Generations of Iranian artists who have emigrated have struggled with a dualism. On one hand, they want to make art speaking to universal issues. On the other, the market may expect their work to reflect a homeland where they no longer live.
As the country’s geopolitical isolation grew after the 1979 Revolution, Iranian art became sought after by European or American art buyers seeking to enhance their worldly image as collectors. They wanted pieces that would appear Iranian to someone who had never been to the country.
The image of a struggling Iranian artist making work about his tough life makes for “a sexy story,” explains Iranian-American artist Amir Fallah. “It’s exciting for [collectors]. They have been doing that with African-American artists for decades. I’ve tried to resist it as much as I can.”
Some artists navigate this dichotomy well, securing their place on the world art scene. Last year three major museums on the east coast of the United States held exhibitions of Iranian artists. Shirin Neshat had her retrospective at the Hirsh Horn Museum in Washington DC. Parviz Tanavoli’s sculptures were displayed at Wellesley College in Boston. Monir Farman Farmaian had a solo show at the Guggenheim in New York.
These and other artists face a market that expects their work to reflect today’s Iran. It is difficult to identify the degree to which any of the emigre artists profiled below conform to these expectations. But all of them admit to grappling at some point with the issue as artists with an Iranian past.
As the country’s geopolitical isolation grew after the 1979 Revolution, Iranian art became sought after by European or American art buyers seeking to enhance their worldly image as collectors. They wanted pieces that would appear Iranian to someone who had never been to the country.
The image of a struggling Iranian artist making work about his tough life makes for “a sexy story,” explains Iranian-American artist Amir Fallah. “It’s exciting for [collectors]. They have been doing that with African-American artists for decades. I’ve tried to resist it as much as I can.”
Some artists navigate this dichotomy well, securing their place on the world art scene. Last year three major museums on the east coast of the United States held exhibitions of Iranian artists. Shirin Neshat had her retrospective at the Hirsh Horn Museum in Washington DC. Parviz Tanavoli’s sculptures were displayed at Wellesley College in Boston. Monir Farman Farmaian had a solo show at the Guggenheim in New York.
These and other artists face a market that expects their work to reflect today’s Iran. It is difficult to identify the degree to which any of the emigre artists profiled below conform to these expectations. But all of them admit to grappling at some point with the issue as artists with an Iranian past.
Nicky Nodjoumi, New York, NY
The surreal paintings of Nodjoumi (pictured above), who left Iran in 1980, have sociopolitical themes. A recurring element in his work is the figure of the businessman, portrayed as a conspiring praetor:
“The problem now about working in the US is that you are faced with this duality, with this dilemma. Either you are truly an artist without the notion of being from Iran; but at the same time if you are Iranian you have to show some symbol of identity in order to be accepted in the art scene. Not as a universal artist but as an Iranian artist.”
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