To review the scholarship on the art of modern Iran is to find a limited body of work; what has been published to date invites more substantive engagement with the field. However, with The Art of Iran in the Twentieth and Twenty-first Centuries (published by Edinburgh University Press in the series Edinburgh Historical Studies of Iran and the Persian World), Hamid Keshmirshekan makes an invaluable contribution to this field, offering insight into the dynamics and continuous change going on in Iranian art. Revisiting topics already dealt with in Contemporary Iranian Art: New Perspectives (2014, Saqi books), Keshmirshekan expands the discussion on the Iranian art scene in this most recent publication, focusing primarily on art produced in Iran, with a short concluding chapter on diaspora art. In this, he draws on the dominant discourses that have shaped the scholarly reception of artworks in a global context.

Several notable earlier monographs (e.g., Talinn Grigor’s 2014 Contemporary Iranian Art: From the Street to the Studio and Pamela Karimi’s 2022 Alternative Iran: Contemporary Art and Critical Spatial Practice) engaged specific aspects of modern and contemporary Iranian art and offered valuable analytical explorations of Iranian visual culture, with a particular strength in their critical engagement with state ideology, spatial politics, and the transformative role of art in negotiating public and private spheres. Keshmirshekan’s historical survey further enriches this field by offering a broader chronological scope and drawing extensively on Iranian sources.

Keshmirshekan’s book is divided into three main parts, each focusing on distinct themes and periods in the development of modern and contemporary Iranian art. Throughout its nine chapters, the author traces the artistic movements, individual artists, and the broader cultural and political discourses that influenced each period. The first part deals with the definitions and framework of Iranian art. In the first chapter of the section entitled “Theorizing ‘Modern’ and ‘Contemporary’ Art of Iran,” Keshmirshekan embarks on a critical discussion of the terms “modern” and “contemporary” within the context of Iranian art. Regarding the arts of the Middle East as studied by the art historians of the West, he questions the applicability of Euro-American art historical frameworks to non-Western art and suggests alternative concepts more in tune with Iran’s unique cultural and historical experience. This chapter sets the stage for the subsequent discussions by highlighting the need for a localized understanding of modern and contemporary art.

In the second subchapter of this first chapter, Keshmirshekan provides a historiographical overview, tracing the evolution of art criticism from the very beginning and the historiography of art in Iran from the late 1940s to the present. He discusses key publications, exhibitions, and critical debates that have shaped the discourse on Iranian art. He explores the role of various art institutions, both domesti and international, in shaping the narrative around Iranian art. This chapter also addresses the impact of political changes on art historiography, noting how shifts in governance and ideology have influenced the documentation and interpretation of Iranian art.

The second chapter of the book deals with discourses on modern and contemporary art, starting with the definition of neo-traditionalism in the Iranian context, with a focus on the Saqqā-khāneh, a movement started in the 1960s by Iranian artists, some of whom had studied in the West and who, in Iran, tried to integrate traditional Iranian aesthetics with modern artistic practices. Keshmirshekan analyzes the works of prominent artists such as Parviz Tanavoli and Charles Hossein Zenderoudi, highlighting their efforts to forge a unique Iranian modernism by integrating elements of folk culture and calligraphy. He divides their activity in two periods, 1962–64 and 1964–1977. Tanavoli, Pilaram, and Zenderoudi belong to the first group of artists who integrated religious folk elements into their work, whereas the second group consisted of more artists who adapted forms and themes from antiquity to the Qajars into their art. At the same time, this movement was also criticized by some contemporary artists as being “Orientalist” and lacking political profile. It seemed that Queen Farah Pahlavi, a key figure in initiating the official discourse of the time, also approved of this movement. She appreciated the tendency of appropriating tradition without being critical of modernism.

The second chapter also explores the philosophical and aesthetic base of neo-traditionalism, examining how these artists draw on historical motifs and techniques to create works that resonate with contemporary issues. This critical perspective to the West, in the name of the movement “return to self,” had started in the same period, encouraging Iranians to “discover” their “lost” identity and “authentic” roots. The author cites scholarly works by Ali Mirsepassi and Mehrzad Boroujerdi, who traced these tendencies in the intellectual history of Iran.

The aftermath of the 1979 Islamic Revolution brought significant changes to the Iranian art scene. For about two decades, the arts were strongly influenced by the country’s political situation, starting with the Iran-Iraq war (referred to as the mota’ahhed period in official discourse) and followed by the reconstruction period. This second subchapter of the second chapter examines how artists navigated the new sociopolitical landscape, addressing themes such as revolution, war, and national identity. Keshmirshekan discusses the emergence of new artistic practices and the state’s role in shaping cultural production. He provides detailed analysis of how the revolution and Iran-Iraq war influenced artistic expression, leading to the development of a distinct post-revolutionary art movement. He also explores the challenges faced by artists during this period, including censorship and political repression.

In chapter five, Keshmirshekan addresses the tensions between global contemporary art trends and specific local contexts, arguing that Iranian artists have developed strategies to engage with global art discourses while maintaining their cultural specificity. This movement was possible thanks to the reform period, which lasted until 2005. In this period, a private arts sector and independent artists flourished, and many artists negotiated the intersection of local and global influences, creating art that spoke to both Iranian and international audiences. Such artists showed much individuality and a need for self-expression through self-presentation. Keshmirshekan also discusses the impact of globalization on Iranian art, highlighting how artists incorporate and respond to global artistic trends.

In the third part of the book, “Art Practice and Socio-cultural Discourses,” Keshmirshekan discusses how artists negotiate state censorship, market demands, and international expectations. In the first chapter, he argues how these artists use their work to criticize political authority and social norms, often employing innovative and subversive techniques. The chapter highlights the works of artists such as Barbad Golshiri and Neda Razavipour, who challenge cultural stereotypes and political constraints. The second chapter of this part focuses on the ongoing struggle between artists and the state over cultural space. Keshmirshekan explores how artists resist state-imposed cultural narratives and seek to reclaim their artistic and cultural autonomy. He discusses the works of artists such as Amir Mobed and Azadeh Akhlaghi, who address issues of identity and memory in their art. The chapter highlights the creative strategies employed by these artists to handle and confront state control, including the use of public spaces, alternative venues, and digital platforms.

The third chapter of part three deals with the politics of representation in international exhibitions of Iranian art. Keshmirshekan discusses how Western curatorial practices often essentialize and exoticize Iranian art, reinforcing cultural stereotypes. The chapter also explores the strategies employed by Iranian artists to subvert these representations. Keshmirshekan provides case studies of key exhibitions and artworks that challenge reductive portrayals, offering a more nuanced and diverse view of Iranian art. He also discusses the broader implications of these curatorial practices to the global perception of Iranian culture and identity. In the last chapter, Keshmirshekan goes into the use of humor as a strategic response to cultural and political stereotyping, highlighting works by artists who employ satire and irony to critique social norms and political authority. He takes up the works of artists such as Khosrow Hassanzadeh and Farhad Moshiri, examining how they use humor to engage with and challenge prevailing narratives. This final chapter also explores the historical and cultural roots of humor in Iranian art, noting its role as a form of resistance and commentary.

The advantage of this book compared to other historical works on the art of Iran is that, in addition to presenting historical “facts,” it also explores the main discourses pursued by a number of actors and authorities, discussing various perspectives from the West and East to the material. At the same time, one notes that an introspective perspective prevails, as Keshmirshekan challenges dominant Euro-American art historical models by arguing that they inadequately address the sociocultural contexts of modern and contemporary Iranian art. He therefore identifies alternative conceptual and temporal perspectives to the modern and contemporary art of Iran in its definitions, which steer clear of Eurocentric concepts applied to the arts of Iran. An additional benefit is in the author’s attempt to coin helpful equivalents, in English, of Persian terms created to denote issues specific to Iran’s sociocultural development. The result is a work that is indispensable to a comprehensive understanding of modern and contemporary Iranian art. The book’s primary audience is scholars, graduate students, curators, and researchers in art history and Middle Eastern studies, who seek an Iran-centered, historically grounded understanding of modern and contemporary Iranian art. Keshmirshekan offers an alternative art historical framework, rooted in local Iranian cultural, political, and historical discourses, while still engaging selectively with global theories.