From 13 March to 3 June 2015, you will be able to visit Iranian artist Monir Shahroudy Farmanfarmaian exhibition at the New York Guggnheim Museum. It will be the first museums in the United States showing the impressive mirror work of this artist.
Considered in relation to the Guggenheim’s historical commitment to abstraction, this presentation examines the artist’s rich body of work in its own right and as part of a transnational perspective on artistic production and its reception.
She had spent some life time in New York before, but it was in Iran that she further developed her artistic sensibility through encounters with traditional craftsmanship, indigenous art forms such as Turkoman jewelry and clothing, coffee house paintings (a popular form of Iranian narrative paintings), and the technique of reverse-glass painting, resulting in a period of artistic discovery that culminated in commissions in Iran and exhibitions in Europe and the United States. During The Islamic Revolution in 1979 she focused on drawing, collage, commissions, and carpet and textile design.
In 2004, when she finally returned to Iran, she reestablished her studio there and resumed working with some of the same craftsmen she had collaborated with in the 1970s.
This presentation includes plaster and mirror reliefs, large-scale mirror sculptures the artist refers to as “geometric families,” and works on paper, revealing the central role drawing has played in Monir’s practice and focusing on a sculptural and graphic oeuvre developed over more than 40 years.
This exhibition is characterized by a merging of visual and spatial experience, coupled with the aesthetic traditions of Islamic architecture and decoration. Her use of geometry as form allows for, in the artist’s words, “infinite possibility.”