Posters in the world of Iranian graphic arts
Lecture: Posters in the world of Iranian graphic arts
When: 8 December 2005, 18.30
Where: Clore Education Centre, British Museum, Great Russell Street, London WC1B 3DG
Organised by: The British Museum and the Iran Heritage Foundation
Lecturer: Peter Chelkowski, New York University
The world of Iranian graphic arts, the second half of the twentieth century belongs to posters. Between the Second World War and the Iranian Revolution, posters were used primarily for commercial purposes: to advertise domestic and foreign goods and products; to advertise cultural events such as movies, theatrical productions, festivals, concerts, exhibitions, and conferences; and to promote tourism. With the passage of time, posters were increasingly used for political purposes: to commemorate historical events such as the 2500th anniversary of the Persian Empire, 50 years of Pahlavi reign, or the implementation of the White Revolution. Through these posters, the artists -- both photographers and graphic designers -- tried to convey the stability of Iran and its bright future. However the heyday of Iranian posters was the period of the Iranian Revolution and defensive war against Iraqi aggression.
Posters were used to stimulate the spirit of revolutionary and war preparedness and sacrifice. These posters overshadow even those of the 1917 Russian revolution and Fidel Castro's Cuban revolution. They are a further proof that posters constitute the most revolutionary genre of graphic arts.
Peter Chelkowski, New York University, specialises in modern art and literature and the role of Islam in the modern world. He talks about the political and cultural role of poster art for the identity of modern Iran. His academic background is a multi-cultural, multi-disciplined one. After moving to London from Cracow he studied Islamic Middle Eastern History and Culture at SOAS and then went to Tehran University to study Persian Literature. His scholarly interests range from the many and varied uses of the language itself to the role of Islam in architecture and the relation of art to society. In his graduate courses dealing with Islam in the contemporary world, he is primarily concerned with rectifying Western misconceptions of Islam both as a religion and in its various cultural forms.
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