Decades before Marjane Satrapi drew the first frame of her celebrated comic book memoir “Persepolis,” the Iranian satirist Ardeshir Mohassess, now 69, was making black-and-white drawings whose blend of humor and reportage made him a cult figure for artists and intellectuals in his country. With rich allusions to Persian miniatures, Western artists like Goya and episodes in Iranian history, Mr. Mohassess has depicted life in Iran before, during and after the Islamic Revolution of 1979. The drawings have a fanciful yet descriptive line quality, comically exaggerating facial expressions while giving full weight to bullet holes and severed limbs. Some of the meanings may be lost on American viewers, but the artist’s deep suspicion of religious and political authority comes across clearly.
Now some 70 of Mr. Mohassess’s works are on view at the Asia Society and Museum in a show, “Ardeshir Mohassess: Art and Satire in Iran,” assembled by the artists Shirin Neshat and Nicky Nodjoumi. The timing could hardly be better, given Iran’s high profile in the American political debate during this presidential election year.
link: Life in Iran, Etched With Suspicion and Humor By Karen Rosenberg The New York Times








