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Taravat Talepasand

 

Taravat Talepasand

Taravat Talepasand

Biography
Taravat Talepasand Art Review and Gallery - Neo Traditional Artistic Social Statement
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Biography
Taravat Talepasand
taravatt@gmail.com

After my most recent visit to Iran, I became more acutely aware of the cultural mores governing what would be deemed "inappropriate", an accessible state-of-being within any culture. Growing up an Iranian within America had been arduous and awkward compounded by being a female of Muslim background. As a whole, we, as Iranians, had little consciousness of assimilation because of a constant denial of our permanence in America. Being a young woman born into the new name of the Islamic Republic of Iran involves a certain degree of uncertainty over one's identity. In Iran I found myself to be transgressive, yet within American culture being Iranian is transgressive in that American individualism and Iranian deference to tradition were irreconcilable and traveling down one of those paths meant turning your back on the other even if the defiance was temporal; this was the hidden catch of the formation of my identity. The contradictions caused my head to constantly bounce around the questions of percentages; identity which is inherently exterior and self-defined versus inward and pre-determined. Was it like a game of backgammon – sixty percent luck, forty percent skill.


Taravat Talepasand and her Censored Garden, simply an artistic socio political statement

For example, I am from a Muslim background, but I have a fascination with popular culture and its accessibility to modern day Iran. Still, boundaries exist. Youth in the age of media and internet growing up within the confine of strict traditional society. The decision to engage with painting was dependent of the intent to blur boundaries between tradition and the avant-garde. 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. If the work is about anything, it's about lived experience and how to claim that experience.


Hafez
This is one of Taravat’s splendid works.
On September 9, 1978 in the midst of the revolution, Taravat’s mother has left Iran to protect her unborn child (Taravat) and secure her future. In a way Taravat’s mother was Taravat’s Hafez (protector).
Khayyam’s tomb is at the background.

Paying close attention to the cultural taboos identified by distinctly different social groups, particularly those of gender, race and socioeconomic position, my work reflects the cross-pollination, or lack thereof, in our “modern” society. Since I myself am considered a taboo in that I am a conglomerate of equal, yet irreconcilable cultural forces, my work challenges plebeian notions of acceptable behavior. This is evidenced by the self-portraiture and autobiographical echo in each of my pieces. I draw on realism and renaissance painting to bring a focus on an acceptable beauty and its relationship with art history under the guise of traditional Persian miniature painting. I am aware that I am indulging in an anachronistic practice which is labor intensive and, perhaps, limited in the scope of its impact. My interest, however, is in painting a present which is of and intrinsically linked to the past, making it easily understood by the Iranian and inductive of assumption for the western.


A Sanctioned Self Portrait by Taravat Talepasand

Information

I was born in 1979 in the United States of America to Iranian parents during the Iranian Revolution. I received my MFA from the San Francisco Art Institute in 2006 and my BFA from the Rhode Island School of Design in 2001. I live and works in San Francisco where I show with Marx & Zavattero Gallery. I was the 2010 recipient of the Richard C. Diebenkorn Fellowship and my work was recently featured at the Yerba Buena Contemporary Arts in San Francisco. My work was also featured in the 2010 California Biennial at the Orange County Museum of Art. In addition my work has been exhibited in solo and group shows around the country and Europe. I am a featured artist in Different Sames: New Perspectives in Contemporary Iranian Art, edited by Hossein Amirsadeghi.


The Order of Lion and Sun
This is most likely the most feminist version of the Lion and Sun (the Persian emblem). A woman as the lion and a woman as the sun, which are both indeed inspired from Taravat’s self portray. This painting is a solid women’s right expression.

I keep in contact with my family in Esfahan, Iran. My latest visit to Iran was in 2007.
I love Persian culture, art and food. My color of choice is green, chartreuse. My birth stone is Emerald (green) and of course it all started in Eugene, Emerald Valley.

Taravat Talepasand Website


Timeline

Born:

1979, Eugene, OR

Education:

2006

San Francisco Art Institute, San Francisco, CA
MFA, Painting

2001

Rhode Island School of Design, Providence, RI
BFA, Illustration

2000

Athens School of Fine Art, Athens, Greece

Selected Solo Exhibitions:

2011

"The Corrupt Minority," Steven Zevitas Gallery, Boston, MA

2010

“Taravat Talepasand: Drawings,” Yerba Buena Center for the Arts, San Francisco, CA

2009

"Situation Critical," Marx & Zavattero, San Francisco, CA
“Hampah: Ala Ebtekar & Taravat Talepasand,” Charlie James Gallery, Los Angeles, CA

2008

"For the Martyrs!," Plane Space, New York, NY

2007

"seeya and sefeed," Heather Marx Gallery, San Francisco, CA

2004

“New Works,” Blackfish Gallery, Portland, OR

Selected Group Exhibitions:

2011

“Fabrications,” Marx & Zavattero, San Francisco, CA
“I Am Who I Am: The Portrait Reconsidered,” Steven Zevitas Gallery, Boston, MA

2010

“2010 California Biennial,” Orange County Museum of Art, Newport Beach, CA
“I RAN Home (In America),” Center on Contemporary Art Ballard, Seattle, WA
“Tehran - New York,” Leila Taghinia-Milani Heller (LTMH) Gallery, New York, NY
“Chahar Ghesmat: Iranian Women Create,” Akus Gallery, Eastern Connecticut State University, Willimantic, CT (curated by Afarin Rahmanifar and Elizabeth Peterson)

2009

“I Want You To Want Me,” Marx & Zavattero, San Francisco, CA
“Bad Moon Rising 4,” galerie sans titre, Brussels, Belgium (curated by Jan Van Woensel)
“Femme on Femme,” Cypress College Art Gallery, Cypress, CA (curated by Cari Marshall)

2008

“Sexy Time: A Group Effort,” Morgan Lehman, New York, NY
“East of the West,” SomArts, San Francisco, CA (curated by Taraneh Hemami & Anuradha Vikram)

2007

“The Diane and Sandy Besser Collection,” de Young Museum, San Francisco, CA
“Three on the Tree,” Plane Space, New York, NY
“Selections from New American Paintings: The MFA Annual,” OSP Gallery, Boston, MA
“GRAPHIC: New Bay Area Drawing,” di Rosa Preserve, Napa, CA

2006

“Cream from the Top,” Arts Benicia, Benicia, CA

2005

Diego Rivera Gallery, San Francisco, CA
Murphy Cadogan Award, San Francisco Art Commission Gallery,
San Francisco, CA
“Obsessive Patterns,” Live Worms Gallery, San Francisco, CA
“Ephemeral,” Crucible Steel Gallery, San Francisco, CA

2003

“2003 Oregon Biennial,” Portland Art Museum, Portland, OR

Honors and Awards:

2010

Richard C. Diebenkorn Teaching Fellow, San Francisco, CA

2006

Irene Pijoan Memorial Painting Award

2005-06

New American Paintings: MFA Annual Competition

2005

Murphy Cadogan Scholarship

2004-05

San Francisco Art Institute, Merit Scholarship

2000

Rotary Ambassadorial Scholarship

1999-01

Rhode Island School of Design Merit Scholarship

1999

Guilford Handcraft

Selected Collections:

Fine Arts Museums of San Francisco, de Young Museum of Art, San Francisco, CA

Selected Bibliography:

2011

"Exhibition Spotlight: Fabrications at Marx & Zavattero," The Huffington Post, February 4
Wood, Sura, “Coming soon to an art gallery near you,” Bay Area Reporter, January 13, p. 23
Bowers, Keith, “The Horror, The Humor,” SF Weekly (Night & Day section), January 5, p. 18

2010

Chang, Richard, “Framed by accessibility: OCMA’s California Biennial aims for a friendlier vibe and keeps the exhibits in-house,” The Orange County Register, October 24, p. A&E 1, 4
Drucks, Achim, “Art as Lifesaver: 2010 California Biennial,” Deutsche Bank ArtMag, Issue 62, October
Kluth, Mary Anne, “Situation Critical,” Art Practical, Issue 8: The Painting Issue
Eisenhart, Mary, “Don’t Miss: Situation Critical,” San Francisco Chronicle (96 Hours section), January 7, p. 13

2009

Huston, Johnny Ray, “Weekly Picks,” San Francisco Bay Guardian, December 16, p. 16-17
Melendez, Franklin, “Behind the veil,” San Francisco Magazine, December, p. 37, 40
Harouni, Shadi, “Ala Ebtekar & Taravat Talepasand: Hampah,” The, June, p. 38
Selz, Gabrielle, “Taravat Talepasand: In Her Own Image,” Art Papers, March/April, p. 22-25
Amirsadeghi, Hossein (Editor), Different Sames: New Perspectives in Contemporary Iranian Art, TransGlobe Publishing Limited, London, U.K.

2008

Zevitas, Steven T. (Editor), New American Paintings, The Open Studios Press, Boston MA; Number 79, Dec. 2008/Jan. 2009, p. 152-155
Turner, Cherie Louise, “Young at Art: 15 Artists Under 35,” art ltd., May, p. 59
Junker, Howard (Editor), “That Fateful, Faithful Cup of Wine” (reproduction), ZYZZYVA, Spring, Vol. XXIV No. 1, p. 54
Goodin, Analisa, “Taravat Talepasand,” Alarm, Winter, p. 76-79

2007

Van Proyen, Mark, “Taravat Talepasand at Heather Marx,” Art in America, December, p. 169
Che, Julia, “Taravat Talepasand: You Liberal Iranian,” Metro.Pop, Issue 32, p. 57
Zevitas, Steven T. (Editor), New American Paintings: Special Edition, The Open Studios Press, Boston MA; Number 70, July, p. 188 & back cover
Weiss, Nina, “Golden Girl: Taravat Talepasand Shines on the Outside,” 7x7 Magazine, May, p. 71
Ross, Michael, “Taravat Talepasand @ Heather Marx Gallery,” whitehotmagazine.com, May, WM Issue # 3
Nataraj, Nirmala, “Iran So Far Away,” SF Weekly (Night & Day section), May 2, p. 23
Melendez, Franklin, “Taravat Talepasand: The Golden Road,” Planet, Spring Issue 15, p. 017

2006

Binshtock, Avital, “Art School Confidential,” Lifescapes, November, p. 64
Turner, Cherie Louise, “‘Cream’ at Arts Benicia,” Artweek, October, p. 25
Meeker, Cheryl, “SFAI MFA Graduation Exhibition,” stretcher.org, West Coast, May 27
Van Proyen, Mark, Catalogue Essay, MFA Graduate Exhibition, San Francisco Art Institute, San Francisco, CA

2005

New American Paintings, MFA Annual Catalogue

2003

2003 Oregon Biennial Catalogue, Portland Art Museum, Portland, OR
Speer, Richard, “Bi-Furious,” Willamette Week, July 2
“A Question of Commitment,” The Oregonian, June 29
“Oregon Biennial Sticks to Traditional Fields, Omits Web-based Work,”
The Oregonian, March 12
“2003 Oregon Biennial,” Portland Mercury

2002

New American Painters, Pacific Coast Edition No. 43

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