2/23/2007

Tala Madani

31 comments:

Painter said...

Tala Madani @
Lombard-Freid Project
531 West 26th Street, 2nd floor, New York NY

zipthwung said...

I guess someone did/didn't like going to Yale and/or trying to be topical in a marxist political sense in order to make the grade.

Good Job!!!!

Now forget you went to class and make something interesting in collaboration with Bjarne Melgaard.

Muppets in Iran?

Speaking of yale Kelli WIlliams at - Leo Koenig - Ill be drinking to get drunk. Thanks Leo! Arbeit Macht Frei!

Oneida and Trans am at the knitting factory saturday.


Why bother looking at expensive tchotchkys for 20 bucks admission when you can go "underground" and get your own fatted goose liver?

BRING ON THE HIPSTERS.

operation enduring artist said...

hey zip, here's to hipsters:

http://photos1.blogger.com/blogger/8158/2297/1600/weekly%20page1.jpg

zipthwung said...

I shoot knit arm warmers on sight. Knitters of arm warmers will be waterboarded.

Pat of the pedagogy.

poppy said...

something I like really like about this work, when I get past the dumb for dumb sake subject matter - this bothers me - Even if it might fuction as critique with her. I like the possibilities of the work I've seen on the flatter/ambiguous space.\(the matisseeeee stuff) Curious where this will go and if she just might ditch these smaller works.
Not being from in and around the abundance of the NY scene, I wonder if this reads as a gimmick trend to those farmiliar with that scene.

operation enduring artist said...

poppy, when you say dumb for dumb sake subject matter do you mean

dudes with cakes?

if so i agree and disagree (oo democracy)
she is passionate about the paintings (small ones) ability to raise more than an eyebrow in iran. the way we read them on this side of the sea and the way they would be read in madanis iran are completely different. what we potentialy pass off as hipster juxtapositions would be read as agressive stabs in other cultures. as for specificaly the use of cakes? icing-paint-color...its likeness to a childhood innocence...or its smearing similarity to poop...all of this withdrawing the power and strenght from the men.

poppy said...

oea,
dumb for dumb sake, yes,
for our culture which is what was meant, because i'm aware I cannot appreciate it the same way, I'm aware of how it would and does function as critique.
So it bothers me when I read it as dumb for dumb sake - which is to say I'm not a fan of this approach for this culture.
I still think the work is pretty strong with the stength for -this culture- being the flatter spaces.
What is funny about this for me is that I most often dislike paintings completed on flat backgrounds - and it seems just old enough to be good with her paintings.

what I'm really for - original images. So much has been done with paint that I'm happy enough to see images on canvas that are inventive. Look long enough at paintings and you become immediately aware of the motivations and intentions behind the images represented. I like to see a painting and respond like so-
where the hell did that come from?
This doesn't happen very often and it is nice to see. So for the cakes in the face? They are pretty nice to a point for me, but I don't appreciate them the way the might be intended but can appreciate the motivations behind them. Her flatter works come across as more original.

poppy said...

not cause I'm drunk,
but i'd like to add,
her couple of larger painitngs make everything else below this posting look like garbage to me..
Seriously,...take a look (the stuff not derived from completely from representation)and then look back at this stuff.. And I still think this stuff, if pursued, could be even better..
I'd like to see where this goes.
But really,... ditch the cake in the face stuff.

tumbleweed said...

I can not explain why I keep seeing her stuff around... why the hype? I think with her work I sadly come to the conclusion of, why bother.

My opinion is perhaps affected by listening to her lecture at school a few months ago. I didn't think she was much of a public speaker, and the way she explained her concept really bugged me. Way too simple.

Still. The way the paint is handled in some of these is still satisfying to look at. I still way, way prefer it over her large-scale "abstract" more monochromatic works, which I think are REALLY dumb. Unintentionally so.

zipthwung said...

if I see this stuff in Harpers I'm canceling my subscription.

hellhellhell said...

Let me illustrate it for you

zipthwung said...

im in love

zipthwung said...

choose me girl!

closeuup said...

i think the cake is america

Ursula's Dad said...

More a question than a comment...but since I became a painting professor- my tolerance for naive, silly and bad painting has increased...has anyone else had this similiar situation?

operation enduring artist said...

yes, i used to think matisse was naive silly and bad but now, the bees knees...

wrong.

its not naive silly or bad, its complex, considered and exicuted. whether or not the decisions were good is another question but 'bad' painting is no easier than 'good' painting. its making the decisions thats tough.

Ursula's Dad said...

good observations...my brain was hurting after seeing the LFL show recently...it was bad "bad" painting if that makes sense.

Matisse is the sheeiit. Richter has moved down the favorite painter on the art school list...

zipthwung said...

I expect art to be more than a punchline.
The more art I see the less tolerance I have for "the gesture" as "the product" and the more tolerance i have for "the work" as "the content".
You know, "chops".

On the other hand the more "polish" I see the more I want to split.

all frosting no meat makes jack beat.
Its a context thing.
Thats my manifesto anyways.

zipthwung said...

How long have you been in the matrix?

i think its a problem with the art audience vs the real world. This painting might be really daring or interesting someplace other than chelsea, but in New York its the equivalent of a sweet sixteen party for a vapid teenager.

sven said...

anybody see the last gavin brown show with ackerman and udomsak krisanamis? Looked cool but I missed it, wish somebody had mentioned it when it was up

poppy said...

trying to be bad or trying to be good, I still want to see a good painting. i kind of wish this person was looking at matisse more. It seems as if people decide on an approach to define themselves and feel they have nothing to explore and instead just do. Like what did this person go through to get to this point in her work. Nothing. Well maybe something. Matisse would paint the same thing dozens of times. I don't think this is necessary for everyone but I get the feeling schools are trying to turn out these various trendy styles. I wonder if this artist is satisfied with where her paintings are and what she would do to improve them if asked? Probably she would say - switch up the content. Muffins and toothpaste.

Concrete Phone said...

Ackerman is good U'sD is good no.20.
And Madani is good--very immediate. Probably I'd benefit from a bit of information about the image, but still have someone thinking about what is going on. Formalistically very good and doesn't make pictorial sense.

Painting has lots of contents. when they overlap it's very good. When they jam both jams are fine.
When there is really no content it's good and fine too!

Matisse was about odd relationships, how you could tinker the frame and planes and how to make paint and marks shift this. But in the end the cutouts were what Matisse was really all about, getting rid of the stuff deemed good, and rid of that which impeded the process, experience, and drove through all the silly little ideas we have about the grand scale of things.

operation enduring artist said...

im into self-smiting auto-geekism to the point where we cant even recognize out own ass. a constant consumption of the mind if you will.
push push push and never stop.
live or let live is what i say.
step aside.

no-where-man said...

deborah harry was at GBE last night & Gavin looks like teen wolf.

maccarone (630 Greenwich) is Huge! and the window space is insane.

Ursula's Dad said...

The black period of Matisse was unbelievable...those heavy corners did more for abstraction than any diddle doodle of Wassily.

Of course, the trajectory and legacy for this painting probably comes from James Ensor and Manet. When it comes down to the street talk- I'll the flush market and lazy dealers with their ten minute studio visits...will it sell...does it like enough like Dana S.

fordgrass said...

Gabbo's beard has a collection of its own, cardboard cutouts-jenga-style

Ursula's Dad said...

Hey Painter,

Did you see the Bill Jensen show at $Heim and Read?

Painter said...

Hi Ursula's Dad. Have not seen that show. Is it still up?

Ursula's Dad said...

I am in SF now...don't know. Sorry.

SOPHIE NORTON said...

painting

mehdib said...

karaton aliye man be shoma eftekhar mikonam va arezoye movaffaghiyate har che bichtar.