Nicky Nodjoumi (Iranian/American, 1942), Untitled III - From the Environmental Series, 2018. Oil on canvas, 178 x 127 cm.
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The Human Rights Watch Film Festival London + The World
Over the years some of the best films we have ever encountered come from the endangered sections of the human race; minorities, apartheid, gender and race-related violence. London’s festival features two main Iranian screenings at the Barbican
https://www.barbican.org.uk/whats-on/2024/event/disruption-contemporary-shorts-by-iranian-women-filmmakers
The courage of individuals standing up for…
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This documentary is about the daughter (Sara Nodjoumi) of two Iranian artists who married and fled the country. The film shares Sara's attempts to make sense of her family's story and who her father (Nicki Nodjoumi) is as a person while they work together to try to retrieve his work, critical of what came to pass after the revolution, from Tehran. A story about the role of artists in revolutionary action and the fallout of Iranian politics from the time of the Shah to today.
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“Tails of the Lost Dreams” by Nicky Nodjoumi, 2022
oil on canvas
85” x 65 inches
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The Lull of Exuberance, 2013 Oil on canvas
art of Nicky Nodjoumi
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Nicky Nodjoumi (American, b. 1942)
Running Horse, 2019
Oil on canvas
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Nicky Nodjoumi, 2014-2019
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AR: Nicky Nodjoumi at Helena Anrather
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Nicky Nodjoumi - Push and pull - 2008
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Nicky Nodjoumi
I feel you in so realism
In real art by myself
And in shadow of silence
Ani Bo. M
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Nicky Nodjoumi (Iranian/American, 1942), Divine Move, 2014. Oil on canvas, 90 x 76 cm.
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Nicky Nodjoumi (Iranian/American, b. 1942), Silenced, 2017. Oil on canvas, 215.9 × 165.1 cm
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Nicky Nodjoumi (b. 1942)
Time to Pray, 2012 [thnx ferdinandhodlerpaintings.tumblr]
Hasty Retreat (cropped), 2012, Oil on Canvas, 177.8 x 127 cm
Caught in the Way, 2010. Oil on canvas, 244 x 305 cm
A Conversation with Artist Nicky Nodjoumi. By Alma Vescovi
Born in Kermanshah, Iran in 1942, Nicky Nodjoumi experienced the Islamic Revolution of 1979 from the perspective of a young artist with astute political and social awareness. In exile, received his Master’s degree in Fine Arts from The City College of New York in 1974. Nodjoumi uses his practice to explore the intersection of his personal history with the politics of alienation and dislocation. -art daily
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"The Newcomer" by Nicky Nodjoumi, 2011–13
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Nicky Nodjoumi
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