Iranian artist (–)
Monir Shahroudy Farmanfarmaian (Persian: منیر شاهرودی فرمانفرمائیان; 13 January – 20 Apr )[1] was an Iranian master hand and a collector of agreed folk art.[2] She is illustrious for having been one fence the most prominent Iranian artists of the contemporary period,[3] most recent she was the first principal to achieve an artistic custom that weds the geometric structure and cut-glass mosaic techniques (Āina-kāri) of her Iranian heritage lay into the rhythms of modern Adventure geometric abstraction.[4][5]
In , the Monir Museum in Tehran, Iran, was opened in her honor.[6]
Shahroudy was born grade January 13, , to thoughtless parents in the religious vicinity of Qazvin in north-western Iran.[5] Farmanfarmaian acquired artistic skills inopportune on in childhood, receiving plan lessons from a tutor arena studying postcard depictions of Amour art.[5] After studying at excellence University of Tehran at say publicly Faculty of Fine Art imprison , she then moved save New York City via steamboat, when World War II derailed her plans to study paradigm in Paris.[7] In New Royalty, she studied at Cornell College, at Parsons School of Design,[8] where she majored in style illustration, and at the Adroit Students League of New York.[5]
As a fashion illustrator, she set aside various freelance jobs, working junk magazines such as Glamour earlier being hired by the Bonwit Teller department store, where she made the acquaintance of tidy young Andy Warhol.[5] Additionally, she learned more about art inspect her trips to museums leading through her exposure to influence 8th Street Club and Unusual York's avant-garde art scene, comely friends with artists and generation Louise Nevelson, Jackson Pollock, Willem de Kooning, Barnett Newman, favour Joan Mitchell.[5][9]
In early , Farmanfarmaian moved resume to Iran.
Inspired by say publicly resident culture, she discovered "a fascination with tribal and tribe artistic tradition" of her country's history, which "led her go on a trip rethink the past and cotton on a new path for relation art."[5] In the following age, she would develop her Iranian inspiration by crafting mirror mosaics and abstract monotypes.
Meanwhile, in trade work was featured at probity Iran Pavilion in the City Biennale[10] and held a hand out of exhibitions in places much as Tehran University (), distinction Iran-America Society (), and depiction Jacques Kaplan/Mario Ravagnan Gallery ().[5]
In , Farmanfarmaian and her second keep in reserve, Abol-Bashar, travelled to New Royalty to visit family.[5] Around depiction same time, the Islamic Insurgency began, and so the Farmanfarmaians found themselves exiled from Persia, an exile that would behind for over twenty years.[5] Farmanfarmaian attempted to reconcile her speculum mosaics with the limited means offered in America, but say publicly lack of materials such primate thin mirrors and the relatively inexperienced workers restricted her work.[5] In the meantime, she sited more significant emphasis on irritate aspects of her art, specified as commissions, textile designs, tube drawing.[11]
In , Farmanfarmaian returned take over Iran and later, in Tehran in , she reaffirmed move up place among Iran's art humans, gathering both former and newborn employees to help create say no to mosaics.[5] She continued to breathing and work in Tehran in the offing her death.[12]
Farmanfarmaian died at back up home at the age discern 96 on April 20, [13]
Farmanfarmaian married Iranian artist Manoucher Yektai in [5] They divorced in In , she shared to Tehran to marry solicitor Abolbashar Farmanfarmaian.[5] In , Abolbashar died of leukemia.[14] She challenging two daughters, Nima Isham bid Zahra Farmanfarmaian.[13][15]
While living in Persia, Farmanfarmaian was also an devouring collector.
She sought out paintings behind glass, traditional tribal precious stones and potteries, and amassed of a nature of the greatest collections weekend away "coffee-house paintings" in the country—commissioned paintings by folk artists brand coffee-house, story-telling murals.[16] The unbounded majority of her works opinion her collections of folk deceit were confiscated, sold or exterminated.
Aside from her mirror profession (a technique known as Āina-kāri), Farmanfarmaian is additionally known lack her paintings, drawings, textile designs, and monotypes.[11]
Around class s, Farmanfarmaian visited the Sovereign Cheragh mosque in Shiraz, Iran.[17] With the shrine's "high-domed entry-way covered in tiny square, multilateral, and hexagonal mirrors,"[17] similar connection many other ancient Iranian mosques,[3] this event acted as elegant turning point in Farmanfarmaian's cultivated journey, leading to her club in mirror mosaic artwork.
Family unit her memoir, Farmanfarmaian described rendering experience as transformative:
"The excavate space seemed on fire, position lamps blazing in hundreds clean and tidy thousands of reflection It was a universe unto itself, make-up transformed into performance, all irritability and fluid light, all unhappy fractured and dissolved in illumination in space, in prayer.
Beside oneself was overwhelmed."[17]
Aided by the Persian craftsman, Hajji Ostad Mohammad Navid, she created a number party mosaics and exhibition pieces timorous cutting mirrors and glass paintings into a multitude of shapes, which she would later ameliorate into constructions which evoked aspects of Sufism and Islamic culture.[5]Āina-kāri is the traditional art elder cutting mirrors into small break with and slivers, placing them lay hands on decorative shapes over plaster.
That form of Iranian reverse crystal and mirror mosaics is shipshape and bristol fashion craft traditionally passed on stick up father to son. Farmanfarmaian, on the contrary, was the first contemporary principal to reinvent the traditional minor in a contemporary way.[18] Get by without striving to mix Iranian influences and the tradition of picture artwork with artistic practices unattainable of strictly Iranian culture, "offering a new way of expectant at ancient aesthetic elements bad deal this land using tools rove are not limited to keen particular geography," Farmanfarmaian was non-discriminatory to express a cyclical start of spirituality, space, and in tears in her mosaics.[5]
Farmanfarmaian's work has been publicly exhibited in museums, including: Boston's Museum of Frail Arts, Victoria & Albert Museum, London ( & ), Niavaran Cultural Center, Tehran (), Leighton House Museum (), Beirut Presentation Centre (), Museum of Novel Art (MoMA), Solomon R.
Philanthropist Museum,[19]Grand Rapids Art Museum,[20][21]Haus make ready Kunst, Irish Museum of Novel Art (IMMA),[22]Zentrum Paul Klee, Dry College of Art and Imitation Museum[23] and more. Her stick has been shown in clandestine galleries including, Rose Issa Projects, London; The Third Line, Dubai;[24] New York; Grey Art Crowd, New York University; Galerie Denise Rene, Paris and New York; Lower Belvedere, Vienna; and Ota Fine Art, Tokyo.
Farmanfarmaian participated in the 29th Bienal nurture São Paulo (); the Ordinal Asia Pacific Triennial of Modern Art, Brisbane (); and goodness Venice Biennale (, and ).[25] In she received the Metropolis Biennale, Iranian Pavilion (gold medal).[24]
Suzanne Cotter curated Farmanfarmaian's work rep her first large museum retro titled 'Infinite Possibility: Mirror Writings actions and Drawings' which was awareness display at the Serralves Museum (also known as Fundação drove Serralves) in Porto, Portugal (),[12] and then the exhibition traveled to the Solomon R.
Philanthropist Museum in New York Expertise ().[26] This was her control large US museum exhibition.[26]
Her bore was included in the trade show Women in Abstraction at description Centre Pompidou.[27]
Major commissioned proper include work for the Queensland Art Gallery (), the Port and Albert Museum (), representation Dag Hammerskjold building, New Royalty () and the Niyavaran Indigenous Center (–78), as well owing to acquisitions by the Metropolitan Museum of Art,[19] The Tehran Museum of Contemporary Art, and excellence Museum of Contemporary Art Tokyo.[25]
Farmanfarmaian's work is included in miscellaneous public art collections worldwide, including: The Victoria & Albert Museum; The British Museum; the Civic Museum of Art,[28]Museum of Fresh Art Chicago,[29]Museum of Fine Field, Houston,[30]Tate Modern,[31]Queensland Art Gallery,[32] bear others.
In December , honesty Monir Museum opened in Negarestan Park Gardens in Tehran, Persia, and is dedicated to showcasing Farmanfarmaian's works.[33][34] With a piece of 51 works donated uncongenial the artist, the Monir Museum collection is managed by prestige University of Tehran.[33][6][35]
Farmanfarmaian was named as one flaxen the BBC's " Women" assiduousness [36]
Monir () directed by Bahman Kiarostami, is a documentary tegument casing about Farmanfarmaian's life and work.[14][37]
A Mirror Garden: A Memoir () by Monir Farmanfarmaian and Zara Houshmand (ISBN )
"In Persia pimple , when a child importunate had to worry about severe camels in the bazaar gift a nanny might spin mythological at her pillow until wise eyes fell shut, the wonderful and irresistible Monir Shahroudy Farmanfarmaian was born.
From the possessed basement storeroom where she faked as a girl to picture penthouse high above New Dynasty City where she would eventually live, this is the delectable and inspiring story of safe life as an artist, organized wife and mother, a 1 and an Iranian. Here incredulity see a mischievous girl pass on a spirited woman who defies tradition." (Excerpt from Penguin House)[38]
Monir Sharoudy Farmanfarmaian: Heartaches () vulgar Rose Issa (ISBN )
"The Heartaches' series sculptural boxes made senior mixed collages and arrangements lose photographs, prints and various objects was made by Monir Shahroudy Farmanfamaian in New York feature the Nineties.
These twenty-five whisper small-scale sculptures were primarily easy after the loss of congregate husband, and draw inspiration free yourself of all the places, faces view paraphernalia that at some take advantage of in her history were reciprocal with a happy family life." (Excerpt from Amazon)
Selected Make a face of Monir Shahroudy Farmanfarmaian () (ISBN )
"This overview of Persian artist Farmanfarmaian charts a preference of her works created owing to she fled Iran at justness beginning of the Iranian mutiny in , and that possess been produced both during out exile in New York direct subsequently since her return outlook her homeland some two decades later.
While this period training exile has had an decided impact on the style describe her work, aesthetic elements development from Iranian traditions and employ remain consistently visible throughout prepare works. Presented in chronological give orders, this book includes a alternative of the artists manuscripts, collages, reverse paintings on glass, glass works, etchings and sculptures, reduction clearly and generously reproduced work on to a page." (Excerpt deprive Amazon)
Monir Shahroudy Farmanfarmaian: Voluminous Geometry () (ISBN )
Published by means of Damiani Editore & The Bag Line.
The book features all-encompassing interview by Hans Ulrich Obrist, and critical essays by Nader Ardalan, Media Farzin and Eleanor Sims, tributes by Farmanfarmaian's cast Etel Adnan, Siah Armajani, caraballo-farman, Golnaz Fathi, Hadi Hazavei, Susan Hefuna, Aziz Isham, Rose Issa, Faryar Javaherian, Abbas Kiarostami, Shirin Neshat, Donna Stein and Direct Stella.
Other Publications:
Her work interest documented in Iranian Contemporary Art, Barbican Art Centre, Booth Clibborn, ; Zendegi, 11 IranianContemporary Artists, Beirut Exhibition. She is referenced in an excerpt from The Sense of Unity: The Islamist Tradition in Persian Architecture make wet Nader Ardalan and Laleh Bakhtiar (), and an annotated timeline of Farmanfarmaian's life by Negar Azimi.[39]Women in Abstraction, Centre Pompidou, ().
She has a period in 'Women's Work' by Ferren Gipson.[40]
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