How do the cultural and emotional after-effects of the Iran-Iraq War influence artistic production among Iranian artists living outside of Iran? How do Iranian diaspora self-portraits act as socio-political memoirs? This article addresses these questions by looking at some examples of diaspora artists who through their art somehow remain political 'subjects' of contemporary Iran, even as they grapple with the complexities of 'being away' - if that is ever really possible.
The Artistic and Diasporic Afterlife of the Iran-Iraq War
Laurel Hart, Pamela Lamb, and Joshua Cader
on Critical Issues in Science and Technology Studies, Graz , 5–6 May . Wang , Yin-han . 2009 . “ ‘Posing into Being’: An Exploratory Study of Taiwanese Girls Self-Portraiture Online .” In Communicative Approaches to Politics and Ethics in Europe
The Case of Thaleia Flora-Caravia's Photographic Images and Self-Portraits
context of other male self-portraits and photos, aiming to address the issue of gender roles in self-portraiture and photographic depiction since Flora-Caravia constantly challenges them while at the same time reinforcing them. We shall, therefore, try to