Hossein Hashempoor
Hossein Hashempoor: The Visual Arts' Economy Is an Identity Economy
The weird thing is that artists, institutions, and art collectors fail to recognize the signature as a critical strategic tool.
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The weird thing is that artists, institutions, and art collectors fail to recognize the signature as a critical strategic tool.
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The painterly gesture in Mehrdad Fallah’s Wonder Creatures is not merely an exhibition of technique but a visual…
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To mark Eid al-Adha,The Middle East Raha Gallery Collection has released a media presentation of one of Master Seyed…
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Let’s not deceive ourselves: in the art world, the price of an artwork significantly influences both its visibility…
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Sirak Melkonian’s 1975 painting is far more than a visual abstraction—it is a mental architecture of time, memory, and…
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The painting Sama Dance is not merely a depiction of motion—it is, in itself, a movement from form to meaning. With a…
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"Ms. Hamdani Zadeh’s works invite the viewer not merely to see colors, but to hear and feel them. In this collection,…
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Dignity in a Frame of Color: The timeless portrait of Kamal-ol-Molk by Markar Gharabegian, painted a hundred years…
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It is said that out of fear of taxation, galleries have long been concealing their sales.
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A unique work by Reza Mafi — a complex minimalist piece woven with Eastern-Iranian finesse — created nearly half a…
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In the visual world of Azim Morakabatchi, silence speaks louder than screams. In the painting “The Dame in Red”—a…
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