March 8, 2014

(Source: tibets, via altcrit)

February 23, 2014
"

When Iran was burning inside in the aftermath of the Islamic Revolution,

When Iranians were kept hostage by their own government but isolated in the world,

When we suddenly woke up to a country where religion ruled the state,

When our people were massacred for the smallest gesture of protest,

When families began to be separated for good,

When the West decided to take revenge and its embargo hit us hard, collapsing our economy and our medical services,

When our government deprived us of the basic human right, the freedom of expression,

When artists and intellectuals regularly became harassed, arrested and at times executed,

Our artists began to respond.

"

— Artist Shirin Neshat, addressing Iranian President Rouhani and other global leaders at the 2014 World Economic Forum in Davos, Switzerland. 

(Source: creativetimereports)

February 23, 2014
"I don’t insist on contemporary artists being politically active but they ought to be politically conscious. And if I could be that blunt, I think the art market has been the biggest factor in determining art movements for the past decade or so; and the money involved has seduced galleries, collectors and artists to becoming super rich and very, very distanced from sociopolitical issues; art has basically become a commodity and about entertainment."

Shirin Neshat

(via photographsonthebrain)

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Filed under: shirin neshat 
February 23, 2014

Artist Kamrooz Aram

February 23, 2014

Hannah Höch

(Source: cissy-drew)

February 15, 2014
"It is not about how “realistic” Western images of the world are but about the imaginative spaces that non-Western people occupy and the tropes and stories that organize their existence in Western minds. The question then becomes, How do the images purveyed by National Geographic affect this space? Do they congeal popular paradigms of evolutionary ascendance? Do they emphasize contrastive work and evaluation? Or do they compel empathy and identification? Do they in some cases do both, drawing attention with an exotic element, and then - having captured their readers’ attention - inviting them to imagine how they might feel in the setting depicted?"

— Catherine A. Lutz and Jane L. Collins, Reading National Geographic

February 15, 2014
"Oppressed groups are frequently placed in the situation of being listened to only if we frame our ideas in the language that is familiar to and comfortable for a dominant group. This requirement often changes the meaning of our ideas and works to elevate the ideas of dominant groups."

— Patricia Hill Collins (via brownbodied)

(Source: coffeyunplugged, via toobadimnotsorry)

February 14, 2014
Are Iranians People of Color? Persian, Muslim, and Model Minority Race Politics

February 14, 2014

slowartday:

Enrico Nagel

January 31, 2014

"While Americans were experiencing the effects of American feminism, Iran’s post-revolutionary Islamic identity was being rigidly defined by perceptions about women and their appropriate social and sexual conduct.  While Iran expressed its post-revolutionary ideology in part through it’s policies toward women, Americans became fixated on the veil as an icon of the essential identity of Iranian women.  While women in Iran were limited in their opportunities and in their ability to vocalize dissent, Americans too participated in their silencing by assuming that they had little or no agency and were involved in dissent." - Persis M. Karim Let Me Tell You Where I’ve Been

The veil, and the unnecessary attention Americans focus upon it, is merely a symbolic freedom created through Americans’ own perceptions of feminism.  By viewing the veil through this lens, Americans not only participate in women’s silencing, but also in the perpetuation of Iran as an oppressive country, disregarding its political and social history, including specifically, its involvement with the “Western” world.

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Filed under: iran women veil 
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