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

Lydia Harrıngton

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.

Anahtar Kelimeler

sanat tarihi , modernizm , İran , Türkiye , Hindistan

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

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.

Anahtar Kelimeler

modernism , Iran , Turkey , India , art history

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.