Dedicated to the development, promotion, and empowerment of Iranian-American artists, the Aftab Committee is the leading voice and platform for Iranian-Americans in the art world. Founded in May of 2014, The Aftab Committee is a non-profit organization with 501 (c) (3) classification.
Together the Winter Film Awards and Aftab Committee present Film, Identity and Space: Indie Iranian Films, a panel discussion moderated by Lila Nazemian with panelists, Rodin Hamidi, Shoja Azari, and Ghasem Ebrahimian.
In this discussion we hear about the experiences of Iranian-American filmmakers and their thoughts on indie Iranian films. The panel will be proceeded by a screening of three short films from Iran; Meeting with the Leaf by Fazlollah Tari, Live with Me by Amirhossein Kotobzadeh and Dancing in Water by Zahra Jafari.
Hosted by Aftab Committee for Iranian-American Artists
The New York-based The Suitors represented the directorial debut of Iranian Ghasem Ebrahiman. Though they're living in the Big Apple, a group of Iranians cling on to their old, traditional ways. One of their traditions requires the slaughtering of a sheep. This they try to do in the confines of their apartment. Their neighbors assume that the knife-wielding Iranians are terrorists-and in a twinkling, the SWAT teams come roaring into the vicinity.
Warm, revealing and often surprisingly funny, Iranian filmmaker Rokhsareh Ghaem Maghami's portrait of an unlikely artist shows us that true talent will refuse to be stifled and you don't need an education to channel your emotions into art. Akram is an illiterate 50 year old Iranian woman who became a painter unexpectedly when her young grandson asked her to work on a drawing; that simple act tapped into an explosion of powerful, primitive and colorful paintings, which she hid under the carpet from possibly disapproving eyes. She finally tells her Western educated children about her work and they arrange for her to have an exhibition in far-off Paris. The only hitch in this plan is that Akram must obtain permission from her husband - who she married when she was 8 and he was in his 30s - in order to attend. Their comfortable bickering covers up Akram's frustrations and fears that her chance for recognition of her magical talent lays completely in the hands of this conservative and traditional Iranian man.
The Aftab Committee is the result of a pioneer effort made in Washington DC to promote renowned and emerging Iranian-American artists and Iranian art. With an excellent track record so far, the Aftab Committee achieved its goal to place up high the work of Iranian-American artists with innovative aesthetic proposals. Now transformed in a versatile project, the Aftab Committee empowers Iranian-American artists from all mediums. Going further and wider with a more direct approach to artists and art lovers, the Aftab Committee devotes itself to empowering Iranian-American artists to increase understanding, appreciation, and exposure of their art. Our existence is made possible by donations from supporters like you. Please consider making a tax-deductible donation today.
“I had a chance to have Aftab organize a Q&A screening of my movie in DC. From the moment we starting working on the event they were professional and totally on top of it. It was a pleasure to work with them and I would do it again in a heart beat!”
“Before my trip, I was told that immigration for artists is a double edge sword, not because there is no path back to my homeland, nor because of the distance and homesickness, and not because of having to start over in life! Rather, I heard that immigration had caused the poet to be self-destructive, the assiduous writer to be lethargic, and great film directors to be quiescent.
I asked why and I was told immigration for artists is a dreadful limbo between ones past that you have turned their back to and the future you are have in front of you. That the present perishes in ones past artwork, the labyrinth of time keeps leading back to the distant path, and the memoirs and the frequent reiterations of ones audience becomes transient.
With all these said to me, I packed my bags and I began this journey. I don’t know if times had changed or if I was just lucky because not only did I not subdue to wistful longing but rather a compassionate hand was extended to me. I could not believe that a organization in the United States existed that focused on empowering newly arrived artists. Aftab (Committee) provided me an opportunity to showcase my artwork and for me to show who I am to a society I was not familiar of, and to a people I did not speak the same language with!
I thank each and every member of the Aftab Committee, my compatriots, and those who supported me, who came to my art exhibit, and who listened to this newly arrived artist. I hope Aftab (Committee) shines so bright in the future that its sunlight reaches all newly arrived artists and becomes a source of energy for creating immortal artworks!”
“Of course I appreciate very much having my work being recognized by the Aftab Committee. Importantly, I wanted to thank them for supporting myself and my art.
I also wish to thank Aftab Committee for all the useful information and advice they gave me about being an artist here in the United States. I’m positive Aftab Committee will continue being more successful by empowering artists in the future.”
"In my subsequent series, I Am Not A Persian Carpet (2001), I challenge the ways that cultures have been reduced to commodities. Based on my observations in Europe and North America, it is not an exaggeration to say that in the West, the only thing known about Persian culture may very well be its carpets. In the United States specifically, all products from Iran were banned, the most lucrative ones—and, therefore, the most forbidden—being Persian carpets and caviar."
اردشیر محصص از معدود هنرمندان مدرن ایرانی بود که در عرصه جهانی درخشید و آثار او مورد تمجید و استقبال هنرمندان و تحلیلگران هنری جهان قرارگرفت. بیشک اگر قرار باشد تاریخی بر هنرهای تصویری مدرن ایران نگاشته شود، بی نام او و تخصیص فصلی به فعالیت های هنری او امکان پذیر نخواهد بود. بخشی از تصاویری که او خلق کرد از آثار یکتا و درخور تامل در گنجینه آثار بصری ایران هستند.
در طول قرن ها و هزاره ها، هنر ایران در برابر تاثیرات متقابلی با دیگر فرهنگهای همجوار قرار داشته است. این تاثیرات که شاید بارِز ترین انها از سرزمینهای میانرودان ( بین النهرین) شروع میگردد، تا دورترین سرزمین ها مانند چین، روم و مصر گسترش مییابد. در این میان برای نسل امروز ایران شاید مهمترین تاثیر که تا به امروز ادامه یافته است، تاثیر هنرهای سرزمین های اروپایی و نگاهِ جهانِ مدرن، در هنر ایران است. سلسله مقاله های پیش رو تلاشی است برای پرداختی کوتاه و گذرا به تاثیر نقاشی اروپایی ( غربی) بر نقاشی ایرانی.
معتبر سعی می کند کارھایش تا حد ممکن شکل روایی نداشته اشتھ باشد، اما از آنجا که تعبیر و تفسیر بخش تفکیک ناپذیری از طرح واره ھای اوست، ھریک از طرح ھا و فیگورھایش حامل نوعی احساس روایی پررمز و راز نیز ھست
Washington, DC welcomed Iranian artist, Mehdi Ghadyanloo, in conversation with Andy Shallal, Iraqi-American activist and owner of Busboys and Poets.
"Art is a well respected and serious part of the Chicago cultural scene. People from all walks of life come in droves to art shows regardless of distance or weather. Chicagoans support artists that speak with an authentic voice. It affords a certain amount of freedom to pursue that which inspires you."
Join us on May 1st, 2016 for Contemporary Iranian Art: From the Street to the Studio. Aftab book club promises great food, drinks, a comfortable atmosphere and great discussion. For more information, click here!
“As the first images, these defiant and imposing women in the “Listen” series encourage viewers to participate in a larger cultural discourse when looking at the rest of the exhibition. The collection is filled with interwoven narratives and personal stories about modern life in Iran and the Arab world, challenging the Western media’s dominant portrayal of Middle Eastern women as “marginalized.”