Talinn Grigor – författare

One of the most heated scholarly controversies of the early twentieth century, the Orient-or-Rome debate turned on whether art historians should trace the origin of all Western—and especially Gothic—architecture to Roman ingenuity or to the Indo-Germanic Geist. Focusing on the discourses around this debate, Talinn Grigor considers the Persian Revival movement in light of imperial strategies of power and identity in British India and in Qajar-Pahlavi Iran.The Persian Revival examines Europe’s discovery of ancient Iran, first in literature and then in art history. Tracing Western visual discourse about ancient Iran from 1699 on, Grigor parses the invention and use of a revivalist architectural style from the Afsharid and Zand successors to the Safavid throne and the rise of the Parsi industrialists as cosmopolitan subjects of British India. Drawing on a wide range of Persian revival narratives bound to architectural history, Grigor foregrounds the complexities and magnitude of artistic appropriations of Western art history in order to grapple with colonial ambivalence and imperial aspirations. She argues that while Western imperialism was instrumental in shaping high art as mercantile-bourgeois ethos, it was also a project that destabilized the hegemony of a Eurocentric historiography of taste.An important reconsideration of the Persian Revival, this book will be of vital interest to art and architectural historians and intellectual historians, particularly those working in the areas of international modernism, Iranian studies, and historiography.

With this book, Houri Berberian and Talinn Grigor offer the first history of Armenian women in modern Iran. Foregrounding the work of Armenian women's organizations, the authors trace minoritarian politics and the shifting relationships among doubly minoritized Armenian female subjects, Iran's central nodes of power, and the Irano-Armenian patriarchal institutions of church and political parties.Engaging broader considerations around modernization, nationalism, and feminism, this book makes a conceptually rich contribution to how we think about the history of women and minoritized peoples. Berberian and Grigor read archival, textual, visual, and oral history sources together and against one another to challenge conventional notions of "the archive" and transform silences and absences into audible and visual presences. Understanding minoritarian politics as formulated by women through their various forms of public and intellectual activisms, this book provides a groundbreaking intervention in Iran's history of modernization, Armenian diasporic history, and Iranian and Armenian feminist historiography.

With this book, Houri Berberian and Talinn Grigor offer the first history of Armenian women in modern Iran. Foregrounding the work of Armenian women's organizations, the authors trace minoritarian politics and the shifting relationships among doubly minoritized Armenian female subjects, Iran's central nodes of power, and the Irano-Armenian patriarchal institutions of church and political parties.Engaging broader considerations around modernization, nationalism, and feminism, this book makes a conceptually rich contribution to how we think about the history of women and minoritized peoples. Berberian and Grigor read archival, textual, visual, and oral history sources together and against one another to challenge conventional notions of "the archive" and transform silences and absences into audible and visual presences. Understanding minoritarian politics as formulated by women through their various forms of public and intellectual activisms, this book provides a groundbreaking intervention in Iran's history of modernization, Armenian diasporic history, and Iranian and Armenian feminist historiography.

A hidden chapter of revolutionary history—Protest Art of Iran unveils the bold, leftist posters silenced by the Islamic Republic and nearly lost to time.Protest Art of Iran presents, for the first time, the little-known but visually striking poster art created by leftist students and professors at the Fine Arts Faculty of Tehran University during the 1978–1979 Iranian Revolution. In stark contrast to the Islamic iconography that later dominated the visual landscape of revolutionary Iran, these posters—deeply influenced by international leftist movements, including the Russian avant-garde and May ’68 in Paris—express urgent dissent against the Shah’s regime and reflect the broader ideological diversity of the revolution’s early days.Suppressed after the revolution and long hidden from public view, this body of work is brought to light through high-quality reproductions, exclusive commentary from founding members of the university workshop, and original essays that place the art in its historical, political, and global context.At once a powerful visual archive and a corrective to dominant narratives, Protest Art of Iran is essential reading for scholars of Middle Eastern history, art history, political movements, and anyone interested in the intersections of radical art and revolutionary politics.