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For the first eight years of her life as an artist, Tala Madani, who was born in Tehran, painted only men, and not to their credit. Next came a series of small paintings of men with plants growing out of their crotch—one of them tends to his foliage with a watering can.
In , she painted several men whose testicles hung from their chin, and a man in spirited conversation with his vital organs, which have been removed and placed in a comfortable chair. A series of paintings present men whose colossal, fire-hose penises take on lives of their own. None of these images suggest animosity toward the male species. Madani is that rarity in art, a wildly imaginative innovator with a gift for caricature and visual satire, and her first great subject was the absurdity of machismo.
Madani, who turned forty-one in December, left Iran with her mother and moved to this country in , when she was twelve, and she now lives with her husband and their two children in Los Angeles, where her first major museum show in the United States is on view until February 19th , at the Museum of Contemporary Art. I went through the show with her in October, enjoying her candid, funny, and often self-deprecating comments on individual works and on the exhibition itself.
Looking is the thing, not showing. She radiated energy—talking rapidly, laughing often, and using both hands to rake back her abundant, shoulder-length dark hair. Madani is acutely aware that her exhibition coincides with the political crisis in Iran, which erupted in September when a twenty-two-year-old woman named Mahsa Amini died in police custody after being arrested for wearing her head scarf improperly.
