IRANIAN FEMALE ARTISTS

Iranian Female Artists



Abstract

Hejab (literally, a curtain) is perhaps the best-known aspect of Iranian women's lives in the post-revolutionary period, but it was a political issue long before the Islamic Revolution. The modernization policies of Reza Shah included European dress for men, ordered in 1929, and kashf-e hejab, the unveiling of women, ordered after he returned from a trip to Ataturk's Turkey in 1934. The veil was no longer to be understood as a signiªer of modesty, but rather of reaction and backwardness. In 1936, kashf-e hejab became mandatory, with the police unveiling women in the streets if they appeared in chador. Little in Reza Shah's ªfteen years of change stirred such open opposition as kashf-e hejab, which led to rioting that was harshly repressed. Head and body coverings for women are mandatory under Article 638 of the penal code, which stipulates that those who fail to comply with hijab sharèe (Shari'a-based veiling) face 10 days to two months in prison or fines between 50,000 and 500,000 rials (US$5 to US$50). This paper will discuss the censorship and current cultural politics in post revolutionary Iran affect the portrayal of the role of women in contemporary Iranian female artists, Shirin Neshats and Shadi Ghadirian.

Table of Contents

ABSTRACTII

LIST OF ILLUSTRATIONS/FIGURESIV

INTRODUCTION1

Statement Of The Subject1

Importance of the research2

Lmitations/ Restictions of the study3

Research questions and Hypotheses3

Research Approach/Theoretical Framework4

Definition Of Key Terms4

Organization of the Chapters5

LITERATURE REVIEW6

CHAPTER 1: WOMEN IN POST-REVOLUTIONARY IRAN9

CHAPTER 2: IRANIAN FEMALE ARTISTS AND PORTRAYAL18

Shirin Neshats And Censorship18

Shadi Ghadirian20

CHAPTER 3: QUESTION AT HAND27

CONCLUSION36

REFERENCES39

List of Illustrations/Figures

Figure 1: “Be Colourful”, by Shadi Ghadirian (2006)21

Figure 2: “Like Every Day”, by Shadi Ghadirian26

Iranian Female Artists

INTRODUCTION

Statement Of The Subject

Historically, artists have been the primary targets of the censor - novelists, playwrights, satirists, poets, painters and sculptors have seen their art banned, burned, desecrated, or destroyed while they themselves have been imprisoned, dismissed or killed. The fascinating fact is, however, that for different political and social reasons, and above all due to the extensive presence of a large group of our women in various fields of social activity, even if as part of a shapeless mass, and in not-so-important roles, the Iranian woman has turned more than ever before to study and research, has expressed her views on the shortages facing her and has demanded the restorations of her rights. (Kjell 2009: 89-95)

Despite being no more than ten years as being the artist, working under difficult conditions and facing various limitations, they have had greater success than men in a more realistic portrayal of both women and men in Iran. Their work has, moreover, enjoyed enthusiastic public reception.

At first glance, Tehran-based photographer Shadi Ghadirian's work, also seems to focus on the hejab (Muslim women's dress). One particularly notable body of work consists of a series of women wearing a type of hejab, known as the chador (one piece cloth covering head-to-toe), with various household items, a grater, an iron or a teacup and saucer, concealing their faces. 'For some women household work becomes a job, it becomes so ...