The Photographs that Defined the Iranian Revolution
February marked the fortieth anniversary of the Iranian Revolution. The last major revolution of the twentieth century, which toppled an ancient monarchical system and ushered in an Islamic theocracy was a widely photographed event. By the time of the revolution in , Iranians had been exposed to photography for more than a hundred years; it wasn’t uncommon for ordinary middle-class people to own cameras. A professional cadre of photojournalists followed the royal court and the country’s growing pop-culture personalities, providing news photographs for the daily newspapers and numerous weekly magazines. But it was the revolution, followed by the American hostage-taking, and then the eight-year war with Iraq, that propelled Iranian photographers into new territories, transforming them into serious practitioners of new genres.
Photographs of the first year of the revolution helped fix the inevitability of a new Iran in the eyes of the world and the psyche of the Iranian nation: the crying Shah leaving the country as one of his officers threw himself at his feet, Ayatollah Khomeini descending the steps of the Air France ch
Living in Two Times features the work of Bahman Jalali (–) and his wife and closest collaborator Rana Javadi (b. ). Noted for their sharp documentary images and haunting photomontage works, the artists are among the most influential figures in the development of late twentieth-century photography in Iran. Driven by the medium’s powerful—and fragile—relationship to memory, Jalali and Javadi created an unparalleled visual record of a tumultuous period in their homeland.
This exhibition features images by both photographers from the iconic series Days of Blood, Days of Fire, capturing events in Tehran during the Iranian Revolution, as well as images from Jalali’s Khorramshahr: A City Destroyed and Abadan Fights On, drawn from his years spent on the Iran-Iraq warfront. Throughout his career, Jalali returned continually to his project of observing the changing lives and landscapes of Iran. A third section of the exhibition presents a selection of his images of fishing communities along the northern Persian Gulf. In addition to their documentary projects, Jalali and Javadi preserved early twentieth century archives, which they used as a basis for creating vivid photomontages
Bahman Jalali&#;s photography of the past forty years constitutes an original and exemplary body of work. And yet, the particular circumstances of its development and the restricted conditions for showing it &#; for reasons that relate as much to the biography of the author as to the recent and ancient history of his country, Iran &#; have kept the work relatively unknown.
Since the s, Jalali has been passionate about photography, its history and early development in Iran, a country where the first photographers who surrounded Naser al-Din Sha ( &#; ), himself an enthusiastic amateur, became active barely eight years after the invention of the technique in France. An amateur and self-taught photographer, Jalali produced his first images while studying economics and political science. Subsequently, he became a collector, historian and teacher while travelling and researching throughout the country. His work on the Qajar collections of images in the Golestan Palace, published in Visible Treasure; his involvement with the team that opened the first museum of photography in Iran, Aks Khanek Shahr; the rescuing and preservation of the archives of several photography studios includin
This book—a photographic chronology of the Iranian revolution—covers sixty-four days: from the beginning of the large anti-Shah demonstrations in Tehran on December 10, , to the withdrawal of the Iranian military on February 11, It captures the joys and uncertainties of the people as they move from the massive Tasu’a and Ashura demonstrations to the joyous celebrations of the Shah’s departure finally to the the revolution’s victory. The book is comprised of photographs by Bahman Jalali, who is best known for his Iran-Iraq war photography, along with sixteen by his wife Rana Javadi, a photographer in her own right, and a handful of others.
Days of Blood, Days of Fire was published in by Zamineh, the only independent publishing house at that time in Tehran. This book was Zamineh’s first publication and went on to become a best seller twice before losing its publication license. After fourty years Spector Books is publishing Days of Blood, Days of Fire as a reprint.
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