Shirin Neshat
Amir (Villains)2012

Not on view

Artist or Maker: Shirin Neshat
Iran, Qazvin, active United States, New York, New York City, born 1957
Title: Amir (Villains)
Date Made: 2012
Medium: Gelatin silver print with acrylic
Dimensions: Frame: 99 1/8 × 49 3/4 × 2 1/4 in. (251.78 × 126.37 × 5.72 cm)
Credit Line: Gift of Lynda and Stewart Resnick through the 2017 Collectors Committee
Accession Number: M.2017.77
Classification: Photographs
Collecting Area: Art of the Middle East: Contemporary
Curatorial Notes: Shirin Neshat is the best-known artist of the Iranian diaspora. In her series The Book of Kings, she brings forward to the present the inherent nationalism of the Shahnama, the Iranian national epic, using portraits of friends and acquaintances with hands crossed diagonally over their hearts to depict patriots. She also created a smaller group of villains, as seen here, represented by full-length male portraits with tattoo-like battle scenes from the Shahnama covering their bare upper torsos, for which Neshat relied on her copy of an early-twentieth-century lithograph edition of the Shahnama.
Selected Bibliography: Komaroff, Linda. In the Fields of Empty Days: The Intersection of Past and Present in Iranian Art. Los Angeles: Los Angeles County Museum of Art; Munich; New York: DelMonico Books-Prestel, 2018.
Copyright: © Shirin Neshat, photo courtesy the artist and Gladstone Gallery, New York and Brussels

Related Unframed

Not on view

Artist or Maker: Shirin Neshat
Iran, Qazvin, active United States, New York, New York City, born 1957
Title: Amir (Villains)
Date Made: 2012
Medium: Gelatin silver print with acrylic
Dimensions: Frame: 99 1/8 × 49 3/4 × 2 1/4 in. (251.78 × 126.37 × 5.72 cm)
Credit Line: Gift of Lynda and Stewart Resnick through the 2017 Collectors Committee
Accession Number: M.2017.77
Classification: Photographs
Collecting Area: Art of the Middle East: Contemporary
Curatorial Notes: Shirin Neshat is the best-known artist of the Iranian diaspora. In her series The Book of Kings, she brings forward to the present the inherent nationalism of the Shahnama, the Iranian national epic, using portraits of friends and acquaintances with hands crossed diagonally over their hearts to depict patriots. She also created a smaller group of villains, as seen here, represented by full-length male portraits with tattoo-like battle scenes from the Shahnama covering their bare upper torsos, for which Neshat relied on her copy of an early-twentieth-century lithograph edition of the Shahnama.
Selected Bibliography: Komaroff, Linda. In the Fields of Empty Days: The Intersection of Past and Present in Iranian Art. Los Angeles: Los Angeles County Museum of Art; Munich; New York: DelMonico Books-Prestel, 2018.
Copyright: © Shirin Neshat, photo courtesy the artist and Gladstone Gallery, New York and Brussels