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View of large-scale, dark geometric sculptures and a wooden frame installation positioned on polished hardwood flooring. (Alt-text generated by AI)
Global/Local 1960–2015: Six Artists from Iran at Grey Art Gallery, NYU. Photo: Kevin Noble Global/Local 1960–2015: Six Artists from Iran at Grey Art Gallery, NYU. Photo: Kevin Noble
Centered view of a brightly colored, wide horizontal painting mounted on a white gallery wall alcove. (Alt-text generated by AI)
Global/Local 1960–2015: Six Artists from Iran at Grey Art Gallery, NYU. Photo: Kevin Noble Global/Local 1960–2015: Six Artists from Iran at Grey Art Gallery, NYU. Photo: Kevin Noble
Corner view of the exhibition displaying framed artworks on adjacent white walls, including a large framed drawing on the right. (Alt-text generated by AI)
Global/Local 1960–2015: Six Artists from Iran at Grey Art Gallery, NYU. Photo: Kevin Noble Global/Local 1960–2015: Six Artists from Iran at Grey Art Gallery, NYU. Photo: Kevin Noble
Perspective view along a long white partition wall lined with a series of small, evenly spaced framed artworks. (Alt-text generated by AI)
Global/Local 1960–2015: Six Artists from Iran at Grey Art Gallery, NYU. Photo: Kevin Noble Global/Local 1960–2015: Six Artists from Iran at Grey Art Gallery, NYU. Photo: Kevin Noble
Densely installed gallery area featuring stacked wooden beams, fabric bundles, and a large woven wall hanging. (Alt-text generated by AI)
Global/Local 1960–2015: Six Artists from Iran at Grey Art Gallery, NYU. Photo: Kevin Noble Global/Local 1960–2015: Six Artists from Iran at Grey Art Gallery, NYU. Photo: Kevin Noble
Exhibition view highlighting a central detailed painting flanked by free-standing sculptures on white pedestals. (Alt-text generated by AI)
Global/Local 1960–2015: Six Artists from Iran at Grey Art Gallery, NYU. Photo: Kevin Noble Global/Local 1960–2015: Six Artists from Iran at Grey Art Gallery, NYU. Photo: Kevin Noble
Gallery view featuring a vibrant turquoise accent wall with the title "Global/Local" on it, and an adjacent tall dark sculpture mounted on a plinth. (Alt-text generated by AI)
Global/Local 1960–2015: Six Artists from Iran at Grey Art Gallery, NYU. Photo: Kevin Noble Global/Local 1960–2015: Six Artists from Iran at Grey Art Gallery, NYU. Photo: Kevin Noble
Wide exhibition space showcasing pedestal-mounted sculptures in the center and framed artworks on the surrounding walls. (Alt-text generated by AI)
Global/Local 1960–2015: Six Artists from Iran at Grey Art Gallery, NYU. Photo: Kevin Noble Global/Local 1960–2015: Six Artists from Iran at Grey Art Gallery, NYU. Photo: Kevin Noble
Gallery room displaying photography grids on the wall and a rectangular, light-colored floor-based work on the wooden floor. (Alt-text generated by AI)
Global/Local 1960–2015: Six Artists from Iran at Grey Art Gallery, NYU. Photo: Kevin Noble Global/Local 1960–2015: Six Artists from Iran at Grey Art Gallery, NYU. Photo: Kevin Noble
January 12, 2016—April 2, 2016

Global/Local 1960–2015: Six Artists from Iran

Longform Content

Organized by the Grey Art Gallery, New York University


Global/Local highlights three generations of artists who look to their Persian heritage as a source of inspiration while making works that transcend national boundaries. Of the six artists—Faramarz Pilaram (1937–1983), Parviz Tanavoli (b. 1937), Chohreh Feyzdjou (1955–1996), Shiva Ahmadi (b. 1975), Shahpour Pouyan (b. 1980), and Barbad Golshiri (b. 1982)—some have lived primarily in Iran, others settled permanently in Europe or America, and still others alternate between living in their homeland and abroad. Drawing on the Grey Art Gallery’s unparalleled collection of modern Iranian art and supplemented with loans, the show sheds light on the delicate balancing act required by artists working outside the art world’s still-dominant North American–Western European axis.

The first generation of artists in Global/Local found inspiration in Iran’s extraordinarily rich heritage of architecture, poetry, calligraphy, and folk arts. Looking as well to Persian miniature painting, the two later generations extend these strategies, working in a wide range of media to articulate their social and political critiques. From the promotion of Iranian modernism in the Pahlavi era (1925–1979) to the questioning of government authority during the 1979 Revolution, the Iran-Iraq War (1980–88), and the current Islamic Republic, all the artists have reconceived local forms to speak to global audiences.

With rising attention to the Middle East in recent decades, along with the current burgeoning of its art worlds, it is becoming increasingly urgent to reflect on the region’s visual culture. Since its founding in 1975, the Grey Art Gallery has been committed to presenting modern art from the Middle East and Asia. Placing six Iranian artists in the international context where they belong, Global/Local furthers this ongoing project. Along the way, it explores what the terms “modern” and “contemporary” can mean—not only in the context of art from Iran, but also in today’s art discourse in general.

A grid of abstract, humanoid black shapes on a textured pale background, with one red shape.
Parviz Tanavoli, Last Poet of Iran, 1962. Oil on canvas, 46 5/8 x 45 in. Grey Art Gallery, New York University Art…
Mixed-media work depicting architectural fragments and body parts that merge, in shades of gold, silver, and emerald green. Domes and minarets appear as geometric forms alongside similarly abstracted representations of religious props, such as the hand of Hazrat Abbas.
Faramarz Pilaram, Mosques of Isfahan (B), c. 1962. Ink, watercolor, gold and silver paint, and printed seals on paper, 45…
Close-up detail of small canvas or fabric rolls tied tightly with string by Chohreh Feyzdjou. (Alt-text generated by AI)
Chohreh Feyzdjou, Série K, 1992. Paper, fabric, glue, pigments, walnut stain. National Foundation for Contemporary Art; CAPC…
Shot from a digital video inspired by Persian miniature painting, depicting figures and camels gathered in a landscape around a central lotus-throne structure, by Shiva Ahmadi. (Alt-text generated by AI)
Shiva Ahmadi, Lotus, 2014. Digital video, color, sound, 8:44 min. Edition 1 of 5. Asia Society, New York. Gift of Anne and…
Abstract color-block painting featuring a large black oval shape set against bright red, green, and gold sections by Shahpour Pouyan. (Alt-text generated by AI)
Shahpour Pouyan, After “Portrait of the Uzbek Emir Shaybani Khan,” 2008. Mixed media, 5 5/8 x 4 3/4 in. Courtesy the artist
Atmospheric landscape photograph showing standing megalithic stone monuments under a dramatic cloudy sky by Barbad Golshiri. (Alt-text generated by AI)
Barbad Golshiri, Cenotaph of Arin Mirkan, 2014–15. Black-and-white digital print, 11 3/4 x 17 3/4 in. Courtesy the artist…
Abstract bronze sculpture on a black cubic base with interlocking, curved forms and hollow circles.
Parviz Tanavoli, Heech, 1972. Bronze on wood base, 22 1/4 x 12 x 8 in. Grey Art Gallery, New York University Art Collection,…
Intricate illustration by Shiva Ahmadi depicting interconnected pipes, figures, and abstract symbols on a warm background. (Alt-text generated by AI)
Shiva Ahmadi, Pipes, 2013. Watercolor, ink, and acrylic on Aquabord, 40 3/4 x 60 7/8 x 2 1/2 in. The Metropolitan Museum of…
Circular composition filled with dense, colorful patterned dots on a textured beige backdrop by Shiva Ahmadi. (Alt-text generated by AI)
Shiva Ahmadi, Circles, 2013. Watercolor, ink, and acrylic on paper mounted on Aquabord, 40 x 60 in. Courtesy the artist and…
An illuminated, worn rectangular tombstone set within a niche by Barbad Golshiri. (Alt-text generated by AI)
Barbad Golshiri, The Untitled Tomb, 2012. Iron and soot, 53 1/8 x 23 7/8 x 2 1/2 in. Private collection
Wide, dark landscape photograph of an extensive historical cemetery filled with headstones under low lighting by Barbad Golshiri. (Alt-text generated by AI)
Barbad Golshiri, Sefid Châh Cemetery, Mâzandarân, Iran, 2014. Color digital print, 23 5/8 x 35 3/8 in. Private collection
Painting that largely appears abstract, formed by a variety of densely articulated script. The figure of a female bandit on horseback (holding a cocked Colt 45 pistol) is embedded within its web of black lines.
Faramarz Pilaram, Colt 45, 1968. Oil on canvas, 53 x 39 in. Grey Art Gallery, New York University Art Collection. Gift of…
Graphic calligraphic painting featuring overlapping, sweeping black calligraphic strokes across a patterned background by Faramarz Pilaram. (Alt-text generated by AI)
Faramarz Pilaram, Untitled, 1972. Oil on canvas, 47 x 47 in. Collection of Houman M. Sarshar, New York
Vertical sculpture depicting a multi-tiered, metallic projectile or architectural spire structure against a plain white background by Shahpour Pouyan. (Alt-text generated by AI)
Shahpour Pouyan, Projectile 9, 2013. Steel, iron, and ink, 78 3/4 x 72 x 7 7/8 in. Private collection, New York
Display of various ceramic dome and cone sculptures in muted earth tones resting on a flat surface by Shahpour Pouyan. (Alt-text generated by AI)
Shahpour Pouyan, Unthinkable Thoughts, 2014. Ceramic. Edition of three; artist’s proofs. Courtesy the artist and Lawrie…

Curators

The exhibition was curated by Lynn Gumpert, Director, Grey Art Gallery, NYU.

Tour

[If a touring exhibition]

Credits

Major support for Global/Local 1960–2015: Six Artists from Iran is provided by the National Endowment for the Arts; the Violet Jabara Charitable Trust; UAS Asset Management; the WLS Spencer Foundation; the E. Rhodes and Leona B. Carpenter Foundation; The William S. and Ellen N. Taubman Foundation; and the Soudavar Memorial Foundation. The Grey Art Gallery appreciates the generous support of the Global/Local Leadership Committee: Avid Modjtabai, Chair, and Committee members Linda Jacobs, Sully Bonnelly and Robert R. Littman, Edee Anesi, Dr. Layla S. Diba, Mana and Nader Mobargha, Vahid and Mahshid Noshirvani, Mamak Shahbazi and William LoPinto, Nazgol and Kambiz Shahbazi, Mahshid and Jamshid Ehsani, and Neda and Farzad Rastegar. Additional support for Global/Local is provided by the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature; the New York University Arts Council; IBEC Building Corporation; the Cultural Services of the French Embassy; Leila Heller Gallery, New York/Dubai; Meem Gallery, Dubai; Lawrie Shabibi Gallery, Dubai; the Abby Weed Grey Trust; and the Grey’s Director’s Circle, Inter/National Council, and Friends.

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