Amak Mahmoodian lives in the UK but her work as a photographer places her firmly in Iran – better still, in Persia– just as Tony Ray-Jones’ or Dorothea Lange’s work situates them, respectively, in England and America. In Mahmoodian’s case, this was clear from her earlier Shenasnameh, a photobook with a polemical colouring that drew attention to the marginalised status of women in a theocratically-accented regime. Her latest work, Zanjir, also concerns itself with the question of identity but takes a longer perspective, looking back to the past to illuminate the present: Today ...
This article is reserved for subscribed members only. If you are already a member, you can log in here below.
Subscribe for full access to The Eye of Photography archives!
That’s thousands of images and articles, documenting the history of the medium of photography and its evolution during the last decade, through a unique daily journal. Explore how photography, as an art and as a social phenomenon, continue to define our experience of the world. Two offers are available.
Subscribe either monthly for $5 or annually for $50 (2 months offered).