Oglethorpe University Museum of Art
Jan
22
Apr 30

Oglethorpe University Museum of Art

AZADI VA EDALAT: STORIES RETOLD BY CONTEMPORARY IRANIAN WOMEN ARTISTS

OGLEHTORPE UNIVERSITY ATLANTA, GA

Azadi va Edalat (transliteration from the Persian for freedom and justice) is organized by OUMA Director Elizabeth Peterson, in partnership with artist and curator Afarin Rahmanifar.

The paintings of Rahmanifar are accompanied by those of Taravat Talepasand and Samira Abbassyto show three contemporary interpretations of traditional Persian painting and storytelling

Hidden & Revealed|Representations of Women by Women
Nov
14
Jan 3

Hidden & Revealed|Representations of Women by Women

ANGLES GALLERY LOS ANGELES, CA

Alida Cervantes, Marlene Dumas, Nicole Eisenman, Junghwa Hong, Wangechi Mutu,
Felicita Norris, Connie Samaras, Cindy Sherman, Linda Stark, Taravat Talepasand,
Katherine Vetne. Kara Walker, Lisa Yuskavage.

Angles Gallery is very pleased to present Hidden and Revealed: Representations of Women by Women, a group exhibition that will examine the representation of women in society, the media, and art. This group exhibition is comprised of paintings, photographs, and works on paper by 13 women from North America, Africa, and Asia.

Collectively, the artists consider colonial, racial, religious, patriarchal, and class influences on the determination of power relations and control. Various forms of gender violence, repression, sexuality, body image, visibility, identity, and community are revealed, in the process of considering the historical impulse to place anything that is desired or despised onto the female body.

 

NEW. . . NOW. . . NEXT. . .
Aug
21
Aug 31

NEW. . . NOW. . . NEXT. . .

ANGLES GALLERY LOS ANGELES, CA

Matt lifson, Bett Reichman, Tony de los Reyes, Taravat Talepasand.

Angles Gallery is proud to announce our representation of four new artists and welcome them to the gallery program. Each of them will be having a one-person exhibition at the gallery in the coming year.

A group exhibition of works by these talented emerging and mid-career artists will open to the public on Saturday, June 29. The exhibition remains on view through August during regular gallery hours.

Matt Lifson is a graduate of Otis College of Art and Design, MFA 2012, andSchool of Visual Arts, New York, BFA 2008. His works have been exhibited at SecondGuest and Ana Cristea Gallery, NY and CB1 Gallery, Los Angeles. His first one- person exhibition with the gallery will be in the fall.

Brett Reichman holds a MFA degree from the University of California, Berkeley, and a BFA degree from Carnegie Mellon University. He has been in one person and group exhibitions nationally, including Gallery Paule Anglim, San Francisco; PPOW Gallery, New York; Rena Bransten Gallery, San Francisco; Feature, New York; Orange County Museum of Art (solo); SFMoMA; Portland Art Museum, Portland, Oregon; Yerba Buena Center for the Arts; Berkeley Art Museum; and The Drawing Center. His works are in the collections of SFMoMA, OCMA, PAM, Berkeley Art Museum, and the Oakland Museum of California Art. His first one-person show with the gallery will be in 2014.

Tony de los Reyes graduated San Francisco Art Institute, MFA and California State University, Northridge, BFA. A 2011 recipient of the prestigious C.O.L.A. award, his works have been exhibited nationally and internationally. Venues include New Britain Museum of American Art; Grand Central Art Center; DCKT Contemporary; Ben Maltz Gallery, Otis College; Weatherspoon Art Museum; and Vincent Price Museum. He was the recipient of the California Community Foundation Mid-Career Artist Fellowship in 2011. His first one-person exhibition with the gallery will be in 2014.

 Taravat Talepasand earned her MFA at San Francisco Art Institute (2006) and BFA at Rhode Island school of Design (2001). Recipient of the Richard Diebenkorn Fellowship in 2010, her works are in the permanent collections of the de Young Museum and Orange County Museum of Art. Exhibitions include the 2010 California Biennial, OCMA; Yerba Buena Center for the Arts; Morgan Lehman, New York; and Portland Art Museum, Portland, Oregon. Her first one-person exhibition with the gallery will be in 2014.

Angles Gallery is located at 2754 S. La Cienega Blvd, Los Angeles, CA. The gallery is open Tuesday through Saturday, from 10 AM to 6 PM. 

SITUATION CRITICAL
Dec
12
Jan 30

SITUATION CRITICAL

MARX & ZAVATTERO GALLERY SAN FRANCISCO, CA

In Situation Critical, Iranian-American artist Taravat Talepasand’s second solo exhibition at Marx & Zavattero, the conflict of the artist’s attempt
at resolution between east and west in her own self – as well as the present political situation in Iran – collide to inspire a new body of work that is
highly charged and personal. On view will be a series of new egg tempera on panel paintings, graphite drawings, and a hand-painted MB5 motorcycle
that represent the artist’s fresh interpretation of the still life and portrait genre.
 

TESSELLATION MAKE UP
May
14
Jun 20

TESSELLATION MAKE UP

GALERI ZILBERMAN ISTANBUL, TURKEY

Curator: Janet Bellotto

Gallery Zilberman presents the exhibition titled Tessellation Make Up, which includes 12 artists with origins from the Middle East and Turkey: Afra Bin Dhaher Al Fadhil, Ayman Yossri Daydban, Babak Kazemi, Ilgın Seymen, Niloufar Banisadr, Shadia Alem, Sherin Guirguis, Shirin Abu Shaqra, Maitha Demithan, Sadegh Tirafkan, and Taravat Talepasand. The exhibition is curated by Janet Bellotto.

Tessellation Make Up expands from the literal meaning of tessellation – a two dimensional image created with a repeated geometric shape – and looks at how the artist’s process and ideas reveal its own plan and pattern. The selected artworks range from the use of photography, videography, and mixed-media. Patterns are aligned as the artworks portray in various degrees reflections on social and political experiences, an examination and recollection of memory and history, and personal identity.

Al Fadhil’s video “Good Morning Babylon” reveals a performance at the Ishtar Gate at the Pergamon Museum, Berlin, Germany. Here the artist performs a minimal act in front of the displaced blue tiled structure, and brings into question memory and history. His photographic diptychs, along with Daydban’s  “Subtitles” series reflects on relationships and interpretation due to context. At first glance the works on paper by Guirguis, using a mix of Arabic patterns and experimental strokes, details in Talepasand’s intricate drawings with a keffiyah, and Tirafkan’s photomontages of Persian-like carpets, may seem traditional and ornamental. However, their concerns both engage social contemporary concerns explored through formal juxtapositions in the work. The process of transforming layers into a new image, or juxtaposing tiled photos, ties together the works by Alem, Abu Shaqra, Banisadr, Bin Dhaher, Demithan. Kazemi, and Seymen. Demithan’s scanography works are created through hundreds of tiled scans documenting the human figure. Bursting with color ‘Sanawat’ documents a shared family history reconstructing a memory through the frozen like figure and embellishments of a child’s red dress.

Tesselation Make Up could be visited between September 15th-October 20th at Galeri Zilberman in Misir Apartments Building in Istanbul. 

PATHÉTIQUE
May
2
Jun 1

PATHÉTIQUE

GUERRERO GALLERY SAN FRANCISCO, CA

Pathétique: Affection the emotions of pity, grief or sorrow; touching.

The show introduces three parts: Drawings, sculptures, and installation. Each drawing will be accompanied with one broken sculpture below, and in the center of the project room 12 sculptures will be arranged in a row on a pedestal.

I was first introduced to the French title Pathétique by listening and playing Beethoven piano sonata in C minor. The melody struck me with two opposing male and female voices struggling and arguing. I’m introducing a new direction in these drawings by focusing on the interaction between the protagonist and antagonist. The male and female roles are established by animate and inanimate imagery of Eastern and Western traditions. I decided to reinterpret Persian miniatures of male mullahs, clerics, poets that have also been visually described as sorrowful, bearded men, a signature style of great sophistication based on
familiarity with classical antiquity. The limited colors of black, white, and gold are to heighten the difference between the male and female roles in the exhibition.

The new work has been inspired by Iranian clerics suggesting a “cultural campaign” against Iranian women and their Westoxication. My new interest in sculpture and the piece “Mullahs Ghost” follows the words of Lynda Benglis, “What if I was my own subject and my own object, looking back at the men and the viewer in general?” A burka is intended to veil the female body from the male gaze. The market for body modification in Iran and the Middle East is rapidly increasing, thus the collaboration between the female sculptures and the male drawings collide, representing subversive tension between resistance and control, devotion and submission. Both clerics and sculptures are “Pathétique” by being vulnerable with the other, thus presenting the effect that desire can have on an object.

THE CORRUPT MINORITY
Apr
28
May 28

THE CORRUPT MINORITY

STEVEN ZEVITAS GALLERY BOSTON, MA

Boston – Steven Zevitas Gallery is pleased to present The Corrupt Minority, an exhibition of recent work by Iranian-American and San Francisco-based artist Taravat Talepasand. The exhibition will be on view from Thursday, April 28 through Saturday, May 28, 2011, with an opening reception on Friday, May 6.

The Corrupt Minority features a new body of work in which Talepasand continues to explore and reconcile her multi-cultural heritage. On view are egg tempera on panel paintings, graphite works on paper and sculpture. Drawing from a variety of visual sources that include old master paintings, personal photographs, and images appropriated from the internet, Talepasand’s work fuses imagery and themes from the East and West. By doing so, she simultaneously questions and embraces accepted hierarchies and traditions in both art and society.

Talepasand’s own image often appears in her work. In the painting “Self-Portrait: Sanctioned,” which is executed in the highly challenging and historically rich medium of egg tempera, she sets herself in a traditional three-quarter pose and intensely gazes out at the viewer. Yet the painting is anything but a traditional portrait. As in much of her work, Talepasand uses historical tropes to set expectations, and then goes about actively subverting them. In “Self-Portrait: Sanc- tioned,” she presents herself as both subject and object, and by extension suggests that nationality itself has become an object.

“I am very interested in giving expression to Iranian modernity and experiences –how we, as Iranians whether living abroad or under the flag of the Republic can claim our modern experiential existence while still owning our traditions,” Talepasand explains. “If the work is about anything, it’s about lived experience and how to claim that experience.”

Talepasand earned her MFA from the San Francisco Art Institute in 2006. Her work was included in the 2010 California Biennial at the Orange County Museum of Art. Recent solo exhibitions include shows at Marx & Zavattero and the Yerba Buena Center for the Arts, both in San Francisco. This is Talepasand’s first one- woman exhibition at Steven Zevitas Gallery.

The artist will be present for an opening reception Friday, May 6th from 5:30 – 8:00 PM. For additional information, please contact Steven Zevitas at 617.778.5265 (ext. 22). Gallery hours are Tuesday through Saturday, 11AM – 5 PM. 

2010 CALIFORNIA BIENNIAL
Oct
23
May 13

2010 CALIFORNIA BIENNIAL

ORANGE COUNTY MUSEUM OF ART

In fall of 2010, Orange County Museum of Art proudly presented the 2010 California Biennial. The Biennial exhibitions are highly anticipated by art enthusiasts and the art world. In addition to approximately 150 works of art and installations on display, the museum also served as the site for approximately 30 programs and performances that appealed to diverse interests and continued OCMA’s history of presenting new developments in contemporary art. 

The only exhibition of its kind in California, the California Biennial brings together a large cross-section of the State’s most innovative contemporary visual artists. The Biennial continues the Orange County Museum of Art’s four-decade long history of presenting new developments in California art. In 2008, the museum presented works by more than 50 artists and, for the first time, incorporated off-site projects with collaborating venues from Tijuana to Northern California. 

In early 2010, Biennial curator Sarah Bancroft invited 45 artists and collaborative groups to participate in this year’s exhibition. Bancroft visited more than 100 studios throughout the state and discovered an extremely diverse array of practices that include painting and drawing, film and video, installation, performance and dance, photography, sculpture, and sound and text-based work. The artworks engage through politics, representation and abstraction, identity and social practice, humor and play, and performance and audience participation; all hallmarks of art in the 21st century.

The 2010 California Biennial was similarly full of artists, energy, accomplishments, and surprises. A fully-illustrated catalogue published by the Orange County Museum of Art will accompanied this exhibition. 

2010 California Biennial Artists: 

David Adey, Agitprop, Gil Blank, Nate Boyce, Luke Butler, Juan Capistran, Zoe Crosher, Brian Dick, Dru Donovan, Mari Eastman, Electronic Disturbance Theater/b.a.n.g. lab, Carlee Fernandez, Finishing School, Eve Fowler, Rebecca Goldfarb, Katy Grannan, Alexandra Grant, Sherin Guirguis, Drew Heitzler, Violet Hopkins, Alex Israel, Glenna Jennings, Barry MacGregor Johnston, Vishal Jugdeo, Stanya Kahn, Andy Kolar, Jennifer Locke, Los Angeles Urban Rangers, Tom Mueske, Tucker Nichols, Camilo Ontiveros, Nikki Pressley, Andy Ralph, Will Rogan, Paul Schiek, Taravat Talepasand, Wu Tsang, Zlatan Vukosavljevic, Nina Waisman, Flora Wiegmann, Allison Wiese, Lisa Williamson, David Wilson, Patrick Wilson, John Zurier.

 

YERBA BUENA CENTER FOR THE ARTS
Feb
12
Aug 12

YERBA BUENA CENTER FOR THE ARTS

DRAWINGS BY TARAVAT TALEPASAND

Taravat Talepasand combines elements of traditional Eastern and Western art forms to explore conflicting Iranian and American mores. Using the stylistic language of Persian miniature painting and conventions associated with Early Renaissance painting, Talepasand takes these classical art practices, formerly used to illuminate historical or religious subject matter, and turns them to her own ends, injecting her personal history. While maintaining classical styles, she updates the imagery by depicting modern characters. Talepasand's narrative works, frequently featuring multiple self-portaits, come to terms with Iranian identity in an American context. Through a mixture of Islamic iconography and Western cultural references, Talepasand depicts the collision of tradition and modernity, of East and West.

HAMPAH
Mar
21
Apr 18

HAMPAH

ALA EBTEKAR  & TARAVAT TALEPASAND   

CHARLIE JAMES GALLERY LOS ANGELES, CA

Charlie James Gallery is pleased to announce LA’s first concentrated introduction to the work of Bay Area artists Ala Ebtekarand Taravat Talepasand.  Hampah, the show’s title, is taken from Farsi and means, loosely, ‘two walking a shared path.’ This is the first time that these two rising Iranian-American artists have shown together, and it is the occasion of the Persian New Year in Los Angeles that brings them together.

Hampah is structured as a dialogue between Ala Ebtekar and Taravat Talepasand on the subject of Iranian-American identity. These two artists, despite sharing similar backgrounds, have processed their experiences of growing up between two cultures quite differently. Ebtekar aims to re-imagine an epic Persian history with the breadth to extend from antiquity to the conflicted present. For the exhibition he contributes large-scale two-dimensional pieces and two sculptural pieces. A fifteen-foot mixed media triptych functions as a contemporary illuminated manuscript, with acrylic and ink images rendered over an ancient Farsi prayer book. This piece centers the show; it provides the historical continuum against which the dialogue between the two artists can take place. Ebtekar paints folkloric Persian birds over the prayer book text, but also includes more intrusive contemporary images such as planes and bombs to accent the recent history of conflict in Iran. The martial theme expands with a large, graphite on paper drawing of mounted soldiers moving over a ghostly procession of space and time. This piece is activated by two sculptural contributions, a Persian war helmet updated with contemporary cultural flourishes, and a pair of sneakers adorned with Persian and hip-hop accents. 

In answer to Ebtekar’s masculine meditations on time and war, Taravat Talepasand offers an arresting personal response. For Talepasand the wars, military and cultural, of Persian past and present exact their toll at the individual level. Her work is a channeling of the experience of growing up Iranian in America, rendered in largely autobiographical drawings, paintings, and sculpture. The graphite on paper works have a high-level of descriptive precision but achieve an imagined quality – they seem to float as if remembered from a dream or conjured from memory. In three distinct but connected drawings, Talepasand features a partially skeletal version of herself in the guise of a suicide bomber, then a fully skeletal version of herself again wrapped in the bomber’s headscarf, this time drained of color, and finally as a skeletal visage laid bare completely. To further the interchange, Talepasand also submits a pair of shoes, dramatic in their delicacy and handling of Persian and American influences. The contrast in interpretive positions is striking, as Ebtekar applies a wide-angle historical lens to reinterpret Persian history, Talepasand offers extreme close-ups of the casualties of conflict and of time-honored tradition. And perhaps appropriately, this charged inter-gender dialogue takes place in America on the occasion of the Persian New Year. 

 

 

TO THE MARTYRS!
Nov
20
Jan 1

TO THE MARTYRS!

PLANE SPACE GALLERY NEW YORK, NY

Plane Space is honored to present as its final exhibition new paintings and drawings by San Francisco-based artist Taravat Talepasand. Included in two group exhibitions at the gallery last year, this show will mark not only Talepasand's first solo show at Plane Space, but her New York solo debut as well. Additionally, in the gallery's office space, new paintings by Terry Powers will be on view.

These exhibitions will be on view from November 20th through December 21st with a reception for the artists on Thursday evening, November 20th, from 6 to 8 p.m. 

Born in America, Talepasand is of Persian decent. It is her deep connection to this lineage culturally and how that cultural heritage differs so strongly from the one she has known and experienced here in the States that informs her work. Paying close attention to the taboos identified by distinctly different social groups, particularly those of gender, race and socioeconomic position, Talepasand's work reflects the cross-pollination, or lack thereof, in our 'modern' society. Her work challenges plebeian notions of acceptable behavior. This is evidenced by the self-portraiture and  autobiographical echo in each of her pieces. Her most recent trip to Iran brought many of these issues into tighter focus for this latest body of work. Studied in Persian miniature painting, Talepasand draws on realism and renaissance painting to highlight what is considered acceptable beauty and its position within art history. 

 

SEEYA & SEFEED
May
3
Jun 7

SEEYA & SEFEED

MARX & ZAVATTERO GALLERY SAN FRANCISCO, CA

We are proud to present the solo gallery debut of recent San Francisco Art Institute MFA recipient Taravat Talepasand. "seeya and sefeed" will feature a new body of her exquisite and compelling egg tempera & gold leaf paintings and graphite drawings. 

Born in the United States, Talepasand retained close family and artistic ties to Iran where she was trained in the challenging discipline of Persian miniature painting. She has adapted this artistic tradition to question and explore her Eastern heritage, its boundaries, and its liberating possibilities within American culture. 

Talepasand’s influences embrace several sources, including arabesque patterns and architecture, Rumy’s tomb, her Darvish uncle, a wedding dress, the old Persian flag, Zorastrianism, Iranian Pop star Googoosh, drinking, sex, oil, and the luxuries of life. Her pieces are seductive and ripe with meaning. “The work is about the taboos I have learned about two cultures-and since then I have become the taboo."