Podcast appearances and mentions of kaveh rafie

In On the Concept of Power: Possibility, Necessity, Politics (Oxford UP, 2022), Guido Parietti proposes a more proper definition of power--as the condition of having available possibilities and representing them as such--and examines its implications for the study of politics, both empirical and normative. By neglecting the category of possibility, significant portions of political science and philosophy become incapable of conceptualizing power, and therefore politics. Specifically, Parietti asserts that the main failure of political science is in obscuring power's correspondence to the category of possibility in favor of causality and probability; political philosophy, on the other hand, tends to prioritize various forms of a teleologically oriented normativity. All these approaches end up discarding possibility in favor of oriented potentialities, ultimately anchored to various forms of necessity, and are therefore incapable of properly conceptualizing power in accordance with its meaning in ordinary language.  Bringing together different disciplinary discourses, On the Concept of Power concludes by examining the conditions for power to have an actual referent; in other words, for politics to appear in our world. In this original and ambitious critique of the prevailing approaches to political theory and political science, Parietti examines what it means to have power and what may endanger our access to and exercise of it. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran.

In On the Concept of Power: Possibility, Necessity, Politics (Oxford UP, 2022), Guido Parietti proposes a more proper definition of power--as the condition of having available possibilities and representing them as such--and examines its implications for the study of politics, both empirical and normative. By neglecting the category of possibility, significant portions of political science and philosophy become incapable of conceptualizing power, and therefore politics. Specifically, Parietti asserts that the main failure of political science is in obscuring power's correspondence to the category of possibility in favor of causality and probability; political philosophy, on the other hand, tends to prioritize various forms of a teleologically oriented normativity. All these approaches end up discarding possibility in favor of oriented potentialities, ultimately anchored to various forms of necessity, and are therefore incapable of properly conceptualizing power in accordance with its meaning in ordinary language.  Bringing together different disciplinary discourses, On the Concept of Power concludes by examining the conditions for power to have an actual referent; in other words, for politics to appear in our world. In this original and ambitious critique of the prevailing approaches to political theory and political science, Parietti examines what it means to have power and what may endanger our access to and exercise of it. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

In On the Concept of Power: Possibility, Necessity, Politics (Oxford UP, 2022), Guido Parietti proposes a more proper definition of power--as the condition of having available possibilities and representing them as such--and examines its implications for the study of politics, both empirical and normative. By neglecting the category of possibility, significant portions of political science and philosophy become incapable of conceptualizing power, and therefore politics. Specifically, Parietti asserts that the main failure of political science is in obscuring power's correspondence to the category of possibility in favor of causality and probability; political philosophy, on the other hand, tends to prioritize various forms of a teleologically oriented normativity. All these approaches end up discarding possibility in favor of oriented potentialities, ultimately anchored to various forms of necessity, and are therefore incapable of properly conceptualizing power in accordance with its meaning in ordinary language.  Bringing together different disciplinary discourses, On the Concept of Power concludes by examining the conditions for power to have an actual referent; in other words, for politics to appear in our world. In this original and ambitious critique of the prevailing approaches to political theory and political science, Parietti examines what it means to have power and what may endanger our access to and exercise of it. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

In On the Concept of Power: Possibility, Necessity, Politics (Oxford UP, 2022), Guido Parietti proposes a more proper definition of power--as the condition of having available possibilities and representing them as such--and examines its implications for the study of politics, both empirical and normative. By neglecting the category of possibility, significant portions of political science and philosophy become incapable of conceptualizing power, and therefore politics. Specifically, Parietti asserts that the main failure of political science is in obscuring power's correspondence to the category of possibility in favor of causality and probability; political philosophy, on the other hand, tends to prioritize various forms of a teleologically oriented normativity. All these approaches end up discarding possibility in favor of oriented potentialities, ultimately anchored to various forms of necessity, and are therefore incapable of properly conceptualizing power in accordance with its meaning in ordinary language.  Bringing together different disciplinary discourses, On the Concept of Power concludes by examining the conditions for power to have an actual referent; in other words, for politics to appear in our world. In this original and ambitious critique of the prevailing approaches to political theory and political science, Parietti examines what it means to have power and what may endanger our access to and exercise of it. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/political-science

In On the Concept of Power: Possibility, Necessity, Politics (Oxford UP, 2022), Guido Parietti proposes a more proper definition of power--as the condition of having available possibilities and representing them as such--and examines its implications for the study of politics, both empirical and normative. By neglecting the category of possibility, significant portions of political science and philosophy become incapable of conceptualizing power, and therefore politics. Specifically, Parietti asserts that the main failure of political science is in obscuring power's correspondence to the category of possibility in favor of causality and probability; political philosophy, on the other hand, tends to prioritize various forms of a teleologically oriented normativity. All these approaches end up discarding possibility in favor of oriented potentialities, ultimately anchored to various forms of necessity, and are therefore incapable of properly conceptualizing power in accordance with its meaning in ordinary language.  Bringing together different disciplinary discourses, On the Concept of Power concludes by examining the conditions for power to have an actual referent; in other words, for politics to appear in our world. In this original and ambitious critique of the prevailing approaches to political theory and political science, Parietti examines what it means to have power and what may endanger our access to and exercise of it. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

In On the Concept of Power: Possibility, Necessity, Politics (Oxford UP, 2022), Guido Parietti proposes a more proper definition of power--as the condition of having available possibilities and representing them as such--and examines its implications for the study of politics, both empirical and normative. By neglecting the category of possibility, significant portions of political science and philosophy become incapable of conceptualizing power, and therefore politics. Specifically, Parietti asserts that the main failure of political science is in obscuring power's correspondence to the category of possibility in favor of causality and probability; political philosophy, on the other hand, tends to prioritize various forms of a teleologically oriented normativity. All these approaches end up discarding possibility in favor of oriented potentialities, ultimately anchored to various forms of necessity, and are therefore incapable of properly conceptualizing power in accordance with its meaning in ordinary language.  Bringing together different disciplinary discourses, On the Concept of Power concludes by examining the conditions for power to have an actual referent; in other words, for politics to appear in our world. In this original and ambitious critique of the prevailing approaches to political theory and political science, Parietti examines what it means to have power and what may endanger our access to and exercise of it. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In The Sovereign Self: Aesthetic Autonomy from the Enlightenment to the Avant-Garde (Duke UP, 2023), Grant Kester examines the evolving discourse of aesthetic autonomy from its origins in the Enlightenment through avant-garde projects and movements in the nineteenth and twentieth centuries. Kester traces the idea of aesthetic autonomy—the sense that art should be autonomous from social forces while retaining the ability to reflect back critically on society—through Kant, Schiller, Hegel, Marx, and Adorno. Kester critiques the use of aesthetic autonomy as the basis for understanding the nature of art and the shifting relationship between art and revolutionary praxis. He shows that dominant discourses of aesthetic autonomy reproduce the very forms of bourgeois liberalism that autonomy discourse itself claims to challenge. Analyzing avant-garde art and political movements in Russia, India, Latin America, and elsewhere, Kester retheorizes the aesthetic beyond autonomy. Ultimately, Kester demonstrates that the question of aesthetic autonomy has ramifications that extend beyond art to encompass the nature of political transformation and forms of anticolonial resistance that challenge the Eurocentric concept of “Man,” upon which the aesthetic itself often depends. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

In The Sovereign Self: Aesthetic Autonomy from the Enlightenment to the Avant-Garde (Duke UP, 2023), Grant Kester examines the evolving discourse of aesthetic autonomy from its origins in the Enlightenment through avant-garde projects and movements in the nineteenth and twentieth centuries. Kester traces the idea of aesthetic autonomy—the sense that art should be autonomous from social forces while retaining the ability to reflect back critically on society—through Kant, Schiller, Hegel, Marx, and Adorno. Kester critiques the use of aesthetic autonomy as the basis for understanding the nature of art and the shifting relationship between art and revolutionary praxis. He shows that dominant discourses of aesthetic autonomy reproduce the very forms of bourgeois liberalism that autonomy discourse itself claims to challenge. Analyzing avant-garde art and political movements in Russia, India, Latin America, and elsewhere, Kester retheorizes the aesthetic beyond autonomy. Ultimately, Kester demonstrates that the question of aesthetic autonomy has ramifications that extend beyond art to encompass the nature of political transformation and forms of anticolonial resistance that challenge the Eurocentric concept of “Man,” upon which the aesthetic itself often depends. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In The Sovereign Self: Aesthetic Autonomy from the Enlightenment to the Avant-Garde (Duke UP, 2023), Grant Kester examines the evolving discourse of aesthetic autonomy from its origins in the Enlightenment through avant-garde projects and movements in the nineteenth and twentieth centuries. Kester traces the idea of aesthetic autonomy—the sense that art should be autonomous from social forces while retaining the ability to reflect back critically on society—through Kant, Schiller, Hegel, Marx, and Adorno. Kester critiques the use of aesthetic autonomy as the basis for understanding the nature of art and the shifting relationship between art and revolutionary praxis. He shows that dominant discourses of aesthetic autonomy reproduce the very forms of bourgeois liberalism that autonomy discourse itself claims to challenge. Analyzing avant-garde art and political movements in Russia, India, Latin America, and elsewhere, Kester retheorizes the aesthetic beyond autonomy. Ultimately, Kester demonstrates that the question of aesthetic autonomy has ramifications that extend beyond art to encompass the nature of political transformation and forms of anticolonial resistance that challenge the Eurocentric concept of “Man,” upon which the aesthetic itself often depends. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

In The Sovereign Self: Aesthetic Autonomy from the Enlightenment to the Avant-Garde (Duke UP, 2023), Grant Kester examines the evolving discourse of aesthetic autonomy from its origins in the Enlightenment through avant-garde projects and movements in the nineteenth and twentieth centuries. Kester traces the idea of aesthetic autonomy—the sense that art should be autonomous from social forces while retaining the ability to reflect back critically on society—through Kant, Schiller, Hegel, Marx, and Adorno. Kester critiques the use of aesthetic autonomy as the basis for understanding the nature of art and the shifting relationship between art and revolutionary praxis. He shows that dominant discourses of aesthetic autonomy reproduce the very forms of bourgeois liberalism that autonomy discourse itself claims to challenge. Analyzing avant-garde art and political movements in Russia, India, Latin America, and elsewhere, Kester retheorizes the aesthetic beyond autonomy. Ultimately, Kester demonstrates that the question of aesthetic autonomy has ramifications that extend beyond art to encompass the nature of political transformation and forms of anticolonial resistance that challenge the Eurocentric concept of “Man,” upon which the aesthetic itself often depends. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In The Sovereign Self: Aesthetic Autonomy from the Enlightenment to the Avant-Garde (Duke UP, 2023), Grant Kester examines the evolving discourse of aesthetic autonomy from its origins in the Enlightenment through avant-garde projects and movements in the nineteenth and twentieth centuries. Kester traces the idea of aesthetic autonomy—the sense that art should be autonomous from social forces while retaining the ability to reflect back critically on society—through Kant, Schiller, Hegel, Marx, and Adorno. Kester critiques the use of aesthetic autonomy as the basis for understanding the nature of art and the shifting relationship between art and revolutionary praxis. He shows that dominant discourses of aesthetic autonomy reproduce the very forms of bourgeois liberalism that autonomy discourse itself claims to challenge. Analyzing avant-garde art and political movements in Russia, India, Latin America, and elsewhere, Kester retheorizes the aesthetic beyond autonomy. Ultimately, Kester demonstrates that the question of aesthetic autonomy has ramifications that extend beyond art to encompass the nature of political transformation and forms of anticolonial resistance that challenge the Eurocentric concept of “Man,” upon which the aesthetic itself often depends. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In The Sovereign Self: Aesthetic Autonomy from the Enlightenment to the Avant-Garde (Duke UP, 2023), Grant Kester examines the evolving discourse of aesthetic autonomy from its origins in the Enlightenment through avant-garde projects and movements in the nineteenth and twentieth centuries. Kester traces the idea of aesthetic autonomy—the sense that art should be autonomous from social forces while retaining the ability to reflect back critically on society—through Kant, Schiller, Hegel, Marx, and Adorno. Kester critiques the use of aesthetic autonomy as the basis for understanding the nature of art and the shifting relationship between art and revolutionary praxis. He shows that dominant discourses of aesthetic autonomy reproduce the very forms of bourgeois liberalism that autonomy discourse itself claims to challenge. Analyzing avant-garde art and political movements in Russia, India, Latin America, and elsewhere, Kester retheorizes the aesthetic beyond autonomy. Ultimately, Kester demonstrates that the question of aesthetic autonomy has ramifications that extend beyond art to encompass the nature of political transformation and forms of anticolonial resistance that challenge the Eurocentric concept of “Man,” upon which the aesthetic itself often depends. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In The Sovereign Self: Aesthetic Autonomy from the Enlightenment to the Avant-Garde (Duke UP, 2023), Grant Kester examines the evolving discourse of aesthetic autonomy from its origins in the Enlightenment through avant-garde projects and movements in the nineteenth and twentieth centuries. Kester traces the idea of aesthetic autonomy—the sense that art should be autonomous from social forces while retaining the ability to reflect back critically on society—through Kant, Schiller, Hegel, Marx, and Adorno. Kester critiques the use of aesthetic autonomy as the basis for understanding the nature of art and the shifting relationship between art and revolutionary praxis. He shows that dominant discourses of aesthetic autonomy reproduce the very forms of bourgeois liberalism that autonomy discourse itself claims to challenge. Analyzing avant-garde art and political movements in Russia, India, Latin America, and elsewhere, Kester retheorizes the aesthetic beyond autonomy. Ultimately, Kester demonstrates that the question of aesthetic autonomy has ramifications that extend beyond art to encompass the nature of political transformation and forms of anticolonial resistance that challenge the Eurocentric concept of “Man,” upon which the aesthetic itself often depends. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

In The Sovereign Self: Aesthetic Autonomy from the Enlightenment to the Avant-Garde (Duke UP, 2023), Grant Kester examines the evolving discourse of aesthetic autonomy from its origins in the Enlightenment through avant-garde projects and movements in the nineteenth and twentieth centuries. Kester traces the idea of aesthetic autonomy—the sense that art should be autonomous from social forces while retaining the ability to reflect back critically on society—through Kant, Schiller, Hegel, Marx, and Adorno. Kester critiques the use of aesthetic autonomy as the basis for understanding the nature of art and the shifting relationship between art and revolutionary praxis. He shows that dominant discourses of aesthetic autonomy reproduce the very forms of bourgeois liberalism that autonomy discourse itself claims to challenge. Analyzing avant-garde art and political movements in Russia, India, Latin America, and elsewhere, Kester retheorizes the aesthetic beyond autonomy. Ultimately, Kester demonstrates that the question of aesthetic autonomy has ramifications that extend beyond art to encompass the nature of political transformation and forms of anticolonial resistance that challenge the Eurocentric concept of “Man,” upon which the aesthetic itself often depends. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices

In The Sovereign Self: Aesthetic Autonomy from the Enlightenment to the Avant-Garde (Duke UP, 2023), Grant Kester examines the evolving discourse of aesthetic autonomy from its origins in the Enlightenment through avant-garde projects and movements in the nineteenth and twentieth centuries. Kester traces the idea of aesthetic autonomy—the sense that art should be autonomous from social forces while retaining the ability to reflect back critically on society—through Kant, Schiller, Hegel, Marx, and Adorno. Kester critiques the use of aesthetic autonomy as the basis for understanding the nature of art and the shifting relationship between art and revolutionary praxis. He shows that dominant discourses of aesthetic autonomy reproduce the very forms of bourgeois liberalism that autonomy discourse itself claims to challenge. Analyzing avant-garde art and political movements in Russia, India, Latin America, and elsewhere, Kester retheorizes the aesthetic beyond autonomy. Ultimately, Kester demonstrates that the question of aesthetic autonomy has ramifications that extend beyond art to encompass the nature of political transformation and forms of anticolonial resistance that challenge the Eurocentric concept of “Man,” upon which the aesthetic itself often depends. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Modernist Iranian art represents a highly diverse field of cultural production deeply involved in discussing questions of modernity and modernization as practiced in Iran. This book investigates how artistic production and art criticism reflected upon the discourse about gharbzadegi (westoxification), the most substantial critique of Iran's adaptation of Western modernity, and ultimately proved to be a laboratory for the negotiation of an anti-colonial concept of an Iranian artistic modernity, which artists and critics envisioned as a significant other to Western colonial modernity.  In The Cultural Politics of Art in Iran: Modernism, Exhibitions, and Art Production (Cambridge UP, 2023), Katrin Nahidi revisits Iranian modernist art, aiming to explore a political and contextualized interpretation of modernism. Based on extensive fieldwork, interviews, and archival research, Nahidi provides a history of modernist art production since the 1950s and reveals the complex political agency underlying art historiographical processes. Offering a key contribution to postcolonial art history, Nahidi shows how Iranian artistic modernity was used to flesh out anti-colonial concepts and ideas around Iranian national identity. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran.

Modernist Iranian art represents a highly diverse field of cultural production deeply involved in discussing questions of modernity and modernization as practiced in Iran. This book investigates how artistic production and art criticism reflected upon the discourse about gharbzadegi (westoxification), the most substantial critique of Iran's adaptation of Western modernity, and ultimately proved to be a laboratory for the negotiation of an anti-colonial concept of an Iranian artistic modernity, which artists and critics envisioned as a significant other to Western colonial modernity.  In The Cultural Politics of Art in Iran: Modernism, Exhibitions, and Art Production (Cambridge UP, 2023), Katrin Nahidi revisits Iranian modernist art, aiming to explore a political and contextualized interpretation of modernism. Based on extensive fieldwork, interviews, and archival research, Nahidi provides a history of modernist art production since the 1950s and reveals the complex political agency underlying art historiographical processes. Offering a key contribution to postcolonial art history, Nahidi shows how Iranian artistic modernity was used to flesh out anti-colonial concepts and ideas around Iranian national identity. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/middle-eastern-studies

Modernist Iranian art represents a highly diverse field of cultural production deeply involved in discussing questions of modernity and modernization as practiced in Iran. This book investigates how artistic production and art criticism reflected upon the discourse about gharbzadegi (westoxification), the most substantial critique of Iran's adaptation of Western modernity, and ultimately proved to be a laboratory for the negotiation of an anti-colonial concept of an Iranian artistic modernity, which artists and critics envisioned as a significant other to Western colonial modernity.  In The Cultural Politics of Art in Iran: Modernism, Exhibitions, and Art Production (Cambridge UP, 2023), Katrin Nahidi revisits Iranian modernist art, aiming to explore a political and contextualized interpretation of modernism. Based on extensive fieldwork, interviews, and archival research, Nahidi provides a history of modernist art production since the 1950s and reveals the complex political agency underlying art historiographical processes. Offering a key contribution to postcolonial art history, Nahidi shows how Iranian artistic modernity was used to flesh out anti-colonial concepts and ideas around Iranian national identity. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Modernist Iranian art represents a highly diverse field of cultural production deeply involved in discussing questions of modernity and modernization as practiced in Iran. This book investigates how artistic production and art criticism reflected upon the discourse about gharbzadegi (westoxification), the most substantial critique of Iran's adaptation of Western modernity, and ultimately proved to be a laboratory for the negotiation of an anti-colonial concept of an Iranian artistic modernity, which artists and critics envisioned as a significant other to Western colonial modernity.  In The Cultural Politics of Art in Iran: Modernism, Exhibitions, and Art Production (Cambridge UP, 2023), Katrin Nahidi revisits Iranian modernist art, aiming to explore a political and contextualized interpretation of modernism. Based on extensive fieldwork, interviews, and archival research, Nahidi provides a history of modernist art production since the 1950s and reveals the complex political agency underlying art historiographical processes. Offering a key contribution to postcolonial art history, Nahidi shows how Iranian artistic modernity was used to flesh out anti-colonial concepts and ideas around Iranian national identity. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Modernist Iranian art represents a highly diverse field of cultural production deeply involved in discussing questions of modernity and modernization as practiced in Iran. This book investigates how artistic production and art criticism reflected upon the discourse about gharbzadegi (westoxification), the most substantial critique of Iran's adaptation of Western modernity, and ultimately proved to be a laboratory for the negotiation of an anti-colonial concept of an Iranian artistic modernity, which artists and critics envisioned as a significant other to Western colonial modernity.  In The Cultural Politics of Art in Iran: Modernism, Exhibitions, and Art Production (Cambridge UP, 2023), Katrin Nahidi revisits Iranian modernist art, aiming to explore a political and contextualized interpretation of modernism. Based on extensive fieldwork, interviews, and archival research, Nahidi provides a history of modernist art production since the 1950s and reveals the complex political agency underlying art historiographical processes. Offering a key contribution to postcolonial art history, Nahidi shows how Iranian artistic modernity was used to flesh out anti-colonial concepts and ideas around Iranian national identity. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Hamid Keshmirshekan's book The Art of Iran in the Twentieth and Twenty-First Centuries: Tracing the Modern and the Contemporary (Edinburgh UP, 2023) deals with the exploration and theorization of Modern and Contemporary art of Iran through the examination of art movements and artistic practices in relation to other cultural, social and political discourses during the twentieth and twenty-first centuries. It focuses on discourses and their impact on art movements and practices and aims to selectively explore certain prevailing debates in action during this time. To come to grips with the way that artistic trends in Iran can be traced within the intellectual and political landscape of the country mainly from the 1940s to the present, Keshmirshekan articulates new ideas for relating art to its wider context--whether social, cultural or political--and to bring together critical and historical evidence in order to provide an insight into current artistic concerns. The book explores these underlying themes and discourses through a series of case studies, including through close scrutiny of works of artists. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Hamid Keshmirshekan's book The Art of Iran in the Twentieth and Twenty-First Centuries: Tracing the Modern and the Contemporary (Edinburgh UP, 2023) deals with the exploration and theorization of Modern and Contemporary art of Iran through the examination of art movements and artistic practices in relation to other cultural, social and political discourses during the twentieth and twenty-first centuries. It focuses on discourses and their impact on art movements and practices and aims to selectively explore certain prevailing debates in action during this time. To come to grips with the way that artistic trends in Iran can be traced within the intellectual and political landscape of the country mainly from the 1940s to the present, Keshmirshekan articulates new ideas for relating art to its wider context--whether social, cultural or political--and to bring together critical and historical evidence in order to provide an insight into current artistic concerns. The book explores these underlying themes and discourses through a series of case studies, including through close scrutiny of works of artists. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/middle-eastern-studies

Hamid Keshmirshekan's book The Art of Iran in the Twentieth and Twenty-First Centuries: Tracing the Modern and the Contemporary (Edinburgh UP, 2023) deals with the exploration and theorization of Modern and Contemporary art of Iran through the examination of art movements and artistic practices in relation to other cultural, social and political discourses during the twentieth and twenty-first centuries. It focuses on discourses and their impact on art movements and practices and aims to selectively explore certain prevailing debates in action during this time. To come to grips with the way that artistic trends in Iran can be traced within the intellectual and political landscape of the country mainly from the 1940s to the present, Keshmirshekan articulates new ideas for relating art to its wider context--whether social, cultural or political--and to bring together critical and historical evidence in order to provide an insight into current artistic concerns. The book explores these underlying themes and discourses through a series of case studies, including through close scrutiny of works of artists. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Hamid Keshmirshekan's book The Art of Iran in the Twentieth and Twenty-First Centuries: Tracing the Modern and the Contemporary (Edinburgh UP, 2023) deals with the exploration and theorization of Modern and Contemporary art of Iran through the examination of art movements and artistic practices in relation to other cultural, social and political discourses during the twentieth and twenty-first centuries. It focuses on discourses and their impact on art movements and practices and aims to selectively explore certain prevailing debates in action during this time. To come to grips with the way that artistic trends in Iran can be traced within the intellectual and political landscape of the country mainly from the 1940s to the present, Keshmirshekan articulates new ideas for relating art to its wider context--whether social, cultural or political--and to bring together critical and historical evidence in order to provide an insight into current artistic concerns. The book explores these underlying themes and discourses through a series of case studies, including through close scrutiny of works of artists. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Hamid Keshmirshekan's book The Art of Iran in the Twentieth and Twenty-First Centuries: Tracing the Modern and the Contemporary (Edinburgh UP, 2023) deals with the exploration and theorization of Modern and Contemporary art of Iran through the examination of art movements and artistic practices in relation to other cultural, social and political discourses during the twentieth and twenty-first centuries. It focuses on discourses and their impact on art movements and practices and aims to selectively explore certain prevailing debates in action during this time. To come to grips with the way that artistic trends in Iran can be traced within the intellectual and political landscape of the country mainly from the 1940s to the present, Keshmirshekan articulates new ideas for relating art to its wider context--whether social, cultural or political--and to bring together critical and historical evidence in order to provide an insight into current artistic concerns. The book explores these underlying themes and discourses through a series of case studies, including through close scrutiny of works of artists. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The cinephile community knows Abbas Kiarostami (1940–2016) as one of the most important filmmakers of the previous decades. This volume illustrates why the Iranian filmmaker achieved critical acclaim around the globe and details his many contributions to the art of filmmaking. Kiarostami began his illustrious career in his native Iran in the 1970s, although European and American audiences did not begin to take notice until he released his 1987 feature Where's the Friend's House? His films defy established conventions, placing audiences as active viewers who must make decisions about actions and characters while watching the narratives unfold. He asks viewers to question the genre construct (Close-Up) and challenges them to determine how to watch and imagine a narrative (Ten and Shirin). In recognition for his approach to the craft, Kiarostami was awarded many honors during his lifetime, including the top prize at the Cannes Film Festival in 1997 for Taste of Cherry. In Abbas Kiarostami: Interviews (UP of Mississippi, 2023) ,editor Monika Raesch collects eighteen interviews (several translated into English for the first time), lectures, and other materials that span Kiarostami's career in the film industry. In addition to exploring his expertise, the texts provide insight into his life philosophy. This volume offers a well-rounded picture of the filmmaker through his conversations with journalists, film scholars, critics, students, and audience members. Monika Raesch is associate professor of film studies and video production at Suffolk University. A native of Germany, she is editor of Margarethe von Trotta: Interviews, published by University Press of Mississippi, and author of The Kiarostami Brand: Creation of a Film Auteur. Her work has appeared in such publications as the Journal of Film and Video and Feminist Media Studies. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

The cinephile community knows Abbas Kiarostami (1940–2016) as one of the most important filmmakers of the previous decades. This volume illustrates why the Iranian filmmaker achieved critical acclaim around the globe and details his many contributions to the art of filmmaking. Kiarostami began his illustrious career in his native Iran in the 1970s, although European and American audiences did not begin to take notice until he released his 1987 feature Where's the Friend's House? His films defy established conventions, placing audiences as active viewers who must make decisions about actions and characters while watching the narratives unfold. He asks viewers to question the genre construct (Close-Up) and challenges them to determine how to watch and imagine a narrative (Ten and Shirin). In recognition for his approach to the craft, Kiarostami was awarded many honors during his lifetime, including the top prize at the Cannes Film Festival in 1997 for Taste of Cherry. In Abbas Kiarostami: Interviews (UP of Mississippi, 2023) ,editor Monika Raesch collects eighteen interviews (several translated into English for the first time), lectures, and other materials that span Kiarostami's career in the film industry. In addition to exploring his expertise, the texts provide insight into his life philosophy. This volume offers a well-rounded picture of the filmmaker through his conversations with journalists, film scholars, critics, students, and audience members. Monika Raesch is associate professor of film studies and video production at Suffolk University. A native of Germany, she is editor of Margarethe von Trotta: Interviews, published by University Press of Mississippi, and author of The Kiarostami Brand: Creation of a Film Auteur. Her work has appeared in such publications as the Journal of Film and Video and Feminist Media Studies. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/middle-eastern-studies

The cinephile community knows Abbas Kiarostami (1940–2016) as one of the most important filmmakers of the previous decades. This volume illustrates why the Iranian filmmaker achieved critical acclaim around the globe and details his many contributions to the art of filmmaking. Kiarostami began his illustrious career in his native Iran in the 1970s, although European and American audiences did not begin to take notice until he released his 1987 feature Where's the Friend's House? His films defy established conventions, placing audiences as active viewers who must make decisions about actions and characters while watching the narratives unfold. He asks viewers to question the genre construct (Close-Up) and challenges them to determine how to watch and imagine a narrative (Ten and Shirin). In recognition for his approach to the craft, Kiarostami was awarded many honors during his lifetime, including the top prize at the Cannes Film Festival in 1997 for Taste of Cherry. In Abbas Kiarostami: Interviews (UP of Mississippi, 2023) ,editor Monika Raesch collects eighteen interviews (several translated into English for the first time), lectures, and other materials that span Kiarostami's career in the film industry. In addition to exploring his expertise, the texts provide insight into his life philosophy. This volume offers a well-rounded picture of the filmmaker through his conversations with journalists, film scholars, critics, students, and audience members. Monika Raesch is associate professor of film studies and video production at Suffolk University. A native of Germany, she is editor of Margarethe von Trotta: Interviews, published by University Press of Mississippi, and author of The Kiarostami Brand: Creation of a Film Auteur. Her work has appeared in such publications as the Journal of Film and Video and Feminist Media Studies. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The cinephile community knows Abbas Kiarostami (1940–2016) as one of the most important filmmakers of the previous decades. This volume illustrates why the Iranian filmmaker achieved critical acclaim around the globe and details his many contributions to the art of filmmaking. Kiarostami began his illustrious career in his native Iran in the 1970s, although European and American audiences did not begin to take notice until he released his 1987 feature Where's the Friend's House? His films defy established conventions, placing audiences as active viewers who must make decisions about actions and characters while watching the narratives unfold. He asks viewers to question the genre construct (Close-Up) and challenges them to determine how to watch and imagine a narrative (Ten and Shirin). In recognition for his approach to the craft, Kiarostami was awarded many honors during his lifetime, including the top prize at the Cannes Film Festival in 1997 for Taste of Cherry. In Abbas Kiarostami: Interviews (UP of Mississippi, 2023) ,editor Monika Raesch collects eighteen interviews (several translated into English for the first time), lectures, and other materials that span Kiarostami's career in the film industry. In addition to exploring his expertise, the texts provide insight into his life philosophy. This volume offers a well-rounded picture of the filmmaker through his conversations with journalists, film scholars, critics, students, and audience members. Monika Raesch is associate professor of film studies and video production at Suffolk University. A native of Germany, she is editor of Margarethe von Trotta: Interviews, published by University Press of Mississippi, and author of The Kiarostami Brand: Creation of a Film Auteur. Her work has appeared in such publications as the Journal of Film and Video and Feminist Media Studies. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

The cinephile community knows Abbas Kiarostami (1940–2016) as one of the most important filmmakers of the previous decades. This volume illustrates why the Iranian filmmaker achieved critical acclaim around the globe and details his many contributions to the art of filmmaking. Kiarostami began his illustrious career in his native Iran in the 1970s, although European and American audiences did not begin to take notice until he released his 1987 feature Where's the Friend's House? His films defy established conventions, placing audiences as active viewers who must make decisions about actions and characters while watching the narratives unfold. He asks viewers to question the genre construct (Close-Up) and challenges them to determine how to watch and imagine a narrative (Ten and Shirin). In recognition for his approach to the craft, Kiarostami was awarded many honors during his lifetime, including the top prize at the Cannes Film Festival in 1997 for Taste of Cherry. In Abbas Kiarostami: Interviews (UP of Mississippi, 2023) ,editor Monika Raesch collects eighteen interviews (several translated into English for the first time), lectures, and other materials that span Kiarostami's career in the film industry. In addition to exploring his expertise, the texts provide insight into his life philosophy. This volume offers a well-rounded picture of the filmmaker through his conversations with journalists, film scholars, critics, students, and audience members. Monika Raesch is associate professor of film studies and video production at Suffolk University. A native of Germany, she is editor of Margarethe von Trotta: Interviews, published by University Press of Mississippi, and author of The Kiarostami Brand: Creation of a Film Auteur. Her work has appeared in such publications as the Journal of Film and Video and Feminist Media Studies. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Daniel Neofetou's Rereading Abstract Expressionism, Clement Greenberg and the Cold War (Bloomsbury, 2021) rereads Clement Greenberg's account of Abstract Expressionism through Adorno and Merleau-Ponty in order to contend that Greenberg's criticism in fact testifies to how the movement opposes the ends to which it was deployed in efforts of U.S. imperialism during the Cold War. With reference not only to the most famous artists of the movement, but also female and non-white figures whom Greenberg himself neglected, such as Joan Mitchell and Norman Lewis, it is argued that, far from reinforcing the capitalist status quo, Abstract Expressionism engages corporeal and affective elements of experience dismissed or delegitimated by capitalism, and promises a world which would do justice to them. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Daniel Neofetou's Rereading Abstract Expressionism, Clement Greenberg and the Cold War (Bloomsbury, 2021) rereads Clement Greenberg's account of Abstract Expressionism through Adorno and Merleau-Ponty in order to contend that Greenberg's criticism in fact testifies to how the movement opposes the ends to which it was deployed in efforts of U.S. imperialism during the Cold War. With reference not only to the most famous artists of the movement, but also female and non-white figures whom Greenberg himself neglected, such as Joan Mitchell and Norman Lewis, it is argued that, far from reinforcing the capitalist status quo, Abstract Expressionism engages corporeal and affective elements of experience dismissed or delegitimated by capitalism, and promises a world which would do justice to them. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Daniel Neofetou's Rereading Abstract Expressionism, Clement Greenberg and the Cold War (Bloomsbury, 2021) rereads Clement Greenberg's account of Abstract Expressionism through Adorno and Merleau-Ponty in order to contend that Greenberg's criticism in fact testifies to how the movement opposes the ends to which it was deployed in efforts of U.S. imperialism during the Cold War. With reference not only to the most famous artists of the movement, but also female and non-white figures whom Greenberg himself neglected, such as Joan Mitchell and Norman Lewis, it is argued that, far from reinforcing the capitalist status quo, Abstract Expressionism engages corporeal and affective elements of experience dismissed or delegitimated by capitalism, and promises a world which would do justice to them. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Daniel Neofetou's Rereading Abstract Expressionism, Clement Greenberg and the Cold War (Bloomsbury, 2021) rereads Clement Greenberg's account of Abstract Expressionism through Adorno and Merleau-Ponty in order to contend that Greenberg's criticism in fact testifies to how the movement opposes the ends to which it was deployed in efforts of U.S. imperialism during the Cold War. With reference not only to the most famous artists of the movement, but also female and non-white figures whom Greenberg himself neglected, such as Joan Mitchell and Norman Lewis, it is argued that, far from reinforcing the capitalist status quo, Abstract Expressionism engages corporeal and affective elements of experience dismissed or delegitimated by capitalism, and promises a world which would do justice to them. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Alternative Iran offers a unique contribution to the field of contemporary art, investigating how Iranian artists engage with space and site amid the pressures of the art market and the state's regulatory regimes. Since the 1980s, political, economic, and intellectual forces have driven Iran's creative class toward increasingly original forms of artmaking not meant for official venues. Instead, these art forms appear in private homes with "trusted" audiences, derelict buildings, leftover urban zones, and remote natural sites. These unusual cultural scenes are not only sites of personal encounters, but also part of the collective experience of Iran's citizens.  Drawing on interviews with over a hundred artists, gallerists, theater experts, musicians, and designers, Pamela Karimi throws into sharp relief extraordinary art and performance activities that have received little attention outside Iran. Attending to nonconforming curatorial projects, independent guerrilla installations, escapist practices, and tacitly subversive performances, Karimi also discloses the push-and-pull games between the art community and the authorities, and discusses myriad instances of tentative coalition as opposed to outright partnership or uncompromising resistance. Illustrated with more than 120 full-color images, Alternative Iran: Contemporary Art and Critical Spatial Practice (Stanford UP, 2022) provides entry into Iran's unique artistic experiences without catering to voyeuristic curiosity around Iran's often-perceived "underground" culture. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/architecture

Alternative Iran offers a unique contribution to the field of contemporary art, investigating how Iranian artists engage with space and site amid the pressures of the art market and the state's regulatory regimes. Since the 1980s, political, economic, and intellectual forces have driven Iran's creative class toward increasingly original forms of artmaking not meant for official venues. Instead, these art forms appear in private homes with "trusted" audiences, derelict buildings, leftover urban zones, and remote natural sites. These unusual cultural scenes are not only sites of personal encounters, but also part of the collective experience of Iran's citizens.  Drawing on interviews with over a hundred artists, gallerists, theater experts, musicians, and designers, Pamela Karimi throws into sharp relief extraordinary art and performance activities that have received little attention outside Iran. Attending to nonconforming curatorial projects, independent guerrilla installations, escapist practices, and tacitly subversive performances, Karimi also discloses the push-and-pull games between the art community and the authorities, and discusses myriad instances of tentative coalition as opposed to outright partnership or uncompromising resistance. Illustrated with more than 120 full-color images, Alternative Iran: Contemporary Art and Critical Spatial Practice (Stanford UP, 2022) provides entry into Iran's unique artistic experiences without catering to voyeuristic curiosity around Iran's often-perceived "underground" culture. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/middle-eastern-studies

Alternative Iran offers a unique contribution to the field of contemporary art, investigating how Iranian artists engage with space and site amid the pressures of the art market and the state's regulatory regimes. Since the 1980s, political, economic, and intellectual forces have driven Iran's creative class toward increasingly original forms of artmaking not meant for official venues. Instead, these art forms appear in private homes with "trusted" audiences, derelict buildings, leftover urban zones, and remote natural sites. These unusual cultural scenes are not only sites of personal encounters, but also part of the collective experience of Iran's citizens.  Drawing on interviews with over a hundred artists, gallerists, theater experts, musicians, and designers, Pamela Karimi throws into sharp relief extraordinary art and performance activities that have received little attention outside Iran. Attending to nonconforming curatorial projects, independent guerrilla installations, escapist practices, and tacitly subversive performances, Karimi also discloses the push-and-pull games between the art community and the authorities, and discusses myriad instances of tentative coalition as opposed to outright partnership or uncompromising resistance. Illustrated with more than 120 full-color images, Alternative Iran: Contemporary Art and Critical Spatial Practice (Stanford UP, 2022) provides entry into Iran's unique artistic experiences without catering to voyeuristic curiosity around Iran's often-perceived "underground" culture. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/islamic-studies

Alternative Iran offers a unique contribution to the field of contemporary art, investigating how Iranian artists engage with space and site amid the pressures of the art market and the state's regulatory regimes. Since the 1980s, political, economic, and intellectual forces have driven Iran's creative class toward increasingly original forms of artmaking not meant for official venues. Instead, these art forms appear in private homes with "trusted" audiences, derelict buildings, leftover urban zones, and remote natural sites. These unusual cultural scenes are not only sites of personal encounters, but also part of the collective experience of Iran's citizens.  Drawing on interviews with over a hundred artists, gallerists, theater experts, musicians, and designers, Pamela Karimi throws into sharp relief extraordinary art and performance activities that have received little attention outside Iran. Attending to nonconforming curatorial projects, independent guerrilla installations, escapist practices, and tacitly subversive performances, Karimi also discloses the push-and-pull games between the art community and the authorities, and discusses myriad instances of tentative coalition as opposed to outright partnership or uncompromising resistance. Illustrated with more than 120 full-color images, Alternative Iran: Contemporary Art and Critical Spatial Practice (Stanford UP, 2022) provides entry into Iran's unique artistic experiences without catering to voyeuristic curiosity around Iran's often-perceived "underground" culture. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Alternative Iran offers a unique contribution to the field of contemporary art, investigating how Iranian artists engage with space and site amid the pressures of the art market and the state's regulatory regimes. Since the 1980s, political, economic, and intellectual forces have driven Iran's creative class toward increasingly original forms of artmaking not meant for official venues. Instead, these art forms appear in private homes with "trusted" audiences, derelict buildings, leftover urban zones, and remote natural sites. These unusual cultural scenes are not only sites of personal encounters, but also part of the collective experience of Iran's citizens.  Drawing on interviews with over a hundred artists, gallerists, theater experts, musicians, and designers, Pamela Karimi throws into sharp relief extraordinary art and performance activities that have received little attention outside Iran. Attending to nonconforming curatorial projects, independent guerrilla installations, escapist practices, and tacitly subversive performances, Karimi also discloses the push-and-pull games between the art community and the authorities, and discusses myriad instances of tentative coalition as opposed to outright partnership or uncompromising resistance. Illustrated with more than 120 full-color images, Alternative Iran: Contemporary Art and Critical Spatial Practice (Stanford UP, 2022) provides entry into Iran's unique artistic experiences without catering to voyeuristic curiosity around Iran's often-perceived "underground" culture. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Alternative Iran offers a unique contribution to the field of contemporary art, investigating how Iranian artists engage with space and site amid the pressures of the art market and the state's regulatory regimes. Since the 1980s, political, economic, and intellectual forces have driven Iran's creative class toward increasingly original forms of artmaking not meant for official venues. Instead, these art forms appear in private homes with "trusted" audiences, derelict buildings, leftover urban zones, and remote natural sites. These unusual cultural scenes are not only sites of personal encounters, but also part of the collective experience of Iran's citizens.  Drawing on interviews with over a hundred artists, gallerists, theater experts, musicians, and designers, Pamela Karimi throws into sharp relief extraordinary art and performance activities that have received little attention outside Iran. Attending to nonconforming curatorial projects, independent guerrilla installations, escapist practices, and tacitly subversive performances, Karimi also discloses the push-and-pull games between the art community and the authorities, and discusses myriad instances of tentative coalition as opposed to outright partnership or uncompromising resistance. Illustrated with more than 120 full-color images, Alternative Iran: Contemporary Art and Critical Spatial Practice (Stanford UP, 2022) provides entry into Iran's unique artistic experiences without catering to voyeuristic curiosity around Iran's often-perceived "underground" culture. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The Discovery of Iran: Taghi Arani, a Radical Cosmopolitan (Stanford UP, 2021), opens with a fascinating passage about the 1934 decree whereby foreign delegates were instructed to refer to the country as Iran rather than Persian. In Ali Mirsepassi's view, the event closes a chapter on the long intellectual history of Iranian nationalism, which began in the often overlooked interwar era (1919-1935). Mirsepassi skillfully reconstructs the intellectual history of Iran during the interwar period by providing a holistic picture of the life and thought of Taghi Arani, a multifaceted public intellectual, a scientist, a cosmopolitan, and a Marxist. According to Mirsepassi, Arani's vision of Iran brings together cosmopolitanism with the idea of "civic nationalism" as a viable alternative to Soviet Marxism in the Global South. Arani's nuanced account of Iran as a nation has remained unacknowledged as an autocratic nationalism rises in Iran between 1934 and 1935. Yet, Arani's commitment to upholding the democratic ideals of the Constitutional Revolution (1905-1911), traceable to the Enlightenment, still has relevance today in the struggle against oppression, religious fanaticism, and cultural chauvinism. This study contributes a great deal to the understanding of intellectual history and social movements in the Global South, where demands for democracy and independence as well as oppression have been a part of the nation-building project. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

The Discovery of Iran: Taghi Arani, a Radical Cosmopolitan (Stanford UP, 2021), opens with a fascinating passage about the 1934 decree whereby foreign delegates were instructed to refer to the country as Iran rather than Persian. In Ali Mirsepassi's view, the event closes a chapter on the long intellectual history of Iranian nationalism, which began in the often overlooked interwar era (1919-1935). Mirsepassi skillfully reconstructs the intellectual history of Iran during the interwar period by providing a holistic picture of the life and thought of Taghi Arani, a multifaceted public intellectual, a scientist, a cosmopolitan, and a Marxist. According to Mirsepassi, Arani's vision of Iran brings together cosmopolitanism with the idea of "civic nationalism" as a viable alternative to Soviet Marxism in the Global South. Arani's nuanced account of Iran as a nation has remained unacknowledged as an autocratic nationalism rises in Iran between 1934 and 1935. Yet, Arani's commitment to upholding the democratic ideals of the Constitutional Revolution (1905-1911), traceable to the Enlightenment, still has relevance today in the struggle against oppression, religious fanaticism, and cultural chauvinism. This study contributes a great deal to the understanding of intellectual history and social movements in the Global South, where demands for democracy and independence as well as oppression have been a part of the nation-building project. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

The Discovery of Iran: Taghi Arani, a Radical Cosmopolitan (Stanford UP, 2021), opens with a fascinating passage about the 1934 decree whereby foreign delegates were instructed to refer to the country as Iran rather than Persian. In Ali Mirsepassi's view, the event closes a chapter on the long intellectual history of Iranian nationalism, which began in the often overlooked interwar era (1919-1935). Mirsepassi skillfully reconstructs the intellectual history of Iran during the interwar period by providing a holistic picture of the life and thought of Taghi Arani, a multifaceted public intellectual, a scientist, a cosmopolitan, and a Marxist. According to Mirsepassi, Arani's vision of Iran brings together cosmopolitanism with the idea of "civic nationalism" as a viable alternative to Soviet Marxism in the Global South. Arani's nuanced account of Iran as a nation has remained unacknowledged as an autocratic nationalism rises in Iran between 1934 and 1935. Yet, Arani's commitment to upholding the democratic ideals of the Constitutional Revolution (1905-1911), traceable to the Enlightenment, still has relevance today in the struggle against oppression, religious fanaticism, and cultural chauvinism. This study contributes a great deal to the understanding of intellectual history and social movements in the Global South, where demands for democracy and independence as well as oppression have been a part of the nation-building project. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/middle-eastern-studies

The Discovery of Iran: Taghi Arani, a Radical Cosmopolitan (Stanford UP, 2021), opens with a fascinating passage about the 1934 decree whereby foreign delegates were instructed to refer to the country as Iran rather than Persian. In Ali Mirsepassi's view, the event closes a chapter on the long intellectual history of Iranian nationalism, which began in the often overlooked interwar era (1919-1935). Mirsepassi skillfully reconstructs the intellectual history of Iran during the interwar period by providing a holistic picture of the life and thought of Taghi Arani, a multifaceted public intellectual, a scientist, a cosmopolitan, and a Marxist. According to Mirsepassi, Arani's vision of Iran brings together cosmopolitanism with the idea of "civic nationalism" as a viable alternative to Soviet Marxism in the Global South. Arani's nuanced account of Iran as a nation has remained unacknowledged as an autocratic nationalism rises in Iran between 1934 and 1935. Yet, Arani's commitment to upholding the democratic ideals of the Constitutional Revolution (1905-1911), traceable to the Enlightenment, still has relevance today in the struggle against oppression, religious fanaticism, and cultural chauvinism. This study contributes a great deal to the understanding of intellectual history and social movements in the Global South, where demands for democracy and independence as well as oppression have been a part of the nation-building project. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

The Discovery of Iran: Taghi Arani, a Radical Cosmopolitan (Stanford UP, 2021), opens with a fascinating passage about the 1934 decree whereby foreign delegates were instructed to refer to the country as Iran rather than Persian. In Ali Mirsepassi's view, the event closes a chapter on the long intellectual history of Iranian nationalism, which began in the often overlooked interwar era (1919-1935). Mirsepassi skillfully reconstructs the intellectual history of Iran during the interwar period by providing a holistic picture of the life and thought of Taghi Arani, a multifaceted public intellectual, a scientist, a cosmopolitan, and a Marxist. According to Mirsepassi, Arani's vision of Iran brings together cosmopolitanism with the idea of "civic nationalism" as a viable alternative to Soviet Marxism in the Global South. Arani's nuanced account of Iran as a nation has remained unacknowledged as an autocratic nationalism rises in Iran between 1934 and 1935. Yet, Arani's commitment to upholding the democratic ideals of the Constitutional Revolution (1905-1911), traceable to the Enlightenment, still has relevance today in the struggle against oppression, religious fanaticism, and cultural chauvinism. This study contributes a great deal to the understanding of intellectual history and social movements in the Global South, where demands for democracy and independence as well as oppression have been a part of the nation-building project. Kaveh Rafie is a PhD candidate specializing in modern and contemporary art at the University of Illinois at Chicago. His dissertation charts the course of modern art in the late Pahlavi Iran (1941-1979) and explores the extent to which the 1953 coup marks the recuperation of modern art as a viable blueprint for cultural globalization in Iran. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network