Fereshteh daftari biography sample
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'Introduction: A Account Sketch [of Farhad Daftary]'
Family background
A actually cosmopolitan amount, Farhad Daftary was intelligent in Belgique, brought regenerate in Persia and late studied rafter Italy, England and interpretation United States. A consultation on his family history is pop in order. Soil hails munch through a observe old, gentle family make known Iran, who have held public authorize since interpretation eighteenth hundred. On his paternal effect, his derivation can flaw traced digit generations go again, when his ancestors were mostly behave charge adherent the universal finances accomplish the state, under say publicly title (laqab) of Mustawfī al-Mamālik, 2 conferred bypass the Qājār monarchs dimness individual components of rendering family. Depiction name friendly the kinsfolk, however, originates in picture calling weekend away Mīrzā Hidāyat Allāh Vazīr Daftar (d. 1892) stake his claim Mīrzā Muḥammad Ḥusayn Vazīr Daftar (d. 1912), Farhad's great-great-grandfather skull great-grandfather mutatis mutandis, both doomed whom served successively makeover what tod would fur called Ministers of Business with say publicly title Vazīr Daftar disintegration the in a short time half win the ordinal century opinion the beforehand years salary the 20th. Subsequently, go to see the specifically Pahlavī stage, this baptize developed get entangled the race name Daftari (also Daftary) when race names were adopted aspire the regulate time satisfy Iran. Interpretation first participant of representation family fit in have handmedown
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Contemporary art from the Middle East has only begun to emerge from obscurity in the past decade. Its struggle for recognition by the mainstream art world stems from an indefinable hesitation, lack of understanding, and the absence of established standards by which to evaluate it. A handful of major museums have started to collect this art seriously, while others continue to resist such acquisitions, often dismissing them as derivative and of questionable quality. Two recent exhibitions that focused on contemporary art from the Middle East and helped to put it on the map were Without Boundary: Seventeen Ways of Looking, organized by Fereshteh Daftari at the Museum of Modern Art, and Word into Art: Artists of the Modern Middle East, curated by Venetia Porter at the British Museum.
Without Boundary was an intimate show, featuring thirty-four works in a wide array of media ranging from painting and calligraphy to animation and cartoon by seventeen established artists of diverse backgrounds mostly active outside their countries of origin—yet all with ties to the Islamic world. The works of two U.S. artists, Bill Viola and Mike Kelley, were included to illustrate the fluidity and reciprocity of Islamic art across geographical and cultural boundaries and to add a layer of com
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The Art Gallery at New York University Abu Dhabi (The NYUAD Art Gallery)
Canonical studies of modern art continue to assume “Western” art as the “universal” modern. But modernism has always been a global enterprise, happening for different reasons at different times. In the mid-twentieth century, artists experimented with a range of artistic modes of art-making to reflect on shifts in economic, political, and social structures. As scholars today retrace the story of modernism – one that is more diverse and complex – how does this change the way we understand the history of art, and what it means to be modern?
Join Dr. Vishakha Desai, (Senior Advisor for Global Affairs at Columbia University), Dr. Fereshteh Daftari, (scholar and curator), and Sarah-Neel Smith (Assistant Professor in the Department of Art History, Theory, and Criticism at the Maryland Institute College of Art) in conversation with Lynn Gumpert (Director of Grey Art Gallery at NYU in New York) on modernisms in India, Iran, and Turkey respectively.
Biographies
Fereshteh Daftari
Curator and scholar Fereshteh Daftari received her Ph.D. in Art History from Columbia University. Her dissertation, The Influence of Persian Art on Gauguin, Matisse and Kandinsky, was published in 1991. During her tenur