An Ode to Kaveh Golestan and the Art of Photojournalism

by NZK

In the pre-revolutionary period, Iranian photojournalism catalyzed itself into both an art form of the people and a tool of the state, one intended to self-express and one intending to manipulate the masses. Few Iranian photojournalists were quite as impactful on the art scene as Kaveh Golestan, son of director Ebrahim Golestan. Influenced by his father and his peers’ approach to art and societal criticism, Kaveh Golestan created multiple series focusing on various marginalized groups in Iran, his most prolific being his series on prostitutes. The natural composition and raw reality found within each and every one of Golestan’s images is a major reason why his photographs and his approach to photojournalism will never be forgotten, and why he has become immortalized through his influence on the Iranian artists after him. Choosing to photograph the lives of those Iranian society aims to hide was a key motivation behind the various series of photos Golestan composed. Kaveh Golestan is to thank for many achievements and innovations in the Iranian art scene, though his most important contribution must be his exposure of marginalized Iranians that the Islamic Regime attempted to hide.

Art and politics have been intertwined for nearly as long as civilization has existed. Once religion is added in between, as it so often is in Iran, the lines between art and propaganda become almost translucent. Art loses its value when it loses its true purpose, which is why it is vital for Iranian artists to be hyper-aware of the political time they and their art exist in. Only when the boundaries and restrictions of both their government and society are understood, can an artist truly protect their art from the manipulation of external forces. Though the value and beauty of art is not completely lost, even in the highly political landscape of Iran, it is subject to exploitation. The same way that art can move a crowd to tears, art can simultaneously move a crowd to violence. The versatility and overall power of art is what makes it so susceptible to corrupt politics and greed.

Iranian art is unique for the rich history it rests on, and it is vital for its ability to withstand the evil and corruption of politics that has plagued the state of Iran for nearly as long as it has existed. In a time where propaganda threatens the integrity of art and the artists that rely on their art for self-expression and survival, it is vital for Iranian arts to protect their art from exploitation by politics and religion. Art can be political, religious, or both, but it should not be used solely to further a political or religious agenda, especially one that devalues the true meaning of the art intended by the original artist. In the end, art holds the power to immortalize the Iranian landscape in a manner that will allow for the celebration of Iranian culture as a whole. We must protect Iranian art forms, not only for ourselves, but for our future generations who can revolutionize Iranian culture in the same way Kaveh Golestan so beautifully did. □