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Modernisms: Iranian, Turkish, and Indian Highlights from New York University’s Abby Weed Grey Collection. Grey Art Gallery, New York University, 10 Eylül–7 Aralık, 2019. Küratör: Lynn Gumpert

Yıl 2020, Cilt: 2, 222 - 224, 22.12.2020
https://doi.org/10.53979/yillik.2020.26

Öz

Modernisms: Iranian, Turkish, and Indian Highlights from New York University’s Abby Weed Grey Collection. Grey Art Gallery, New York University, 10 Eylül–7 Aralık, 2019. Küratör: Lynn Gumpert, sergisinin Lydia Harrington tarafından yazılmış tenkidi.

Kaynakça

  • 1 Lynn Gumpert, “Foreword,” in Modernisms: Iranian, Turkish, and Indian Highlights from New York University’s Abby Weed Grey Collection, ed. Lynn Gumpert (New York: Grey Art Gallery, 2019), 7.
  • 2 Gumpert, “Direct Dialogues: Reflections on Abby Weed Grey,” in Gumpert, Modernisms, 9.
  • 3 Ibid., 11. See note 10: Abby Weed Grey, The Picture is the Window: The Window is the Picture (New York: New York University Press, 1983), 15–16.
  • 4 For more on US in Turkey and the Middle East during the Cold War regarding modernism, see Begüm Adalet, Hotels and Highways: The Construction of Modernization Theory in Cold War Turkey (Redwood City: Stanford University Press, 2018); Sibel Bozdoğan, “Democracy, Development, and Americanization of Turkish Architectural Culture in the 1950s,” in Modernism and the Middle East, ed. Sandy Isenstadt and Kishwar Rizvi (Seattle: University of Washington Press, 2008), 117–139;
  • Ela Kaçel, “Information or Culture: The Intellectual Dissemination of Americanism As Common Sense, New Perspectives on Turkey 50 (2014): 171–188; Melani McAlister, Epic Encounters: Culture, Media, and U.S. Interests in the Middle East since 1945 (Berkeley: University of California Press, 2005); and Sarah-Neel Smith, “Forgotten Geographies of Artistic Diplomacy: Abby Weed Grey and U.S.-Middle East Exchanges in the 1960s” in Gumpert, Modernisms, 123–134.
  • 5 “Modernisms: Vishakha N. Desai, Vasif Kortun, and Hamed Yousefi in Conversation with Lynn Gumpert” in Gumpert, Modernisms, 28–29; and Ali Mirsepassi and Hamed Yousefi, “Abby Weed Grey’s Journey to the East: Iranian Modernity During the Cold War” in Gumpert, Modernisms, 66–71.
  • 6 For more information on art institutions and movements in Turkey during this period, see Esra Akcan, Architecture in Translation: Turkey, Germany, and the Modern House (Durham: Duke University Press, 2012); S. M. Can Bilsel, “‘Our Anatolia’: Organicism and the Making of Humanist Culture in Turkey,” Muqarnas 24 (2007): 223 –241;
  • Sibel Bozdoğan and Esra Akcan, Turkey: Modern Architectures in History (London: Reaktion Books, 2013); Nilüfer Öndin, Cumhuriyet’in Kültür Politikası ve Sanat 1923–1950 (Istanbul: İnsancıl Yayınları, 2003);
  • Kenan Behzat Sharpe, “A Mediterranean Sixties: Cultural Politics in Turkey, Greece, and Beyond,” in The Routledge Handbook of the Global Sixties: Between Protest and Nation-Building, ed. Chen Jian et al. (London: Routledge, 2018), 169–189.
  • For Iran, see Shiva Balaghi and Lynn Gumpert, Picturing Iran: Art, Society, and Revolution (London: I.B. Tauris, 2002); Fereshteh Daftari, Persia Reframed: Iranian Visions of Modern and Contemporary Art (London: I.B. Tauris, 2019);
  • Daftari, “Another Modernism: An Iranian Perspective” in Gumbert, Modernisms, 43–63; Karim Emami, “Post-Qajar (Painting)” in Encyclopedia Iranica, v. 2, ed. Ehsan Yarshater (London: Routledge and Kegan Paul, 1987), 640–646; and Javad Mojabi, Pioneers of Contemporary Persian Painting: First Generation (Tehran: Iranian Art Publishing, 1998).
  • For India, see Iftikhar Dadi, Modernism and the Art of Muslim South Asia (Chapel Hill: University of North Carolina Press, 2010); Zehra Jumabhoy and Boon Hui Tan, The Progressive Revolution: Modern Art for a New India (New York: Asia Society Museum, 2018);
  • Sonal Khullar, Worldly Affiliations: Artistic Practice, National Identity, and Modernism in India, 1930-1990 (Berkeley: University of California Press: 2015);
  • Devika Singh, “A Modern Formation? Circulating International Art in India 1950s-1970s,” in Western Artists and India: Creative Inspirations in Art and Design, ed. Shanay Jhaveri (London: Thames and Hudson, 2013), 46–57.

Modernisms: Iranian, Turkish, and Indian Highlights from New York University’s Abby Weed Grey Collection. Grey Art Gallery, New York University, September 10– December 7, 2019. Curator: Lynn Gumpert

Yıl 2020, Cilt: 2, 222 - 224, 22.12.2020
https://doi.org/10.53979/yillik.2020.26

Öz

Exhibition review of Modernisms: Iranian, Turkish, and Indian Highlights from New York University’s Abby Weed Grey Collection. Grey Art Gallery, New York University, September 10– December 7, 2019. Curator: Lynn Gumpert, written by Lydia Harrington.

Kaynakça

  • 1 Lynn Gumpert, “Foreword,” in Modernisms: Iranian, Turkish, and Indian Highlights from New York University’s Abby Weed Grey Collection, ed. Lynn Gumpert (New York: Grey Art Gallery, 2019), 7.
  • 2 Gumpert, “Direct Dialogues: Reflections on Abby Weed Grey,” in Gumpert, Modernisms, 9.
  • 3 Ibid., 11. See note 10: Abby Weed Grey, The Picture is the Window: The Window is the Picture (New York: New York University Press, 1983), 15–16.
  • 4 For more on US in Turkey and the Middle East during the Cold War regarding modernism, see Begüm Adalet, Hotels and Highways: The Construction of Modernization Theory in Cold War Turkey (Redwood City: Stanford University Press, 2018); Sibel Bozdoğan, “Democracy, Development, and Americanization of Turkish Architectural Culture in the 1950s,” in Modernism and the Middle East, ed. Sandy Isenstadt and Kishwar Rizvi (Seattle: University of Washington Press, 2008), 117–139;
  • Ela Kaçel, “Information or Culture: The Intellectual Dissemination of Americanism As Common Sense, New Perspectives on Turkey 50 (2014): 171–188; Melani McAlister, Epic Encounters: Culture, Media, and U.S. Interests in the Middle East since 1945 (Berkeley: University of California Press, 2005); and Sarah-Neel Smith, “Forgotten Geographies of Artistic Diplomacy: Abby Weed Grey and U.S.-Middle East Exchanges in the 1960s” in Gumpert, Modernisms, 123–134.
  • 5 “Modernisms: Vishakha N. Desai, Vasif Kortun, and Hamed Yousefi in Conversation with Lynn Gumpert” in Gumpert, Modernisms, 28–29; and Ali Mirsepassi and Hamed Yousefi, “Abby Weed Grey’s Journey to the East: Iranian Modernity During the Cold War” in Gumpert, Modernisms, 66–71.
  • 6 For more information on art institutions and movements in Turkey during this period, see Esra Akcan, Architecture in Translation: Turkey, Germany, and the Modern House (Durham: Duke University Press, 2012); S. M. Can Bilsel, “‘Our Anatolia’: Organicism and the Making of Humanist Culture in Turkey,” Muqarnas 24 (2007): 223 –241;
  • Sibel Bozdoğan and Esra Akcan, Turkey: Modern Architectures in History (London: Reaktion Books, 2013); Nilüfer Öndin, Cumhuriyet’in Kültür Politikası ve Sanat 1923–1950 (Istanbul: İnsancıl Yayınları, 2003);
  • Kenan Behzat Sharpe, “A Mediterranean Sixties: Cultural Politics in Turkey, Greece, and Beyond,” in The Routledge Handbook of the Global Sixties: Between Protest and Nation-Building, ed. Chen Jian et al. (London: Routledge, 2018), 169–189.
  • For Iran, see Shiva Balaghi and Lynn Gumpert, Picturing Iran: Art, Society, and Revolution (London: I.B. Tauris, 2002); Fereshteh Daftari, Persia Reframed: Iranian Visions of Modern and Contemporary Art (London: I.B. Tauris, 2019);
  • Daftari, “Another Modernism: An Iranian Perspective” in Gumbert, Modernisms, 43–63; Karim Emami, “Post-Qajar (Painting)” in Encyclopedia Iranica, v. 2, ed. Ehsan Yarshater (London: Routledge and Kegan Paul, 1987), 640–646; and Javad Mojabi, Pioneers of Contemporary Persian Painting: First Generation (Tehran: Iranian Art Publishing, 1998).
  • For India, see Iftikhar Dadi, Modernism and the Art of Muslim South Asia (Chapel Hill: University of North Carolina Press, 2010); Zehra Jumabhoy and Boon Hui Tan, The Progressive Revolution: Modern Art for a New India (New York: Asia Society Museum, 2018);
  • Sonal Khullar, Worldly Affiliations: Artistic Practice, National Identity, and Modernism in India, 1930-1990 (Berkeley: University of California Press: 2015);
  • Devika Singh, “A Modern Formation? Circulating International Art in India 1950s-1970s,” in Western Artists and India: Creative Inspirations in Art and Design, ed. Shanay Jhaveri (London: Thames and Hudson, 2013), 46–57.
Toplam 14 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Bölüm İncelemeler ve İstanbul Kaynakçası
Yazarlar

Lydia Harrıngton Bu kişi benim

Yayımlanma Tarihi 22 Aralık 2020
Gönderilme Tarihi 26 Eylül 2020
Yayımlandığı Sayı Yıl 2020 Cilt: 2

Kaynak Göster

Chicago Harrıngton, Lydia. “Modernisms: Iranian, Turkish, and Indian Highlights from New York University’s Abby Weed Grey Collection. Grey Art Gallery, New York University, September 10– December 7, 2019. Curator: Lynn Gumpert”. YILLIK: Annual of Istanbul Studies 2, Aralık (Aralık 2020): 222-24. https://doi.org/10.53979/yillik.2020.26.