Manoucher Yektai

Manoucher Yektai, Untitled, 1960. Oil on canvas, 51 × 63½ in. (129.5 × 161.3 cm), 55 ⁵⁄₈ × 67 ¹⁄₂ in. (141.29 × 171.45 cm) framed

A Conversation: Manoucher Yektai
with Hadi Falapishi, Media Farzin, Paul Galvez, and Suzanne Hudson
at Karma New York
Saturday, October 5, 4–5 pm

Karma

549 West 26th Street
New York, New York

Karma presents a conversation with Hadi Falapishi, Media Farzin, Paul Galvez, and Suzanne Hudson, on the occasion of Manoucher Yektai’s exhibition Landscapes at 549 West 26th Street, New York, on view from September 12–November 9, 2024.

Hadi Falapishi was born in 1987 in Tehran, Iran and lives and works in New York. In 2023, the Whitney Museum of American Art presented a solo public art exhibition, Almost There. In 2022, CCA Goldsmith’s London presented the first institutional exhibition of Falapishi’s work in Europe, As Free As Birds. Additionally, In 2022, Power Station, Dallas presented the solo exhibition Young and Clueless. Falapishi’s work was recently included in the 2022 Invitational Exhibition of Visual Arts at the American Academy of Arts and Letters, New York, Greater New York 2021, MoMA PS1, New York, 100 Drawings from Now at The Drawing Center, New York, 2020, In Practice: Total Disbelief, SculptureCenter, Long Island City, 2020, and The Shed, New York, 2019. Falapishi received his MFA from Bard College, New York in 2016 and has taught at the visual art department of Harvard. His work is held in the permanent collections of the Whitney Museum of American Art, New York, and MoCA, Los Angeles.

Media Farzin is a writer, curator, and art historian living in New York. Her writing has appeared in Artforum, Bidoun, Brooklyn Rail, e-flux Criticism, Frieze, and TehranAvenue. She was recently curator of “Vibe Overgaard: Spindle City” at the International Studio & Curatorial Program in New York and editor of the online community cookbook, Oral Traditions. An award-winning collaborative art project with artist Alessandro Balteo-Yazbeck, on the legacy of the Cold War and its modernist artifacts, has been exhibited internationally, including the Metropolitan Museum of Art and the Tate Modern. She received her BFA in Painting from Tehran University and a PhD in art history from the CUNY Graduate Center. She teaches at the School of Visual Arts and NYU, and serves on the board of Apexart.

Paul Galvez is an art historian, critic, and curator, and was most recently a research associate at the Edith O’Donnell Institute of Art History at the University of Texas, Dallas, where he was also director of the Master of Arts Program in Art History. He is the author of Courbet’s Landscapes: The Origins of Modern Painting (2022), and his writings have appeared in Art Journal, October, Cahiers du Musée national de l’art moderne, Texte zur Kunst and Artforum.

Suzanne Hudson is professor of art history and fine arts at the University of Southern California in Los Angeles, where she was also recently named faculty fellow in the Society of Fellows. Hudson is an art historian and critic whose research spans the nineteenth through the twenty-first centuries with special emphasis on the history, theory, and conventions of painting within art schools and alternative pedagogical institutions. She is the author of books including Robert Ryman: Used Paint (MIT Press, 2009; 2011), Agnes Martin: Night Sea (Afterall/MIT Press, 2017), and Contemporary Painting (Thames & Hudson in the World of Art series, 2021), and is the co-editor of Contemporary Art: 1989–Present (Wiley-Blackwell, 2013) and Modernism, Art, Therapy (Yale University Press).