In Persian, Aftab means sunlight, a universal symbol of creativity, positivity, passion and life.
Art, Identity, and the Iranian-American Narrative: A Panel Discussion
Aftab Committee and the Persian Program at George Washington University Present: Art, Identity and the Iranian-American Narrative: A Panel Discussion.
"That's what interests me the most—to think differently, not to make new questions/problems, but to answer the traditional ones in a new way."
I am drawn to pain, and I feel a deep relatedness to suffering. I feel a connectedness to people who live on the margins of society, in poverty, isolated, and excluded.
"The current narrative I wrote myself into is still unfolding, and we have yet to see how it will end."
"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.”
"Confronted with the Ottoman threat, the Saffavid rulers’ agenda to build a strong centralized nation-state influenced the development of the arts in the sense that a new unitary style emerged, combining preexisting elements of Timurids from Herat and the Turkmans from Tabriz, respectively representing Iran’s eastern and western halves."
"As early as 5 B.C during the Achaemenid dynasty’s rule, the Zoroastrian priests used chanting in their religious ceremonies. In the aftermath of the Achaemenids’ decline, the Sassanid dynasty that ruled from the 3 C.E. to 7 C.E. served as a benevolent patron for the arts."
“I’ve found that purpose is almost crucial in artwork. I know art can also be used for therapeutic reasons, but in the context of the work of an artist, I have found that ambition has proven to make for the most impactful and inspirational work. Otherwise the work becomes trivial.”
Polyculturalism is a concept that views the world's many cultures as being connected and inter-related. Polyculturalism stands in opposition to multiculturalism, an idea that tends to focus on the differences that distinguish cultures. Polyculturalism encourages us to find—and to value—the ties that bind us all together. It asks us to see similarities rather than differences. Instead of putting cultures into neat boxes, polyculturalism suggests that culture is fluid. It defies categorization. Exploring these ideas, Aftab invites you to embrace polyculturalism through our Polycutlturalism & Le Monde de l'art series. By interviewing artists from outside of the Iranian-American community, we seek to highlight connections across cultures. The art world is full of artists from unique backgrounds, but despite our differences, we all paint on the same canvas.
“The impression I had of the United States was only the nice things… nobody spoke about any of the struggles. So my perception was that everything in the US was wonderful. I wish that they had said more. A reason I paint about immigration is to show the reality. I want to tell the truth.”