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Tala Madani in "Los Angeles"
Tala Madani skewers stereotypes in her sharply satirical paintings that evoke clashes of culture: men and women, the rational and the absurd, Western and non-Western.
More information and creditsCredits
Executive Producer: Eve Moros Ortega. Host: Claire Danes: Director: Deborah Dickson. Producer & Structure Consultant: Véronique Bernard. Editor: Mary Ann Toman. Art21 Executive Director: Tina Kukielski. Curator: Wesley Miller. Director of Production: Nick Ravich. Associate Producer: Ian Forster. Director of Photography: Scott Anger. Additional Photography: Ulli Bonnekamp, Steve Delahoyde, Rob Humphreys, Tom Hurwitz, Robert Muratore, & Gordon Spooner. Assistant Camera: Seana Carroll, Chad Herschberger, Agnes Jeanneau, Sean Prange, & Nancy Serna. Sound: Chad Herschberger, Kathryn Korniloff, Peter Miller, & Theresa Radka. Denver Field Producer: Sarah Wambold. Aspen Production Assistant: Jessica Parsons.
Title/Motion Design: Afternoon Inc. Composer: Joel Pickard. Online Editor: Don Wyllie. Re-Recording Mix: Tony Pipitone. Sound Edit: Neil Cedar & Jay Fisher. Artwork Animation: Anita H.M. Yu. Assistant Editor: Maria Habib, Leana Siochi, Christina Stiles, & Bahron Thomas.
Host Introduction | Creative Consultant: Tucker Gates. Director of Photography: Pete Konczal. Second Camera: Jon Cooper. Key Grip: Chris Wiesehahn. Gaffer: Jesse Newton. First Assistant Camera: Sara Boardman & Shane Duckworth. Sound: James Tate. Set Dresser: Jess Coles. Hair: Peter Butler. Makeup: Matin. Production Assistant: Agatha Lewandowski & Melanie McLean. Editor: Ilya Chaiken.
Additional Music | “Animals Posing”: Performed by Los Tres Pericos; Written by Mason and Mackenzie; 2M Recordings 2015. “One Duppy Two Duppy Three Duppy” by Natural Numbers; Produced by Tom Chasteen; Courtesy of Stones Throw Records.
Artworks Courtesy of: Edgar Arceneaux; Liz Larner; Tala Madani; Diana Thater; Tanya Bonakdar Gallery; Pilar Corrias; General Services Administration; David Kordansky Gallery; Los Angeles County Museum of Art (LACMA); The Museum of Contemporary Art, Los Angeles; Performa; Regen Projects; University of California, San Francisco; Susanne Vielmetter Los Angeles Projects; David Zwirner.
Special Thanks: The Art21 Board of Trustees; 3LD Art and Technology Center; Ace Hotel Downtown Los Angeles; Michael Aglion; Angeles National Forest and San Gabriel National Monument; Zora Arceneaux; Art Center College of Design; The Art Institute of Chicago; Aspen Art Museum; CalArts Center for New Performance; Pat Casteel; Tom Chasteen; City of Los Angeles Recreation and Parks; Dub Club; Christina Faist; Film L.A.; Forest Service, U.S.D.A.; Griffith Observatory; The Hammer Museum at UCLA; Hollyhock House; Jenette Kahn; Christine Kim; Sheila Lynch; T. Kelly Mason; Mona Bismarck American Center; Mount Wilson Observatory; Mural Conservancy of Los Angeles; Sascha Robinett; Diana Salier; Keith Shapiro; The Theatre at Ace Hotel; Watts Towers of Simon Rodia State Historic Park; Erin Wright; & Steve Wylie.
Additional Art21 Staff: Maggie Albert; Lindsey Davis; Joe Fusaro; Jessica Hamlin; Jonathan Munar; Bruno Nouril; Pauline Noyes; Kerri Schlottman; & Diane Vivona.
Public Relations: Cultural Counsel. Station Relations: De Shields Associates, Inc. Legal Counsel: Albert Gottesman.
Dedicated To: Susan Sollins, Art21 Founder.
Major underwriting for Season 8 of Art in the Twenty-First Century is provided by National Endowment for the Arts, PBS, Lambent Foundation, Agnes Gund, The Andy Warhol Foundation for the Visual Arts, and The Anna-Maria and Stephen Kellen Foundation.
Closed captionsAvailable in English, German, Romanian, Italian, Japanese, Korean, Chinese, Italian
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Tala Madani skewers stereotypes in her sharply satirical paintings that evoke clashes of culture: men and women, the rational and the absurd, Western and non-Western. Madani’s figurative paintings often feature a riotous cast of middle-aged men, balding and stocky, whose libidinal mayhem wreaks havoc on any situation the artist thrusts them into. Acerbic caricatures of both machismo and a childlike desire for mischief, the physical comedy at work in Madani’s paintings is anchored by intense pleasures, pathos, and a pervasive sense of violence. Madani’s pictures are also transformed into stop-motion animations where the artist photographs a freshly created scene over time—wet paint still glistening—resulting in stories of small calamities that are once hilarious, tender, and ghoulish.
“I was really interested in…the adaptation of one culture by the other, whether violently…or through desire.”
Tala Madani
