Tala Madani's paintings, deadpan and brushy scenes of fictive ritual usually centred around groups of men, create a grotesquerie populated by dichotomies. Figures simultaneously innocent and nefarious, furtive and self-aware, or comical and violent float through a hazy pastel palette that seems to shine light through the vulgar comforts of bonding. Obliquely referencing Madani's Iranian-American nationality, her work skirts formal and political lines to expose the slithery nature of creating an image. Her work has been shown in exhibitions at the Whitney Museum of American Art, MAMCO Geneva, Musee d'art Contemporain de Lyon, The Hammer Museum, The New Museum, and PS1, and is held in numerous public and private collections. Born in Tehran in 1981, Madani lives and works in Los Angeles.
Text courtesy 303 Gallery.
For her solo exhibition at David Kordansky Gallery in Los Angeles ( Shit Moms, 7 September–19 October 2019), Tala Madani turns her attention to motherhood in new paintings and animations.
Inaugurated in 1932, the Whitney Biennial is the United States' longest running survey of contemporary American art. As with many of its predecessors, the 2017 Whitney Biennial (17 March–11 June 2017) was controversial. The textures of this particular furor are strikingly similar to those incurred in the last Whitney Biennial, held in 2014. In...
On November 1, 2017, The Museum of Contemporary Art held a luncheon honoring Lillian Lovelace and Tala Madani. Lovelace and Madani were celebrated for their extraordinary talents and contributions to the arts.
Recently, the Iranian-American artist Tala Madani was sitting in her studio in Los Angeles, tweaking a video in progress. It featured a young girl wearing a bow in her hair and a yellow-gold cardigan, her legs akimbo in a pose that conjured Courbet's "The Origin of the World."
CAMBRIDGE, Mass. — Men are dogs, but their shit grows into trees and their urine forms the sun as they defecate themselves in Tala Madani's oil paintings.
American-Iranian artist Tala Madani has gained attention for her highly personal paintings depicting Middle Eastern men performing bizarre narrative rituals. In her art Madani reverses the traditional female object in painting, using laughter as energy.
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