Persepolis Part II

Views 1 2 3
© Sadegh Tirafkan Estate
My gallery Comment Tag Order Photography*
© Sadegh Tirafkan Estate
My gallery Comment Tag Order Photography*
© Sadegh Tirafkan Estate
My gallery Comment Tag Order Photography*
View comments
Add a comment
Please log in to add comments.
Enter your LACMA Collections username.
Enter the password that accompanies your username.
New to our collections website? Sign up to create an account and start saving your favorites. Please note that this account is not the same as the MyLACMA account you may have for ticketing and membership transactions.
Current tags
This item has not been tagged yet.
Please log in to add tags.
Enter your LACMA Collections username.
Enter the password that accompanies your username.
New to our collections website? Sign up to create an account and start saving your favorites. Please note that this account is not the same as the MyLACMA account you may have for ticketing and membership transactions.
* Nearly 20,000 images of artworks the museum believes to be in the public domain are available to download on this site. Other images may be protected by copyright and other intellectual property rights. By using any of these images you agree to LACMA's Terms of Use.

Persepolis Part II

1997
Time Based Media
Digital video and chromogenic development (Kodak) print
see individual records
Purchased with funds provided by the Farhang Foundation (Iranian-American Heritage Foundation of Southern California), Nina Ansary, Frank Burgel, and Joshua L. Mack (M.2008.114.1-.3)
Not currently on public view

Curator Notes

To view a clip of this artwork press the play button below.

...
To view a clip of this artwork press the play button below.



Sadegh Tirafkan was born in Iraq and forcibly repatriated to Iran by Saddam Hussein in 1971. Through his photographs and videos, Tirafkan, like other Iranian artists of his generation, captures a society caught between the present and the past. This theme is at the heart of his "Persepolis" series, set amid what was once Iran’s greatest imperial city, destroyed by Alexander the Great in 330 B.C. Tirafkan uses this locale as a symbol of Iran’s past glory and of the struggle to retain traditional Iranian cultural values. The rhythmic sound of feet crunching on gravel enhances this eloquent meditation on the contemporary Iranian’s relationship to the past and quest for an identity in the present—is he going backward or forward?

More...