YASAMAN ALIPOUR is an Iranian artist/writer based in New York. For further information visit yasamanalipour.com.
MAY 2017 | ArtSeen
Months of political unrest and now the question of art—its role, responsibilities, and possibilities—weighs on New York. Addressing both currents, the Met Breuer houses Lygia Pape: A Multitude of Forms, the first major retrospective of the artist in the United States.
APR 2016 | ArtSeen
Nicky Nodjoumi’s exhibition, You and Me, fills two floors of the Ta ymour Grah ne Gallery. The show is made up of his familiar large paintings and a group of sketches that, taken together, represent a new iteration of old thoughts.
JUL-AUG 2016 | ArtSeen
But a Storm Is Blowing from Paradise... fills the fourth and fifth tower levels of the Guggenheim with seductive works on paper, elaborate installations, large-scale sculptures, and magnifying videos.
MAR 2015 | Art Books
It was a simple formal email, received among hundreds more like it, sent to thousands like me: Paris Photo and Aperture Foundation are pleased to announce the winners of the 2014 edition of the Paris Photo-Aperture Foundation PhotoBook Awards. The right dose of curiosity and boredom made me continue reading. But only upon seeing the title of the award-winner, Hidden Islam, did I become fully alert.
MAY 2015 | ArtSeen
To reach Infinite Possibility, the viewer passes the Guggenheims permanent collection, and all of its iconic works that shape the common understanding of art history.
SEPT 2015 | ArtSeen
“Thus we begin to catch a glimpse of the paradox of freedom; there is freedom only in a situation and there is a situation only through freedom,” said Sartre, and such is the angst that informs the work of Iran’s most celebrated artist, Shirin Neshat.
NOV 2015 | ArtSeen
Fussthe spiritual symbolist among the non-conventional photographersreturns to New York with λόγος, an exhibition of new works exploring old thoughts. He continues to mine the space between the rational and the spiritual through the most unlikely medium: excluded, modern, mechanical, cynical, nihilist, self-negating photography.
MAR 2016 | ArtSeen
The familiar image of Diane Arbus’s iconic twins greet viewers by the entrance. Yet something is immediately amissit is not a photograph but a meticulously enlarged replica of the image drawn in pencil. Daniel Davidson’s Mirror (Diane Arbus) (2015) gives the first hint at the challenges of this exhibit. Three rooms of the gallery have been packed with a wide range of work, from text-based pieces to traditional oil paintings. Although not a single photograph is on display, each artwork addresses an old concern: “How has photography influenced our perception?”
JUNE 2016 | ArtSeen
After twenty years of meditating on social psyches, Shimon Attie has brought the Israel/Palestine conflict to Jack Shainman Gallery. Celebrated for his experimental approach, which blurs the line between installation and photography, Attie has spent his career moving from one city to the next to explore the trauma and history of the marginalized and to reflect on social memory and the construction of identity.
SEPT 2016 | ArtSeen
Deep within the labyrinthine halls of the Metropolitan Museum of Art, tucked within a makeshift darkroom, Phil Collins’s how to make a refugee (1990) asks hurried visitors to pause.
APR 2015 | Film
On yet another miserably freezing Monday evening, I searched between the identical buildings of New Yorks most iconic university, NYU, to find the department that was designated to observe, study, and understand my home regionthe unsolvable knot of the worldthe Middle East.
JUL-AUG 2015 | ArtSeen
The widely celebrated Egyptian artist Wael Shawky has finally received the attention he well deserves in America. The Cabaret Crusades, the artists most ambitious, layered, and successful work to date, is currently on view at MoMA PS1.
OCT 2015 | ArtSeen
Tehran is a paradox. The airplane begins its descent and the flight attendant announces, “Alcoholic beverages are strictly prohibited and Islamic attire is mandatory.” Somewhere in the sky of Tehran, the silent protest of normality ends; wearing jeans and t-shirts, women give in, get up, and put their hijab on. “Welcome to the Imam Khomeini Airport.” You are officially in Iran.
DEC 15-JAN 16 | ArtSeen
The Jewish Museum’s Power of Pictures: Early Soviet Photography, Early Soviet Film is a simple exhibition aiming to battle an enormous subject. The artists exhibited and the tale of their failed revolution may be well known, but through its telling and retelling its narrative has become part of a simplified history. This exhibition succeeds in representing this material in a way that allows for a reconsideration of these artists and their environment, and it provides a timely opportunity to meditate on the ever-pressing subject of art, war and politics.