Short Reviews

on Iranian

Contemporary Art

Artists’ Views

Mani Gholami

After thirty years of my painting career in Iran, I still have no positive look at the process of Iranian painting. The multiplicity of the academic spaces and art-related institutes, all together, have not raised the quality of painting in the galleries as it must have happened; those with quality also will be left behind the doors and this will have no reason other than successful examples and their growing market, and so the duplication of the pre-established patterns. In a way that after several years, we are still confronting different kinds of calligraphy, modernized miniatures and integrated versions of Forough Farrokhzad with elements of Iranian painting (symbol of feminism with tradition). Before, as our masters believed, one needed to have enough experience working at his studio and gradually realize his abilities and personal space; somewhere in conflict with all the tested methods that their examples are saturated with poor and superficial performances in the galleries.

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