'Iran Modern' offers a timely exploration of the cultural diversity and production of avant-garde art in Iran after World War II and up to the revolution, from 1950 through to 1979.

This book is a comprehensive analysis of the domestic and foreign politics of Iran, focusing on its complex nature from political, social and cultural perspectives. It has adopted a multidisciplinary approach, combining comparative politics and intellectual and modern history with international relations. It analyses the institutional structure of the Islamic Republic, the main political and social actors and alliances, as well as Iranian opposition forces both inside and outside the country. The book tries to simplify the seemingly intractable complexity of the Islamic Republic by demystifying it and using political science methods to prove that it is a peculiar hybrid regime.

Alternative Iran offers a unique contribution to the field of contemporary art, investigating how Iranian artists engage with space and site amid the pressures of the art market and the state's regulatory regimes. Since the 1980s, political, economic, and intellectual forces have driven Iran's creative class toward increasingly original forms of artmaking not meant for official venues. Instead, these art forms appear in private homes with "trusted" audiences, derelict buildings, leftover urban zones, and remote natural sites. While many of these venues operate independently, others are fully sanctioned by the state. Drawing on interviews with over a hundred artists, gallerists, theater experts, musicians, and designers, Pamela Karimi throws into sharp relief the extraordinary art and performance activities that have received little attention outside Iran. Attending to nonconforming curatorial projects, independent guerrilla installations, escapist practices, and tacitly subversive performances, Karimi discloses the push-and-pull between the art community and the authorities, and discusses myriad instances of tentative coalition as opposed to outright partnership or uncompromising resistance. Illustrated with more than 120 full-color images, this book provides entry into unique artistic experiences without catering to voyeuristic curiosity around Iran's often-perceived "underground" culture.

Iranian artists have been producing some of the world's most thought-provoking and intellectually grounded artworks. In this landmark compendium, renowned art historian Hamid Keshmirshekan provides a thorough review of contemporary art in Iran and shows that the twentieth century was a crucial period in the country's art and culture, when the legacies of tradition and modernism where critically reassessed. Contemporary Iranian Art is an unprecedented introduction to Iran's vibrant art history over the past one hundred years. This fully revised and updated edition features more than 370 colour illustrations by the country's leading artists, including Mahmoud Bakhshi, Shadi Ghadirian, Barbad Golshiri, Marcos Grigorian, Farhad Moshiri, Shirin Neshat, Sohrab Sepehri, Mitra Tabrizian, Parviz Tanavoli and Charles Hossein Zenderoudi.

The election of Mohammad Khatami as President, the prospect of renewed dialogue between Tehran and Washington, and the display of popular rejoicing that greeted the nation's football team's qualification for the 1998 World Cup have shed light on aspects of everyday life in post-revolutionary Iran which have often been overlooked in the West. Through the Iranian example, this text reviews the debate not merely about political Islam, but also about democratic transition and its relation to social change.

Iran is a key player in some of the most crucial issues of our time. But because of its relative diplomatic isolation and the partisan nature of conflicting accounts voiced by different interest groups both inside and outside the country, there is a shortage of hard information about the scale and depth of social change in today's Iran. In this volume, and imposing roster of both internationally renowned Iranian scholars and rising young Iranian academics offer contributions--many based on recent fieldwork--on the nature and evolution of Iran's economy, significant aspects of Iran's changing society, and the dynamics of its domestic and international politics since the 1979 revolution, focusing particularly on the post-Khomeini period. The book will be of great interest not only to Iran specialists, but also to scholars of comparative politics, democratization, social change, politics in the Muslim world, and Middle Eastern studies.

This book examines the structure and ideology of all the main leftist groups in Iran. It considers their role in the Revolution, and analyses their relations with Khomeini and his colleagues. It also explains why the majority of the leftist organisations had defected from the Islamic regime by the summer of 1981. A second important theme of the book is the way in which the Soviet Union responded to the treatment of the Left by the Islamic government. Based on extensive analysis of original source material in Farsi and other languages and numerous interviews with leftist leaders and participants, the book provides a detailed portrait of the Left in contemporary Iran.