Photography, desire and resistance in the lives of women, following the 1979 revolution in Iran

In my last four years of PhD by practice at the Royal College of Art, I have conducted extensive research on archival photography including materials held at the Museum der Weltkulturen, Frankfurt am Main; the Institute for Iranian Contemporary Historical Studies (IICHS) , Tehran; and the International Institute of Social History (IISH), Amsterdam. My project started with the fortuitous encounter with a photograph taken by Iranian photographer Hengameh Golestan on the morning of March 8, 1979. The photograph shows women marching in the streets of Teheran in protest against the introduction of the compulsory Islamic dress code. In 1936 Reza Shah had decreed a ban on the headscarf as part oh his westernising project. Over forty years later following the 1979 Revolution, Ruhollah Khomeini reversed this decision by ordering that women should now cover their hair. This ‘found image’ presented me with a glimpse into the occulted history of my own country and the opportunity to advance towards a deeper learning and understanding of the event of March 8, 1979 a significant date in the history of feminism in Iran. In what follows I revisit the history of Iran since the 1979 revolution with a particular inflexion on the role women played in that history. However, as my project develops , I gradually move away from the socio-historical facts to investigate the legacy of the revolution on the representations of women in photography, film and literature as well as the creation of an imaginary space of self representation. To this end my writing moves constantly between the documentary, the analytical and the personal. In parallel I have made photographs and video works which are explorations of the veil as object of fascination and desire as well as symbol of repression.

Competing "Host" Discourses: Appropriation of Australian Aboriginal Culture in the Tourism Borderzones

Thesis (Ph.D.)--University of Washington, 2016-08

Photography and sociology: an exercise in serendipity

This thesis examines the relationship between photography and sociology as offering complementary ways of understanding ourselves and the world we live in. Drawing from the work of Pierre Bourdieu and Raymond Williams, I examine the idea of a ‘field’ of photography within the field of cultural production more generally. The practises of documentary photography, photojournalism and fine art photography are explored with specific reference to images of war. In this arena, the politics, aesthetics and ethics of representing the body in pain are addressed.

Our Men in Tahiti

Conferencia y debate posterior con Simon Zabell, artista y profesor de Bellas Artes en la Universidad de Granada, uno de los autores más reconocidos dentro del panorama contemporáneo español. La sesión versó sobre el proceso creativo de su último proyecto, que da título a la conferencia, centrándose en el cruce disciplinar que en éste se produce entre la pintura y la literatura, particularmente la última novela de Joseph Conrad. De este forma, se proyectó durante la sesión en primicia un adelanto de montaje del documental que Zabell ha rodado entre Tahiti y Granada acerca del proyecto. Zabell, Después de estudiar pintura y escultura en esta Universidad, desarrolló un interés en los efectos de la performance y la narrativa sobre la pintura y la instalación, que le llevó a estudiar escenografía con Philip Prowse en Slade School of Fine Art de Londres. Desde entonces ha utilizado principalmente la pintura, la escultura y la instalación para desarrollar proyectos con un fuerte contenido narrativo y escenográfico, y que a menudo se basan en obras de creadores previos, como el autor radical francés Alain Robbe-Grillet y el compositor Karlheinz Stockhausen. Estos proyectos se han expuesto ampliamente en salas del Reino Unido, España y Suecia, y en numerosas ferias de arte como SCOPE LONDON, PINTA NY, ARCO, BALELATINA BASEL etc. El proyecto actual de Zabell, Our Men in Tahiti, se basa en la novela The Ebb Tide (Bajamar) de Robert Louis Stevenson y está acompañado de una película documental que saldrá a la luz en 2016.

La puesta en escena en la obra de Juan Muñoz

565 p.

Technology as collaborator in somatic photographic practice

This visual essay will address several areas of research. First, it will propose that a dance experience can translate into another discipline such as visual art. In my visual art practice I combine both photography, which is traditionally seen as a still medium, and performance in order to create a new form of embodiment. By acknowledging the interrelationship between the body and the camera my project seeks to challenge a perceived separation between the disciplines. The following images were conceived through a performative somatic process, which I define in the course of this article. Through using a custom made camera I was able to negotiate time and space to create visual drawings that talk to both choreography and fine art practice.

The complete confectioner, or, Housekeeper's guide to a simple and speedy method of understanding the whole art of confectionary : the various ways of preserving and candying, dry and liquid, all kinds of fruit, nuts, flowers, herbs, &c. And the method of keeping them fresh and fine all the year round; the different ways of clarifying sugar; with directions for making fruit pastes, bomboons, pastils, compotes, fruit ices, cream ices, marmalades, jellies, jams, cakes, puffs, biscuits, tarts, custards, cheesecakes, sweetmeats, fritters, creams, syllabubs, blanc-mange, flummeries, ornaments for grand entertainments, dragees, syrups of all kinds, nicknacks and trifles for desserts, strong cordials, oils, simple waters, milk punch that will keep 20 years, and all sorts of English wines. Also, the art of making artificial fruit, with the stalks in it, so as to resemble the natural fruit. To which are added, some bills of fare for desserts for private families /

Originally published under title: The compleat confectioner. Cf. Bitting, K.G. Gastronomic bib., p. 190.

Masterpieces of furniture design; a collection of measured drawings accompanied by photographs and explanatory text, of pieces of furniture selected from those on exhibition in the Metropolitan museum of art, the Brooklyn museum of arts and sciences, the Boston Museum of fine arts, the Rhode Island school of design and the Essex institute.

Issued in four portfolios enclosed in a case.

First editions of English and American authors, standard sets in fine bindings, limited editions, illustrated books, Americana, voyages and travel, a fine collection of books on art and architecture ... Property of the Southern California Group of the Antiquarian Booksellers' Association of America, to be sold at unrestricted public auction September 29, 1949 ...

295 items.

The art treasures of England; the master-pieces of the best English, Irish and Scottish painters and sculptors represented by one hundred fine steel engravings, with biographical and descriptive text.

Mode of access: Internet.

Legends of the monastic orders, as represented in the fine arts : forming the second series of sacred and legendary art /

Mode of access: Internet.

Legends of the Madonna as represented in the fine arts. Forming the third series of Sacred and legendary art.

Bound in marbled paper boards; leather shelfbacks and corners; marbled edges; decorated end papers.

Manual of the Jarves Collection of early Italian pictures, deposited in the galleries of the Yale School of Fine Arts. Being a catalogue, with descriptions of the pictures contained in that collection, with biographical notices of artists and an introductory essay, the whole forming a brief guide to the study of early Christian art.

Mode of access: Internet.