By studying artworks as a cultural expression of different social groups, can be reached to cognition the views and attitudes of that group towards society. The photographer is a member of the social group and the social group’s perspective and outlook affect his vision. The photographer is a representative of a social group and displays his vision and values in the pictures.

In art history, the African artist worked within the framework of certain formal covenants, and in his work, he incorporated a concept related to the subject and gave it a dynamic power till his creature take the energy and build up its existence. African art has been conceptual and often abstract art, mostly on wooden works such as the ancestors’ masks and statues. These masks were used to the purpose of connecting to the world of ghosts, to worship ancestors, and as a protective spell in exploiting vital forces.
In the past of Nigeria, there have been names that were related to African art that is important: Nok is the name of the ancient culture of Central and Northern Nigeria which the proteomes pottery related to the second half of the first millennium BC is considered as ancient artworks.
Yoruba is a sizeable tribal name in the southwest of Nigeria, which is the most prolific artist of West Africa has been known with this name and includes masks used in secret circles and holy objects mainly related to the Thunder God.

Okhai Ojeikere (1930-2014) was one of the twentieth-century African photographers who, during his fifty years of professional activity, created visuals that were featured at international art gatherings like the Venice Biennale. He was a pioneer in documentary photography in Nigeria and over the years with his artworks he has been grateful for the cultural heritage of his provenance. Since the 1950s, during the forties, he recorded more than thousands of images of the Nigerian women’s hairstyle model, which presents with elegant creativity without showing just merely the beauty, social and cultural life of Nigeria.

Barbers use this decoration to convey deep and symbolic concepts of social status, age, and tribal traditions. For years, the use of hairpiece, wig and hair straighteners has become a normal practice in the lives of Nigerian women until Ojikere began to take black and white photography from their woven/braided hairstyle.

Many of these photos have shot from behind to emphasize the abstract aspect and simulate the creation of a vertu in sculpture. These images can well reflect the social background or the culture of Nigerian women. In Nigeria, there are hundreds of ethnic groups; each with its own language and tradition has a different hairstyle. Their hairstyles are not the same and each has its own beauty. Some styles sometimes require more than a week’s work. In the special sense of the symbol, there is a visual recipe of an abstract subject by transforming its dynamic characteristics into special traits of form, color, and movement. In Ojeikere pictures, form (shape) is the main foundation stone. The human identity appears in the design of braided hair architecture. By registering them as a collection, the photographer establishes documentation of this kind of symbolism.

Roland Barthes considers photography as a completely new and innovative phenomenon in world history and believes: ” The world has hundreds of thousands of years of life and from cave paintings to the present, thousands of years that pictures have been existence. There are millions of images in the world, but at once around 1822, a new kind of picture is revealed, a kind of phenomenon of the new icon which is completely neoteric in terms of anthropology…Photography transforms the concept and the intentions of art, and therefore has a special place in the world.”

نوشته Okhai Ojeikere; Sociological reflection of braided hair اولین بار در Honargardi. پدیدار شد.

Countless artistic events are held around the world by private and public institutions, but they are getting pale and forgotten in Iran over the past three decades and this is mostly due to the distance of the community from cultural and artistic groups, which has undergone a different trend over the past few years.

The Art Festival of Iran is one of the few examples that have started its work after several years, and the young and experienced team has created many hopes and wishes in this process. In sum, this event is a competition with professional judgment including some teams of the valid galleries and people choice that is held on visual arts.

The process of the holdings is as follow: first, the artists send their works in the field of Painting, photography and the works created by digital methods on the festival web site online, one month is considered for sending the works, then these works is judged by people and the better works are selected based on the number of the votes, after that the site is closed for sending the works, the works that obtain the highest score by the judges will be presented as the winners.

The difference judgment of the festival is the strength of the event because it is done in two domains, means people selection and judge committee. In the first place, participants try to show their works among ordinary people and acquaintances in order to obtain more votes. This will be positive step for presenting visuals arts. Second, the judges are gallery owners and the experts who are active in the world of art. They have enough information about art business whether in Iran or outside of Iran.

It is custom that the judges are selected among different art pioneers and professors but the fact is something else. Selection of the judges among the known gallery owners of the country or organizers of the artistic events will provide better position for the artists. In the last festival most of the novice artists obtain opportunity to show their works among active art groups and collectors in the Museum of Contemporary Art of Iran and this is the main purpose of the festival. Also, the works are seen by over 200,000 voters, this is a good sign of the correct process of the people selection and attraction of the interest and permeability of the event in the community that even if they do not follow the artistic works but now they become acquainted with the visual arts of the today’s generation.

Given the fact that this collection is organized by independent and nonprofit groups, the need for financial support and the news of this festival is felt more than anything else.

take a look at the web site

http://artfestivals.ir

نوشته Iranian Art Festival a transnational event in the field of Visual Arts اولین بار در Honargardi. پدیدار شد.

Each time Burrows do a set of UVIVF photos, it starts with going out under the cover of darkness to snatch unsuspecting flowers growing around the neighborhood. He says he “rarely know what to expect from a flower before I get it back to shoot. Some I think will dazzle end up flopping, and others I am surprised by their colors or light. Every one is a surprise!

In the same way a tee-shirt blue glows under a black light, most organic material glows at least a little with UV stimulation and in all kinds of colors. To make the most of it, I make sure I’m working in the darkest environment I can and use a 365nm light so the camera can’t see the UV light.”

نوشته CRAIG BURROWS PHOTOGRAPHS THE INVISIBLE LIGHT THAT PLANTS EMIT اولین بار در Honargardi. پدیدار شد.

نوشته Blank Space from Robert Cybulski اولین بار در Honargardi. پدیدار شد.

نوشته THOMAS KELLNER’S MOSAIC-LIKE PHOTOMONTAGES اولین بار در Honargardi. پدیدار شد.

Featured Photographers Include: Nadia Lee Cohen, Parker Day, William Dunleavy, Todd Fisher, Paul Kwiatkowski, Ego Maps, Pretty Puke, Erez Avissar, Edwin De LaRosa, Shelby Sells, Tod Seelie, Edward Zipco

read more in juxtapoz

نوشته SUPERCHIEF GALLERY SOHO اولین بار در Honargardi. پدیدار شد.

The first event of Iran Art Festival with the aim of introducing artistic elite to art communities inside and abroad officially began its work during a ceremony to announce the call for summer courses. In the first call the Festival is gathering artworks in painting and photography, and intends to hold calls every semester in summer and winter time to choose and introduce the best of visual art which is also exhibited both in Iran and abroad.

The festival announced its goals in summery as follows:

• Discover the talents and artistic elite to hold calls in various fields
• Introduce and display the works of art, especially new generation
• facilitate communication among members of the artistic community at home and abroad
• Create dynamic space to interact with artists and art lovers
• Sale of works of art around the world
• Create a space to display and present Iranian rich works of art, internationally

Juries

What distinguishes Iran Art Festival from others is its specific look into the juridical process. In the first event of this festival judgment is in two levels. In people’s vote everyone can cast his vote simultaneous with uploading images, each person can vote only one time for each artwork and at the end the automatic counting will announce the winners of people’s vote. The jury panel in the first period of Iran Art Festival consists of gallery directors of reputable galleries in Iran and Paris. They will judge works according to their experience in terms of artistic value, innovation and economics of art with futuristic look into talented work of art.

Galleries

Aliha Gallery

Aliha Gallery based in Tehran

Galerie Sonia Monti

Galerie  based in Paris

Seyhoun Gallery

Seyhoun Gallery based in Tehran and Newyork

Gallery 26

Gallery 26 based in Tehran

Lajevardi Gallery

Lajevardi Gallery based in Tehran

Calendar

• Opening Date: Friday, July 22, 2016
• Closing Date: Sunday, August 21, 2016
• Judging: August 27 – September 1, 2016
• Awards: Monday, September 5, 2016
• Exhibition: September 9 – September 21, 2016

Participants should notice the time table since the deadline will NOT be extended.

Registration Process

• Careful study of the call
• Selecting the artworks
• Registering in Iran Art Festival website
• Depositing registering fee
• Uploading the images

• Iran Art Festival’s website is designed to automatically prevent duplicate registration.
• Uploading images of art works is possible after payment is done which is not
• Entry is open to all Iranian artists, amateur and professional in painting and photography, worldwide.
• Entry fee for participants is 50,000 T (15 $) per field which is 3 artworks per field. If a participant wants to send works both in painting and photography the entry fee is obviously 100,000 T for 6 art works.

Awards

Awards are to be distributed during an official ceremony attended by leading artists, gallery owners, art collectors and custodians of Iran art in the amphitheater of Tehran Museum of Contemporary Arts.

• 3 Statuettes of Iran Art Festival for the first to third winners of jury panel in painting
• 3 Statuettes of Iran Art Festival for the first to third winners of jury panel in photography
• 4 Plaques of Iran Art Festival for the fourth to seventh winners of jury panel in painting
• 4 Plaques of Iran Art Festival for the fourth to seventh winners of jury panel in photography
• 7 Plaques of Iran Art Festival for the first to seventh winners of people’s vote in painting
• 7 Plaques of Iran Art Festival for the first to seventh winners of people’s vote in Photography

Exhibitions

The first fourteenth winners of juries and the first fourteenth of the people vote will be exhibited in Aliha Galley in Tehran and an art gallery in Paris for sale.

Besides, the first 30 works in each field will be permanently in Iran Art Festival website. Also these works will be sent for reputable galleries and their artists will be introduced to many art communities. Also Honargardi, Arthibition and Art People Gallery will promote top 28 artists.

Notifications And Results

Notification of results will be sent by email. Entrants should ensure that they provide an active email address and that spam filters are set to accept emails from Result@artfestivals.ir. Notifications will not be sent by post. Also you may login to the site using your username and send your result to your personal email.

Contact Us

The secretariat address:

Aliha Gallery At #31, 1st Floor, Ahmadi Moghadam Alley, Ramezanian Alley, Mahroozadeh Alley, Shariaty Ave., Tehran Iran

Postal Code: 19346-53748

Tel.: +98-21-26853208

Working Hours: Sunday to Thursday 4 to 8 pm

E-mail: info@artfestivals.ir

Web site : www. artfestivals.ir

نوشته Iran Art Festival First Call For Summer اولین بار در Honargardi. پدیدار شد.

What better time, then, to show Arab artists for the first time in Iran? Mohsen Gallery in Tehran has taken up the historic task with “Spheres of Influence,” a group show organized by New York-based curator Lila Nazemian, on view through May 11. It seems hard to believe that works by Arab artists haven’t appeared in Tehran before—especially when the United Arab Emirates serves as the primary clearinghouse for Iranian art—until you consider just how heavily domestic their scene has been in the last century. The closest analogue was the display of work by Turkish artists at the 1966 Tehran Biennial—Middle Easterners, but not Arabs. Even the much-beleaguered Tehran Museum of Contemporary Art’s formidable collection of Western blue-chip works has remained largely unseen since 1979. Nazemian has judiciously avoided attempting a survey, instead putting together a tight five-person show. Significantly, all the artists are from either Gulf countries (Saudi Arabia, Kuwait, the UAE) or Iraq, an associate GCC member until 1990; most could not attend because of the volatile political climate.

read more on art in america magazine

نوشته Arab Art in Tehran اولین بار در Honargardi. پدیدار شد.

I met the late David Cunningham while straphanging on the 27 Bryant bus that runs west from my office toward my home, from the industrial section of San Francisco they call South of Market on into the Mission. The janitorial firm for which I file and answer the phones bought our headquarters building in the mid-1980s, and it turned out to be on Folsom’s lucky side—built on rock instead of landfill. Everything I saw from my window the day of the 1989 Loma Prieta earthquake was subsequently demolished, buildings so weakened by the shake as to make human habitation untenable. New structures sprang up on the south side of Folsom, some of which we old-timers like and others we don’t. David Cunningham lived in the condo development across Folsom from my office; we call it the “ice cube tray building,” because it looks like a display of giant ice cube trays planted into the pavement, behind which dwell people with money who gaze back out at us, kings looking at cats for a change.

A brutalist dazzle of concrete, steel and translucent glass, the Yerba Buena Lofts, designed by Stanley Saitowitz, emerged in 2001 at a moment when ordinary housing was still widely available, when people scoffed at the idea of paying $400,000 for a bedroom in an ice cube tray. Even though the project opened right after 9/11, the 200 units quickly sold, and lights went on inside each cube. On the ground floor you could open a shop if you dared, and some dog walkers, music teachers and day-care people did. I would see David Cunningham, himself an architect, coming in and out as I sat behind my desk longing for a bigger life. What is he selling, I wondered. Turns out he was planning an art gallery, something fabulous, a pleasure dome he would call DCP—David Cunningham Projects, the logo a Gothic ambigram on a shield, like something on the chest of an archangel. It was before the iPhone, before Facebook got hold of me. Obama was still a senator. J.K. Rowling was still writing her Harry Potter books. Cunningham himself had just turned 40: the age, maybe, when you decide to take some risks, go for the thing you’re passionate about, open a “project space.” Today, when I stumble among San Francisco’s artists and writers and bohemians—frozen, paralyzed, in our crisis of hyper-professionalism and skyrocketing rents—I long to return to the idealism of David Cunningham and the opening of his cavern of dreams, the space that couldn’t sustain itself.

read more on art in america magazine

نوشته THE BITTERSWEET DREAMS OF DAVID CUNNINGHAM اولین بار در Honargardi. پدیدار شد.

Alongside talks, panel discussions and networking opportunities, Future Now will host a series of Portfolio Reviews. These sessions are designed for practitioners working across all media, including drawing and painting, photography and digital art, sculpture, design and three-dimensional art, video, installation and performance. Here, you will have the opportunity to book a slot with industry experts who can give you essential advice and guidance either on your current practice, or your career progression opportunities. This is a unique chance to develop your work and find out about new ways to expand your practice.

Portfolio Reviews will take place at 10:00, 13:00 and 16:00 on Day One and Day Two. Reviewers include Dr Alistair Payne, Glasgow School of Art; Professor Jo Stockham, Royal College of Art; Andrea Luka Zimmerman, Central St Martin’s; Maggie Ellis, FLAMIN; Sebastian Bland, Suitcase Magazine; Carla Rapoport, Lumen Prize; Eleanor Clayton, The Hepworth Wakefield; Stephanie Bush, Zabludowicz Collection; Sophie Hall, Flowers Gallery; Ian Fenton, Random Acts North, and more.

Portfolio Reviews can be booked as part of a One-Day or Two-Day Pass. Both include free access to the Thursday Night Networking Party at 1331.

Reserve your place and join the discussion: www.aestheticamagazine.com/symposium or call 01904 629 137.

Credits
1. Katherine Anne Rose. Longlisted Aesthetica Art Prize artist.

Posted on Aesthetica

نوشته The Future Now Symposium اولین بار در Honargardi. پدیدار شد.