Fereydoun ave biography of albert
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Eco(ed) Visions
The second edition of ’Eco(ed) Visions II’, brings together artists whose works explore nature's sanctuary amidst the urban sprawl, forging an något privat eller personligt connection.
Delving into the complex relationship between urbanisation, aesthetics, and nature, contemporary thinker Mark Foster Gage advocates for an understanding that transcends mere superficiality. He proposes that urbanisation has transformed architectural edifices into the primary backdrop of our reality, diminishing nature’s role in human life as a leisurely destination.
When the insatiable pursuit of a human-centric world fryst vatten constructed upon the död eller bortgång of the natural environment, a poignant realisation surfaces. As the relentless tide of urbanisation swells, a palpable reliance on art to fill the void left bygd nature becomes a necessary consequence. The trajectory toward a future where artistic depictions wield heightened significance, capturing not only images but their very essence, invites contemplation
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Fereydoun Ave
Fereydoun Ave | |
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| Born | 1945 (age 79–80) Tehran, Pahlavi Iran, (now Iran) |
| Education | Arizona State University, New York University |
| Occupation(s) | Visual artist, curator, gallerist, art collector |
| Known for | Painting, graphic arts, printmaking, mixed media collage |
Fereydoun Ave (born 1945; Persian: فریدون آو) is an Iranian art collector, curator, painter, and sculptor.[1][2] Over the past five decades, he has taken on many different roles as artist, designer, art director, collector, curator, gallerist and art patron. He has had over 21 solo exhibitions as an artist and curator. Prior to the Iranian Revolution, he worked as a stage and graphic designer at the Iran American Society in Tehran, was Resident designer for the National Theatre, Tehran, and was advisor to National Iranian Television and the Shiraz Arts Festival. Between 1974 and 1979 he was acting artistic director of the Zand Gallery in Tehran. After
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Artists who have left the country discuss some of the lures and pitfalls of being branded Iranian
| Nicky Nodjoumi, Going Back Home, 2014, oil on canvas, 20h x 24w in / 50.8h x 61w cm. Courtesy Taymour Grahne Gallery. |
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