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Researched and written by: Katherine Cocca
Iran’s art market has exploded in the past twenty or so years, bringing with it a varied body of new works and plenty of spaces to share them. Art galleries are important locations in today’s Iranian culture as sites of exploration and inspiration, as well as investment. Though the economy is suffering, there is hope that if these galleries remain open that they will continue again to flourish and influence the international art market as they had been once, as well as provide local artists and citizens alike with access to new art.
A 2019 article from the Observer explains, "But in spite of the added difficulty of traveling abroad and moving pieces, Iranian artists continue to have a strong presence in institutional exhibitions around the world. At the Palais de Tokyo in Paris, the recently opened “City Prince/sses: Dhaka, Lagos, Manila, Mexico City and Tehran,” a selection of almost 50 artists with no particular geographical grouping, presents a utopic “imaginary city without borders,” especially political in today’s fraught geopolitical climate.".
Below you can explore a list of some prominent Iranian art galleries, and click the button below each description to discover of list of contemporary artists associated with that gallery. At the bottom of the page you will find a list of sources for further reading, ranging from scholarly works to online articles:
Aaran Gallery
Aaran Gallery
The Aaran Gallery was created in 2009 by Nazila Noebashari and is located in downtown Tehran. The declared mission of the gallery is to create a space for dialogue between members of the art world and the public as well as to promote Iranian art and international art exchange. This site is a bit out of a date, with the last entries referring to exhibitions set to end in 2018, but the gallery itself remains open and the website functions as an archive for the work its artists. The site also contains short news articles which detail past events for the gallery as well as its featured artists.
This website is useful for its list of artists and works as well as its news articles which give insight into the Iranian contemporary art scene.
Assar Art Gallery
Assar Art Gallery
Installian view from 2014 exhibit, Courtesy of Assar Art Gallery
Founded in 1999 by Omid Tehrani, the Assar Art Gallery boasts both modern and contemporary works. The gallery is able to support current projects and emerging artists as well as provide consultation services to galleries abroad who are interested in displaying Iranian artworks. They are focused on providing an accessible experience to the public and preserving contemporary works for generations to come. Omid Tehrani cites his inspiration for opening the gallery as Mrs. Seyhoun, a legendary Iranian gallerist.
The site works to catalogue the work of its resident artists, past exhibitions, and also to keep prospective visitors up to date on happenings around the gallery. It also contains a link to the gallery’s Instagram account. Additionally, the site has links out to 360 degree views of every past exhibition.
This website is useful for its catalogue of artists and past exhibits, as well as its news feed which may give more insight into the Iranian contemporary art scene.
http://www.assarartgallery.com/main/gallery
Ranjaran, Arash. “Gallery.” Assar Art Gallery, www.assarartgallery.com/main/gallery.
Etemad Gallery
Etemad Gallery
The Etemad Gallery was created in 2002 by Mina and Amir Hossein Etemad. This gallery features the work of both emerging artists and artists that already have made their name. It states its mission as seeking to support young artists and encourage the development of new ideas and artistic practices. The site hosts information about each of its featured artists, a catalogue of past exhibitions, as well as a news blog. One thing that sets apart the Etemad Gallery is its virtual exhibitions section. On their website, you can click through a simulation of the actual gallery space in order to view exhibits as they actually appear in person.
This website is useful for its list of contemporary artists and works. Its virtual gallery space allows foreign researchers, students, and artists to experience Iranian art in the way the works are intended to be used.
Homa Art Gallery
Homa Art Gallery
The Homa Art Gallery was founded in 2005 by Parviz Maleki. It declares its mission as reviewing contemporary and modern Iranian art and supporting emerging artists, as well as promoting Iranian art internationally and serving as a consultant to collectors. The site features pages for its current and past exhibitions, its featured artists as well as any artist that has exhibited work at the gallery, a gallery plan, a selection of books and an art news section.
A unique feature of the gallery’s website is a list of art galleries in Tehran, their locations, and their telephone numbers.
This website is useful for its wide variety of information, from artists and artworks to lists of different galleries. Its art news section features some opinion pieces as well as announcements of events.
http://www.homaartgallery.com/en/_default.aspx
“گالری هما: Home Page.” Homa Art Gallery, Homa Gallery, www.homaartgallery.com/en/_default.aspx/_default.aspx.
Seyhoun Art Gallery
Seyhoun Art Gallery
The Seyhoun Art Gallery is an iconic part of Tehran, founded in 1966 by artist Massoumeh Noushin Seyhoun. It is the oldest gallery in Iran and supports artists that are developing their body of work today. The gallery states that its mission is to increase Iran’s presence in the international art scene as well as to work locally to promote contemporary art.
The website hosts a catalogue of works from each of its artists as well as a record of its past and current exhibits. It features news articles relevant to the gallery and a virtual auction where you can purchase Iranian art online. The site also contains links out to multiple social media platforms, including its Instagram, Twitter, and Facebook feeds.
This website is useful for its extensive list of artists and its large collection of artworks, as well as its up to date news article section.
http://www.seyhounartgallery.com/Pages/About/
“About Gallery.” Seyhoun Art Gallery, www.seyhounartgallery.com/Pages/About/.
Shirin Gallery
Shirin Gallery
The Shirin Gallery was founded in 2005 by Shirin Partovi, opening a second location in New York in 2013. The gallery states its mission as supporting emerging Iranian artists and building a strong and positive international presence for Iran’s art scene. The gallery features a mixture of fine art and sculpture works from a variety of artists. The site has pages for resident artists, guest artists, past and current exhibits, and news articles. It also contains a page with a list of all the publications and associated events for books written by artists.
Silk Road Art Gallery
Silk Road Art Gallery
The Silk Road Art Gallery was founded in 2001 by Anahita Ghabaian Etehadieh and was the first gallery featuring only photography in Iran. The gallery states that its mission is simply to bring Iranian photography to public attention and has participated in international art events to further this mission.
The site features a catalogue of artists that it features, a record of past and current exhibits, as well as news articles pertaining to the gallery. Uniquely, it features a press section of the site which records articles from different websites which feature its artists and gallery. The press section makes it an especially useful resource for discovering who is talking about the Iranian contemporary art scene.
This website is useful not only for its list of artists and artworks, but for its unique press section. The press section can be used as a resource for further research into specific artists and works but also to get a broader feel for how people are reacting to the contemporary Iranian art scene.
https://www.silkroadartgallery.com/
“Silk Road Gallery.” Silk Road Art Gallery, Silk Road Art Gallery , www.silkroadartgallery.com/.
Sazmanab
Sazmanab
Sazmanab was founded in 2008 as an artist space, residency program, and catalogue for art. The program has had art exhibits, hosted workshops and talks by various artists, and supported art as well as research. The residency program was the first to be created in Iran. The physical space was originally a small apartment in the Sadeghiyeh district of Tehran, which later expanded to a building in 2014. Exhibits ceased in 2016, and the group no longer owns the building or apartment it began in. Today, the group works with other institutions to exhibit works and support emerging artists.
The site serves as a record for past exhibits, though it can be a bit tricky to navigate through. It also contains links to the program’s Twitter, Facebook, and Instagram feeds as well as a sign-up for a newsletter. The Sazmanab 10<Information section of the website features information about the program and its work over the years. This section includes videos, writing, and photographs detailing all the work the program has accomplished.
This website is useful for its explanations of various art projects, list of past artists in residency, and video and photographic elements.
Additional Galleries
Additional Galleries
ATBIN ART GALLERY http://www.atbingallery.com/
ARIA GALLERY https://darz.art/en/galleries/aria-gallery/exhibitions
AZAD ART GALLERY http://azadart.gallery/En/default.aspx
ELAHE ART GALLERY http://www.elahe.net/
FRAVAHR ART GALLERY http://fravahrgallery.com/sn/home
HOOR ART GALLERY http://www.hoorartgallery.com/
MAH ART GALLERY http://www.mahartgallery.com/en/
MAH-E MEHR ART GALLERY https://darz.art/en/galleries/mahe-mehr-gallery/exhibitions
MOHSEN ART GALLERY https://mohsen.gallery/
SAREBAN GALLERY https://www.sareban.gallery/fa/
SIIN ART GALLERY http://www.siingallery.com/?lang=en
Further Reading
Further Reading
Bublatzky, Cathrine. “Aesthetics of an Iranian Diaspora – Politics of Belonging and Difference in Contemporary Art Photography.” Journal of Aesthetics & Culture, vol. 12, no. 1, 2020, pp. 1–10., doi:10.1080/20004214.2020.1767969.
Bublatzky discusses migration, transnationalism, and photography, relating back to the work of Parastou Forouhar in order to consider how photographers use particular aesthetics, iconography, and themes to relate to others. Specifically, the author addresses how an individual relates to the different identities they possess, acknowledging that there is no monolithic cultural or regional group. This text is available in full, with no log-in needed.Ditmars, Hadani. “Parviz Tanavoli, the Nightingale of Iran.” Middle East Institute, 27 May 2020, www.mei.edu/publications/parviz-tanavoli-nightingale-iran.
This article, written by a Hadani Ditmars of the Middle East Institute, tells of the medallions created by artist Parviz Tanavoli which were sold in order to produce medical aid for Iranians in a time of desperate need. Ditmars also discusses the career of Tanavoli, making it an interesting read for anyone who is researching the artist or who wants to understand how Iran is fighting COVID-19.Ekhtiar, Maryam. “Modern and Contemporary Art in Iran.” Metmuseum.org, The Metropolitan Museum of Art, Oct. 2004, www.metmuseum.org/toah/hd/ciran/hd_ciran.htm.
This short essay summarizes the art movements of the 1940s onward in Iran in a quick and easily digestible read. This article is good for anyone looking to get a fast overview of the modern Iran's art periods, and contains links out to other articles with similar topics. It is important to remember the source of this article is an American institution.Elahi, Babak. “The Critic as Activist: The Art Review Discourse in Iran / الناقد بوصفه ناشطاً: خطاب العرض الفني في إيران.” Alif: Journal of Comparative Poetics, vol. 35, 2015, pp. 178–199.
This text addresses various issues within recent Iranian art movements including censorship and government regulation within the country, and critical interactions with artists and works. It gives the reader a good grasp on the context surrounding the Iranian art market in recent years and the importance of interactions between critics, artists, the public, and the Iranian government.Hatam, Behzad. “Do You Have Ten Tips for the Gallery?” Angah Magazine, 12 May 2020, www.angahmag.com/2392/%D8%AF%D9%87-%D9%BE%D9%86%D8%AF-%D8%A8%D8%B1%D8%A7%DB%8C-%DA%AF%D8%A7%D9%84%D8%B1%DB%8C-%D8%AF%D8%A7%D8%B1%DB%8C.
This interview was conducted by Angah Magazine with artist and former gallery owner Behzad Hatam. Hatam once owned a gallery by the name of Gallery Ten, and in this interview shares his insights and humor about the gallery business. Reading it does not give you a full and complete grasp on gallery culture, but a small insight into contemporary issues that gallery owners face. Keep in mind that this article must be translated from Persian into English, which could lead to some mistranslations or lost meaning.Karimi, Pamela. “When Global Art Meanders on a Magic Carpet: A Conversation on Tehran's Roaming Biennial.” The Arab Studies Journal, vol. 18, 2010, pp. 288–299.
This insightful interview was conducted by Pamela Karimi, an art historian, who interviewed artist Amirali Ghasemi about a traveling biennial exhibition created in 2009. The show was created in order to subvert institutional shows and so-called superstar artists and venues in order to display the works of obscure creators. Their talk gives a fuller picture of problems facing contemporary artists, including gov't regulation, institutionalization of art, and a lack of international participation and how these artists are working to achieve their goals in spite of these setbacks.Keshmirshekan, Hamid. “Contemporary Iranian Art: The Emergence of New Artistic Discourses.” Iranian Studies, vol. 40, no. 3, 2007, pp. 335–366., doi:10.1080/00210860701390448.
This essay addresses a debate between proponents of "New Art" and proponents of traditional artistic practices and themes in Iran. Critics, artists, and the public have had a continual debate over recent decades about Western influence in Iran's art scene and how appropriate it is to draw inspiration from an oppressive force. This article gives a good amount of context around these debates, but does not try or pretend to give a full picture of every art movement it touches upon.Keshmirshekan, Hamid. “The Question of Identity Vis-à-Vis Exoticism in Contemporary Iranian Art.” Iranian Studies, vol. 43, no. 4, 2010, pp. 489–512., doi:10.1080/00210862.2010.495566.
This work delves into a similar issue as is expressed in Keshmirshekan's other essay mentioned here- the question of how much influence Iranian artists take from Western sources, and what this cultural transmission does for the work. It gives additional context surrounding these debates, explaining how some Iranian artists might be making art to appease an international audience. The author uses contemporary works in his essay which exemplify his point.Khosravi, Maryam. “Gallery Tour and Its Reflection in Public Culture.” Angah Magazine, 7 Mar. 2020, www.angahmag.com/2340/%DA%AF%D8%A7%D9%84%D8%B1%DB%8C.
This short article gives a look into contemporary gallery culture, and how it fits into Iranian life. The author recognizes the impact of the gallery as a place not only for sharing beautiful things, but for enacting political change and sparking an interest in the happenings around you. Keep in mind that this article must be translated from Persian into English, which could lead to some mistranslations or lost meaning.Mohammadi, Mojtaba. “Dual-Function Gallery.” Angah Magazine, 12 May 2020, www.angahmag.com/2397/%DA%AF%D8%A7%D9%84%D8%B1%DB%8C-%D8%A8%D8%A7-%DA%A9%D8%A7%D8%B1%DA%A9%D8%B1%D8%AF-%D9%85%D8%B6%D8%A7%D8%B9%D9%81.
Mojtaba Mohammadi discusses the way galleries are integrated into all sorts of experiences and unexpected locations in Iran, helping the reader gain a strong understanding of the ways gallery culture has changed the landscape and culture of cities like Tehran. Some of the shared spaces include bookstores, parking garages, and shopping centers. Keep in mind that this article must be translated from Persian into English, which could lead to some mistranslations or lost meaning.Motlagh, Amy. “Child of the Revolution: Sara Dolatabadi and the Esthetics of Memory (An Interview) / ابنة الثورة: سارا دولات آبادي وجماليات الذاكرة.” Alif: Journal of Comparative Poetics, vol. 30, 2010, pp. 240–260.
This work is split into two parts: a short essay about modern Iranian art and artist Sara Dolatabadi, and an interview between the author and Dolatabadi. Both pieces give a look into the life of one Iranian born turned Tokyo resident artist, whose life was shaped by the revolution but with no memory of those early years after it, as she was so young when it happened. The artist discusses life in and without of Iran and how her move has impacted her artistic process and products.Nayeri, Farah. “As Tensions Rise With Iran, So Does Interest in Art It Inspired.” New York Times, New York Times, 8 Mar. 2020, www.nytimes.com/2020/03/08/arts/iran-artists.html.
This New York Times article touches on the achievements of a few Iranian artists who are in the international eye. It touches upon the political discourse of the past few years and the decision of institutions to include or exclude works by Iranians, with a specific focus on exiled artists. It is important to consider the perspective of this article, as it only mentions the stories of Iranians forced to move because of unrest.Rajaei, Amir. “The Story of Isfahan Galleries.” Angah Magazine, 28 Sept. 2020, www.angahmag.com/2562/%D8%AF%D8%A7%D8%B3%D8%AA%D8%A7%D9%86-%DA%AF%D8%A7%D9%84%D8%B1%DB%8C%E2%80%8C%D9%87%D8%A7%DB%8C-%D8%A7%D8%B5%D9%81%D9%87%D8%A7%D9%86.
This detailed but easily digestible read is able to paint a strong picture of contemporary gallery culture, with a focus on historical details, facts, and dates. This is not an opinion piece, and is a good resource for looking into the context leading up to Iran's gallery culture of today. Keep in mind that this article must be translated from Persian into English, which could lead to some mistranslations or lost meaning.Torshizi, Foad. “The Unveiled Apple: Ethnicity, Gender, and the Limits of Inter-Discursive Interpretation of Iranian Contemporary Art.” Iranian Studies, vol. 45, no. 4, 2012, pp. 549–569., doi:10.1080/00210862.2012.673830.
This work is an important read for anyone seeking to understand or critique a contemporary female Iranian artist, or any other female artist from a culture outside their own. It brings into question the notion of internationally acclaimed art as being primarily Western, the idea of artistic standards as centered on Western concepts. Western frameworks cannot be used to completely understand a non-Western piece of art, and this essay uses different artists' works to thoroughly explain why this is so.Page updated
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