapy for Neshat to process and work through the profound experience she had walking through her new country. She especially wanted to connect to the women of Iran whose lives had changed, perhaps the most dramatically, and to connect with them which provided her with, “an artistic focus… Finally I had found a subject that I felt passionate about.”^[1]. For Neshat, photography is used to capture the conflict of an Islamic woman’s body, which she describes as “a battleground.” ^[2]

Each photo of the Women of Allah series is overloaded with meaning. Most images show a veiled woman, either standing alone or interacting with someone else like a child or a male partner. Some of the women are holding guns or rifles. Persian calligraphy is written over the parts of the body that remain visible from the chador such as the face, hands and feet. Each of these elements of Neshat’s carefully constructed 38 images allude to a different theme, binary or socio-political conflict that are individual to Iranian women and universal to all. The women that Neshat presents to the viewer shows the struggle of an artist “grappling with the shifting and contradictory ideologies that have been projected on the figure of the Iranian woman, both by the government of the Islamic Republic and by the West.”^[3] — Preceding unsigned comment added by Lyavari (talk • contribs) 02:37, 6 March 2018 (UTC)[reply]

References

^ Chiu and Ho, Shirin Neshat: Facing History
^ Chiu and Ho, Shirin Neshat: Facing History
^ Chiu and Ho, Shirin Neshat: Facing History

[1] Chiu and Ho, Shirin Neshat: Facing History

[2] Chiu and Ho, Shirin Neshat: Facing History

[3] Chiu and Ho, Shirin Neshat: Facing History

[1]

[2]

[3]