Short Reviews

on Iranian

Contemporary Art

Artists’ Views

Mehdi Vosoughnia

When I became interested in photography in late 80s, “social documentary” was the most common trend in Iranian photography which was more than anything else the result of Iran’s transition from revolution and its confrontation with war. This branch of photography which today is more done by photojournalists, has just changed a little so far; however, the formation of this field in university and the entrance of its graduates in the 90s, gradually affected the “fine art photography” with its discrete and pale history and its result can be traced in “Iran’s Annual Photography” and the photo exhibitions of those years.
In the relative tranquility of the post-war period, more photographers went beyond mere representation and in direction of finding their own method tried new experiences which has continued to this day. So, despite the lack of appropriate institutional support, it is possible to consider the current situation of Iran’s photography in a developing level, which is mainly due to the broad access to up to dated information resources, educational centers and of course the personal supports of those interested in photography.
This progressive movement is visible in the increasing number of galleries specialized in photography, publishing books from the works of photographers and the introduction of Iranian photographers’ works on a large scale worldwide.
Therefore, although the community of Iranian photography has a long way to go, but I believe it is on a right track.

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