Opening October 17th at UNCA and October 18th at the Courtyard Gallery and Flood Fine Arts Center
FLOOD FINE ART CENTER AND UNCA FEATURES IRANIAN POSTER ART, PHOTOGRAPHS AND FILMS FROM THE 1960s AND 1970s
“In Search of Lost Causes: Images of the Iranian Revolution: Paradox, Propaganda, and Persuasion "on view at UNCA and the Flood Fine Arts Centeropening October 16th and 17th
Asheville, NC September 18th, 2013A groundbreaking exhibition, In Search of Lost Causes examines three discrete but inter-related aspects of Iranian art of the 1960s through 1980. Organized by the Flood Gallery, Courtyard Gallery and UNCA, In Search of Lost Causes presents over 125 never before exhibited works revolutionary posters, film screenings and black-and-white photographsand is on view at UNCA Library and the Courtyard and Flood Galleries at 109 Roberts St, RAD, Asheville from Oct 17th through November 29th, 2013. After opening in Asheville, NC, the exhibit is scheduled to travel in various parts of the US and Europe.
In Search of Lost Causes: Images of the Iranian Revolution: Paradox, Propaganda, and Persuasion introduces American audiences to modern Iranian art while shedding light on the many ways visual culture both reflected and affected the 1960s and 1970s, two decades that saw dramatic changes, including the politicization of Islam and the 1979 Iranian Revolution.
The exhibition features a selection of revolutionary posters by professional and amateur artists who combined calligraphy, graphics, and rhetoric to convey abstract ideologies. Also exhibited are striking black-and-white photographs from the 1970s by anonymous Iranian photographers, and a series of modern Iranian films. These posters, photographs, and films encourage re-examining the notion of modernism in a non-Western culture.
After a North Carolina Humanities Grant brought him to Asheville to examine the posters, Dr. Hamid Dabashi of Columbia University noted,
“The significance of the Courtyard Gallery Collection of the Flood Fine Arts Center cannot be exaggeratednot just because of the actual collection but also because of the serendipitous manner in which history had decided to safeguard these magnificent traces of deeply traumatic episodes in a people’s struggle for freedom and justice. For these reasons alone, it simply must open in Asheville.
“This collection contains a significant number of revolutionary posters (146 items) roughly from mid-1960’s to early 1980’s, namely just about a decade before and then well into a decade in the aftermath of the Iranian Revolution of 19771979. This collection has a number of crucial attributes that makes it a treasure trove of both the political and the aesthetic history of Iran in a global context and in multiple and varied dimensions.”
Dr. Dabashi has written a book about this collected titled “In Search of Lost Causes: Fragmented Allegories of an Iranian Revolution, and will be signing copies of the book during events at UNCA and the galleries.
“These posters from the Iranian Revolution were an act of resistance and creation,” says Carlos Steward of the Courtyard Gallery. “It sought out ways in which the arts could engage social and political concern. This period of Iranian visual culture is an archival record of the social and political problems that were emerging. It serves as the artistic pre-history to the Iranian Revolution of 1979. In Search of Lost Causes teaches us more about modern Persian art and helps us understand how a country that was heralded as a paragon of universal modernization underwent an Islamic Revolution with a message steeped in local imagery, demanding an idealized return to the past and to democracy.”
The Iranian revolutionary posters shown with In Search of Lost Causes offer a fascinating glimpse into Iran’s modern visual culture. Composed with bold forms, intense colors, and calligraphy, these posters pervaded Tehran during the uprising. Created between 1978 and 1980, they were used as props in mass choreographed street demonstrations, and covered buildings throughout Iran’s cities, often defacing public monuments built by Shah Pahlavi’s regime as symbols of its authority and grandeur. The posters were replaced almost as fast as the government tore them down.
Art, reportage, poetry, and politics all became entangled in a distinct form of visual culture. Many posters allude to battle scenes from the Koran or classical Persian poems; others proclaim solidarity with Palestine and the Kurds. Vivid red backgrounds refer to bloodshed and the red tulip, an icon of classical Persian literature. Anonymous artists combined various techniques and symbols, from newspaper collages to silkscreened portraits juxtaposed against bright, abstract backgrounds, reminiscent of Andy Warhol whose portraits of the Shah and the Queen hung in the Tehran Museum of Contemporary Art.
“Iranian modernism, like many of the culturally specific modernisms that emerged around the globe, was not synonymous with the one constructed in the West,” says Jolene Mechanic, director of the Flood Fine Arts Center. “Both nationalist and internationalist, it looked inward as well as outward. In art, its languages included realism and abstraction, but formal issues were not its primary problems: the fundamental questions addressed by Iranian modernism centered on the notion of identity.” In Search of Lost Causes: Images of the Iranian Revolution: Paradox, Propaganda, and Persuasion is co-curated by Jolene Mechanic and Carlos Steward in consultation with Dr. Hamid Dabashi.
The second section of the exhibition features photographs by Iranian photographers that provide critical information about Iran in 1970s. Taken between 1978 and 1980, these photos provide startling and vivid views of Tehran and its citizens caught up in the throes of a whirlwind. Some have become iconic images.
The third section, the films, provide a look at Iran’s modern Cinema that was blossoming during and after the revolution.
This project is important to both our local community and the community at large, as our society becomes increasingly influenced by media and corporations with agendas of keeping us misinformed for their own profit motives. We cannot effectively participate in a democracy if we don’t know the truth and conditions of the other cultures that we have become accustomed to manipulating into what we believe is best for them.
Through exhibition it is anticipated that audiences will begin to question their assumptions about Iran, the negative influences of propaganda, and the power of persuasion by special interest groups.
October 17, Poster Exhibition and Film Screening at UNC Asheville Library30 posters
67:30 p.m. Reception for Dr. Hamid Dabashi, Columbia University at the Ramsey Library Glasshouse.
7:30 p.m. Poster lecture and book signings by Dr. Dabashi
8:30 p.m. Screening of This is Not a Film in the Walt Whitman Room. This is not a Film documents a day in the life of prisoner Jafar Panahi, banned for 20 years from filmmaking in Iran. The film was smuggled out of Iran in a USB stick hidden in a cake.
October 18, Poster Exhibition and Film Screening at the Flood Fine Arts Center95 posters
68 p.m. Receptionposter art lecture and book signings by Dr. Dabashi.
8 p.m. Screening of Chicken with Plums at the Courtyard Gallery. Directed by Marjane Satrapi and Vincent Paronnaud, this film adaptation of the graphic novel tells the story of Nasser Ali, a renowned musician who losess all taste for life after his beloved violin is broken.
October 25, Film Screening at the Courtyard Gallery
8 p.m. Screening of Persepolis at the Courtyard Gallery. Directed by Marjane Satrapi and Vincent Paronnaud, Persepolis is a poignant coming-of-age story about a precocious and outspoken young Iranian girl that begins during the Islamic Revolution.
Posters will be on exhibit at Ramsey Libraby at UNC Asheville from October 1 through October 30, 2013.
Posters will be on exhibit at the Flood Fine Arts Center from October 17 through November 29, 2013.
In Search of Lost Causes:
This project is made possible by funding from the North Carolina Humanities Council, a statewide nonprofit and affiliate of the National Endowment for the Humanities.
OPENING Reception Aug. 3rd, 2013 6pm-9pm
Anything Goes, Everything Shows!
8th Annual Mail Art Exhibit
8th Annual International! Deadline July 29th 2013
Exhibit Aug 3rd -Sept 27th, 2013
Thank you everyone who submitted mail art in the 7th annual exhibition, and it was great seeing some of your faces at the opening! Our mail art show title says it all as ALL entries that made it through the postal system were exhibited in the Courtyard Gallery last year. Participants were encouraged to explore imagery and themes of any kind. Favorite pieces from previous years are also shown. Here are some photos from last year's show!
Deadline: July 29th (if you don't make the deadline, you can still submit year-round to enter next year's exhibit!).
No entry fee. Non-returnable.
Send to: Carlos Steward
Anything Goes-Everything Shows
The Courtyard Gallery
P.O. Box 9907
Asheville, NC 28815
Questions can be sent to firstname.lastname@example.org
Opening Aug 3rd, 6pm-9pm
109 Roberts Street at the Phil Mechanics Building
River Arts District, Asheville
Mail Art Articles:
2009 Feature Article by Carol Motsinger
2009 Photo Gallery by Steve Dixon
2008 Review by Marshall Gordon
Friends of Mail Art, Art Calls & More:
Art & Art Deadlines
International Union of Mail-Artists
+Mail Art Networking
Images from past shows:
Gallery Hours are 11am-4pm Tuesday-Saturday or by appointment
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Exhibit featuring Picasso, Braque, Ebgi and Warhol.
The Courtyard Gallery is pleased to announce a new exhibit titled Cubism-Then and Now featuring the works of
Georges Braque, Pablo Picasso, Andy Warhol, Amram Ebgi, and the sculpture of Hans Van de Bovenkamp. Also on display will be Enamel Paintings by Goldberg and a new collection by TL Lang from the Jimmy Warhol collection.
Paintings by Ruth Ilg and Haruka Shikiauchi will also be on hand, that display elements of modern cubism. This exhibit will open June 2 from 5pm to 8pm at the Courtyard Gallery located at 9 Walnut Street. You can also enter at 58 Lexington Ave or 13 Carolina Lane.
I n the spring of 1907, Georges Braque visited the studio of Pablo Picasso for the first time. In the years that followed, the two artists, apparently so unlike in background, temperament, and possibly even in aesthetic, became essential to each other, forging a relationship that was part intimate friendship, part rivalry, part two-man expedition into the unknown. The young men were constantly in each other’s studio, scrutinizing each other’s work, challenging, stimulating, and encouraging each other. They went off to paint in different places and returned to compare results. They invented nicknames for each other, shared jokes and pranks, dressed up in each other’s clothes and took photographs. Along the way they invented a new language of painting that destroyed time-honored conventions of representation: they invented what came to be known as Cubism.
The remarkable symbiosis between the two artists and their continued influence of the visual arts is the subject of the exhibition “Cubism, Then and Now,” organized by Carlos Steward of the Courtyard Gallery. “All works are for sale at affordable prices,” says Steward, “and this would be a great time to come and see early some influences in modern art and to start or add to existing art investments.”
The exhibit will be on display until Oct 30, 2006 and can be view between 1-6pm Tuesday through Saturday or by appointment. The exhibit opens in conjunction with the second downtown art walk coordinated by the Downtown Gallery Association. For more information please call 828-273-3332