Newsha Tavakolian Net Worth, Dating & Relationship status

Name: Newsha Tavakolian
Date of Birth:
Profession:
Net Worth: Her net worth has been growing significantly in 2022-2023. So, how much is Newsha Tavakolian worth at the age of 42 years old? Newsha Tavakolian’s income source is mostly from being a successful . She is from Iran. We have estimated
Newsha Tavakolian’s net worth
, money, salary, income, and assets. $1 Million – $5 Million
Birthplace: Tehran, Iran
Nationality: Iran
Age: 42 years old
Spouse: Her husband is Thomas Erdbrink (m. 2003)
Parents: Not Available
Siblings: Not Available
Height: Not Available
Zodiac Sign: Not Available

Biography:

Newsha Tavakolian, born on , in the bustling city of Tehran, Iran, is a renowned . With a net worth of $1 Million – $5 Million.
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She got her international break in 2001 at age 21, when she met J.P. Pappis, founder of Polaris Images, New York at a photography festival in Perpignan, France. She began covering Iran for Polaris Images, in the same year, and started working as a freelancer for The Times in 2004.
In 2014, Tavakolian won a 50,000 euro photojournalism prize from French investment banker Edouard Carmignac and his foundation, the Fondation Carmignac. Tavakolian was to create her vision of Iran with a project she called “Blank Pages of an Iranian Photo Album.” This project followed the lives of a diverse group of Iranian people who had been teenagers during the revolution. To Tavakolian’s dismay, Carmignac wanted to tamper with her work. He insisted that she give the project a cliché title, “The Lost Generation,” as well as removing the accompanying text that discussed her experience living in Iran. Tavakolian said, “I am not a delicate flower. I just want to take responsibility for my own work. Defend myself? I can. But if someone else paints me into a corner, how can I defend myself? I have covered a lot of events here, but always with me being responsible for my decisions.” Tavakolian has since returned the reward. Her decision stems from her sentiments towards the West, as she actively denies Western influence on her art. This is central to her career as an Iranian artist. She stated, “When we’re stuck on getting the West to understand Iran, our work remains on the surface. I want to tell Iranians’ story to Iranians themselves, this is where I can challenge myself and go deeper into the more complicated layers.” Her work aims to be devoid of Western influence, as it is not intended for Western audiences. Tavakolian’s work continues to be a real, personal representation of Iran. This is the focus of her work.
In June 2016, the Media Development Authority (MDA) of Singapore censored 33 of Tavakolian’s photographs planned for her I Know Why the Rebel Sings exhibition, as part of the Singapore International Festival of Arts pre-festival The O.P.E.N. programme, at the last minute. 15 of these photographs, picturing female rebels fighting against ISIS, were presented at the show, limited to those above 16 years old, blacked out. Festival director Ong Keng Sen issued a statement condemning MDA’s move and lack of explanation and pointing out that the photographs were already published in the readily accessible Time magazine, both online and off. “And so we are living with a new terror where we don’t know, it is out of our control,” he said at the exhibition’s launch.
Common themes in her work are photo stories of women, friends and neighbours in Iran; the evolving role of women in overcoming gender-based restrictions; and contrasting the stereotypes of western media. Her photo projects include Mother of Martyrs (2006), Women in the Axis of Evil (2006), The Day I Became a Woman (2010) and Look (2013).
In 2014, Tavakolian won a 50,000 euro photojournalism prize from French investment banker Edouard Carmignac and his foundation, the Fondation Carmignac. Tavakolian was to create her vision of Iran with a project she called “Blank Pages of an Iranian Photo Album.” This project followed the lives of a diverse group of Iranian people who had been teenagers during the revolution. To Tavakolian’s dismay, Carmignac wanted to tamper with her work. He insisted that she give the project a cliché title, “The Lost Generation,” as well as removing the accompanying text that discussed her experience living in Iran. Tavakolian said, “I am not a delicate flower. I just want to take responsibility for my own work. Defend myself? I can. But if someone else paints me into a corner, how can I defend myself? I have covered a lot of events here, but always with me being responsible for my decisions.” Tavakolian has since returned the reward. Her decision stems from her sentiments towards the West, as she actively denies Western influence on her art. This is central to her career as an Iranian artist. She stated, “When we’re stuck on getting the West to understand Iran, our work remains on the surface. I want to tell Iranians’ story to Iranians themselves, this is where I can challenge myself and go deeper into the more complicated layers.” Her work aims to be devoid of Western influence, as it is not intended for Western audiences. Tavakolian’s work continues to be a real, personal representation of Iran. This is the focus of her work.