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This paper will discuss some of the exemplary works of Shirin Neshat.
Research asserts that Neshat is one of the renowned filmmakers and photographers from Iran (Abramovic and Danto 12). Earlier on, she had started as a painter, but she later shifted and started exploring the Iranian Islamic roots and photography. Therefore, she used her films and photos in order to reveal some of the basics of the Iranian culture. She also experienced the effects of 9/11 when she was in New York with her son. The effects of this event had a vast impact on her as an American citizen from the Muslim culture. Currently, Neshat is working on photographs and poems that reveal various facts in the Iranian Muslim culture.
During her interviews, Neshat highlights that she recently made three film installations entitled Passage, Pulse and Possessed (Abramovic and Danto 89). She also claims that most of her works are based on the Iranian society and their Muslim culture. Through most of her films, her audience can easily understand the Iranian culture from various perspectives. In Turbulent, Neshat presents two singers (Sussan Deyhim and Shoja Azari) who create a musical metaphor for the complexity of cultural power and gender roles according to the ancient Persian poetry and music. The voice of the woman in the video installation is rather evoking, but she does not have an audience as compared to the man whose music is appreciated.
In fact, Neshat offers duality and complexity in the Iranian culture. This is incorporated by a realistic and mystic approach that is achieved by the use of films and photographs to portray the Iranian Muslim culture (Abramovic and Danto 187). In the other interview that was hosted by David Ross, Neshat also talks about her work in photography and the film industry. She extensively discusses the role of women especially in the Islamic society. In addition, she also talks about the
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At five, she was effectively an orphan, never to be reunited with her mother, who was then permanently committed to a mental institution (Millier 56). Living with her maternal grandparents, she experienced living in a comfortable, loving environment, a period which she referenced to in her works, In the Village and Sestina.
This article will mainly focus on the way Shirin Neshat’s photography presents Muslim women far differently than the ways they are typically presented. Historical studies reveal the fact that women actively participated in the first mosques founded by Mohammed, the Prophet and he has always instructed his followers that men and women are equal before God.
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d as a highly talented and well-respected artist with a keen eye for emotion and a sensitive treatment of religious topics, there were several requirements and special challenges regarding the undertaking of this particular masterpiece. Because of the sheer difficulty of the
Neshat employs calligraphy, colors and picture designs to communicate intended ideas.
Neshat shows female figures in black chadors isolating the female subject; this aspect is an expression of conformation to the Islamic laws, which
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