An Analytical Study on Contemporary Iranian Artworks Based on the Concepts and Functions of the “Appropriation”

Problem statement:

 Contemporary art has developed various outcomes and phenomena that do not comply with traditional artistic norms. One of these emerging phenomena in modern art is “appropriation,” which has piqued the curiosity of numerous artists. Artists today are also art consumers, in addition to their cultural activities. In this regard, “appropriation” may be seen as a contemporary art strategy for returning to the past, using pre-existing motifs, and reproducing works with new concepts. This approach has gained popularity among Iranian artists at the same time as it has in the Western world.

This research aims to observe, examine, and evaluate contemporary Iranian art, mainly the works of modern Iranian painters, to investigate the idea of “appropriation” and identify its ways and functions with regard to Iranian contemporary art.

The descriptive-analytical method was used in this study, and data were gathered using field and desk research methodologies. First, we examined the similarities and overlap between this phenomenon in Iran and the Western world using definitions and studies associated with “appropriation” in Western art. Then, we highlighted contemporary Iranian artists whose work follows the “appropriation” principles.

According to the results, contemporary Iranian artists have predominantly accepted this method. As a consequence, artists have applied the notion of “appropriation” for a variety of purposes, three of which are noted below: 1- “Recycling the past within modern contexts,” 2- “Fostering intercultural dialogue and translation,” and 3- “Transposing the meanings of native artworks.” This study examines a range of appropriated works by contemporary artists under each of these functions. In the first function, artists’ attention has been drawn to the representation of the splendor of the past and the difficulties or concerns of contemporary man. In contrast, in the second function, the fusion of Iranian culture and art with renowned Western works has been highlighted. Finally, in the third function, we see previously recognized Iranian pieces distorted or tampered with, as well as new meanings added to them. Thus, some characteristics of works created through the “appropriation” strategy include modern and critical reproduction of images and works from the past to develop new meanings, link the past to the future, and refer to or retell the past.