http://www.lalehmehran.com http://lalehmehran.com Sun, 08 Apr 2012 19:16:02 +0000 http://www.lalehmehran.com en http://lalehmehran.com/Men-of-God-Men-of-Nature http://lalehmehran.com/following/lalehmehran.com/Men-of-God-Men-of-Nature Sun, 08 Apr 2012 19:16:02 +0000 http://lalehmehran.com 3071809 <img src="http://payload38.cargocollective.com/1/4/128573/3071809/dam1_800.jpg" width="800" height="571" width_o="1000" height_o="714" src_o="http://payload38.cargocollective.com/1/4/128573/3071809/dam1_o.jpg" data-mid="15685234" border="0" align="left"/><img src="http://payload38.cargocollective.com/1/4/128573/3071809/dam2_800.jpg" width="800" height="533" width_o="1000" height_o="667" src_o="http://payload38.cargocollective.com/1/4/128573/3071809/dam2_o.jpg" data-mid="15685246" border="0" align="left"/><img src="http://payload38.cargocollective.com/1/4/128573/3071809/dam3_800.jpg" width="800" height="456" width_o="1000" height_o="571" src_o="http://payload38.cargocollective.com/1/4/128573/3071809/dam3_o.jpg" data-mid="15685250" border="0" align="left"/> Men of God, Men of Nature Site-Specific Installation & Performance, 2012 For over fifteen years Laleh Mehran has been constructing elaborate installations, often with a performative element. Focused on complex, often disavowed intersections between politics, religion, and science, Mehran calls attention to the tacit connections between them, while raising the question of the spectator’s relation to each of these essential frameworks. Meditative rather than didactic, Mehran’s installations are seductive, if occasionally unnerving invitations to think again about each these paradigms and the profound connections that bind them. Mehran’s most recent installation, a site-specific work designed with the unique architecture of Fuse Box gallery in mind, is likewise about science, politics, and religion. But Men of God, Men of Nature adds yet another element to this already complex nexus. Dominated by a large black square which recalls the religious and highly politicized Kaaba, the current installation is also attentive to the concept of art, which has for centuries relied on geometric forms and, crucially, the point-of-view or, indeed, perspective from which such objects are viewed. Throughout the exhibition, artist Laleh Mehran will engage in a series of performances during which she will build patterns similar to crystalline and beehive formations on the walls. While she performs she’ll ask museum visitors simple questions. Their answers will determine the next spot she will install the growing artwork. Performances times for June 2012: June 2 | 3pm June 12 | 3pm Gallery talk with the artist and Gwen Chanzit, Curator of Modern and Contemporary Art June 27 | 12:45pm June 29 | 6 & 8pm Untitled (Anonymity) http://lalehmehran.com/The-Geometric-Boundary-Structures http://lalehmehran.com/following/lalehmehran.com/The-Geometric-Boundary-Structures Mon, 20 Feb 2012 15:18:35 +0000 http://lalehmehran.com 2652494 The Geometric Boundary Structures Collaboration with Chris Coleman Single Channel HD Video, 2012 The act of invasion is called exploration when the more powerful entity recalls history. When entering new territory a great deal of caution is required as micro-particles can easily penetrate, changing the current biology permanently. Through modern technologies we can view from a safe distance to decipher, categorize, and influence without being affected. In this collaborative video Mehran and Coleman are attempting to decode the hyperfusion of our digital and corporeal landscapes.  The video depicts a sort of evolution or process over time, shifting into a new state of existence.  As we continue to dissect, divide, and digitize the spaces we live in, how will we shape the transition? Where does it end? http://lalehmehran.com/Entropic-Order http://lalehmehran.com/following/lalehmehran.com/Entropic-Order Wed, 19 Oct 2011 01:37:05 +0000 http://lalehmehran.com 2170708 <img src="http://payload.cargocollective.com/1/4/128573/2170708/entropicoder5_800.jpg" width="800" height="533" width_o="800" height_o="533" src_o="http://payload.cargocollective.com/1/4/128573/2170708/entropicoder5_o.jpg" data-mid="10840232" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/128573/2170708/entropicoder7_800.jpg" width="800" height="533" width_o="800" height_o="533" src_o="http://payload.cargocollective.com/1/4/128573/2170708/entropicoder7_o.jpg" data-mid="10840238" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/128573/2170708/entropicoder6_800.jpg" width="800" height="533" width_o="800" height_o="533" src_o="http://payload.cargocollective.com/1/4/128573/2170708/entropicoder6_o.jpg" data-mid="10840234" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/128573/2170708/entropicoder10_800.jpg" width="800" height="533" width_o="800" height_o="533" src_o="http://payload.cargocollective.com/1/4/128573/2170708/entropicoder10_o.jpg" data-mid="12358630" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/128573/2170708/entropicoder12_800.jpg" width="800" height="533" width_o="800" height_o="533" src_o="http://payload.cargocollective.com/1/4/128573/2170708/entropicoder12_o.jpg" data-mid="12358646" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/128573/2170708/entropicoder9_800.jpg" width="800" height="533" width_o="800" height_o="533" src_o="http://payload.cargocollective.com/1/4/128573/2170708/entropicoder9_o.jpg" data-mid="12358628" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/128573/2170708/entropicoder11_800.jpg" width="800" height="533" width_o="800" height_o="533" src_o="http://payload.cargocollective.com/1/4/128573/2170708/entropicoder11_o.jpg" data-mid="12358642" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/128573/2170708/entropicoder13_800.jpg" width="800" height="533" width_o="800" height_o="533" src_o="http://payload.cargocollective.com/1/4/128573/2170708/entropicoder13_o.jpg" data-mid="12358648" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/128573/2170708/entropicoder14_800.jpg" width="800" height="533" width_o="800" height_o="533" src_o="http://payload.cargocollective.com/1/4/128573/2170708/entropicoder14_o.jpg" data-mid="12358654" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/128573/2170708/entropicoder15_800.jpg" width="800" height="533" width_o="800" height_o="533" src_o="http://payload.cargocollective.com/1/4/128573/2170708/entropicoder15_o.jpg" data-mid="12360275" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/128573/2170708/entropicoder16_800.jpg" width="800" height="533" width_o="800" height_o="533" src_o="http://payload.cargocollective.com/1/4/128573/2170708/entropicoder16_o.jpg" data-mid="12360291" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/128573/2170708/entropicoder4_800.jpg" width="800" height="199" width_o="800" height_o="199" src_o="http://payload.cargocollective.com/1/4/128573/2170708/entropicoder4_o.jpg" data-mid="10840243" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/128573/2170708/entropicoder3_800.jpg" width="800" height="557" width_o="800" height_o="557" src_o="http://payload.cargocollective.com/1/4/128573/2170708/entropicoder3_o.jpg" data-mid="10840245" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/128573/2170708/entropicoder1_800.jpg" width="800" height="534" width_o="800" height_o="534" src_o="http://payload.cargocollective.com/1/4/128573/2170708/entropicoder1_o.jpg" data-mid="10840253" border="0" align="left"/>{<img src="http://payload.cargocollective.com/1/4/128573/2170708/entropicoder8_800.jpg" width="800" height="832" width_o="800" height_o="832" src_o="http://payload.cargocollective.com/1/4/128573/2170708/entropicoder8_o.jpg" data-mid="10840255" border="0" align="left"/> Entropic Order Interactive Installation, 2011 Ever-shifting structures in politics, religions and urban migrations create new socio-political landscapes, metaphorically represented in Entropic Order. The landscapes are symbolic of power structures continuously reshaped and in flux, in reference specifically to the current political climates in the Middle East. This interactive installation is comprised of a 2-axis machine and 3,000 pounds of Black Beauty sand. The sand while representing the terrain is in fact coal slag. The hovering machine is symbolic of the politicization of ideologies; it navigates and commands a suspended brass pendulum, responding to participant’s movements and presence around its borders. The pendulum receives commands, which it obeys and executes without hesitation. In its solitude, the pendulum’s piercing tip engraves precise geometric latticework; the presence of participants calls it to action, shifting its focus to frantic carvings of the landscape and causing the perfection of the patterns to fragment and collapse. The terrain holds the visible remains of impressions that endure even once the machine has moved on to other parts of the landscape - reflecting and preserving a real-time history. The continuously reconstructed landscapes will, over time, create numerous possibilities of terrain, simultaneously beautiful while reflecting the complex realities in our lives. CNC machine (12 ft x 16 ft) designed and fabricated by artist and educator, Chris Coleman. http://lalehmehran.com/Contact-Bio-CV http://lalehmehran.com/following/lalehmehran.com/Contact-Bio-CV Thu, 21 Jul 2011 16:59:08 +0000 http://lalehmehran.com 1760727 Contact Laleh Mehran "LFMehran(at)gmail(dot)com" Bio / Artist Statement Though many scientists and cultural theorists have come to critique the association of science with progress and depoliticized objectivity, scientific discourse and research nevertheless retain many of the privileges connected with these ideas. Mehran's research, often modeled on and about the very idea of scientific research, assumes this privilege precisely for the purpose of calling it into question, even as she uses it in order to articulate a set of ideas which require precisely this kind of protection from both political and religious intolerance. The progeny of Iranian scientists, Mehran's relationship to these issues is necessarily complex, and is still more so now given a political climate in which certain views are increasingly suspect. Indeed, we live in an era in which some speech is increasingly censored - often with the most extreme consequences for the speaker, and as such Mehran's work is of necessity as veiled as it is explicit, as personal as it is political and as critical as it is tolerant. In short, it has been the challenge of her work over time that it develop a language elaborate enough to accommodate her own highly complex relation to this contemporary tangle of science, politics and theology. Mehran received her MFA from Carnegie Mellon University in Electronic Time-Based Media. Her work has been shown individually and as part of art collectives at the Next 5 Minutes 4 Tactical Media Festival in Amsterdam, Holland; the European Media Arts Festival in Osnabruck, Germany; Ponte Futura in Cortona Italy; Massachusetts Museum of Contemporary Art in North Adams, MA; the Orlo Video Festival in Portland, Oregon; the Carnegie Museum of Art; The Georgia Museum of Art; The Andy Warhol Museum; and the Pittsburgh Biennial at the Pittsburgh Center for the Arts in Pittsburgh, PA. Currently, Mehran is an Associate Professor in Electronic Media Arts & Design in the School of Art and Art History at the University of Denver. Curriculum Vitae EDUCATION Master of Fine Arts, Carnegie Mellon University, Electronic Time-Based Media, Pittsburgh, PA. (1997) Bachelor of Fine Arts, University of Florida, Creative Photography, Gainesville, FL. (1991) APPOINTMENTS Associate Professor of Art, Time-Based Media, Installation, and Interdisciplinary Art, the University of Denver, Denver, CO. (Sept 2009-present) Assistant Professor of Art, Time-Based Media, Installation, and Interdisciplinary Art, the University of Denver, Denver, CO. (Aug 2007-June 2009) Associate Professor of Art, Video and Multi-media Production, Installation, Performance and Interdisciplinary Art, The University of Georgia at Athens, Athens, GA. (May 2007-June 2007) Assistant Professor of Art, Video and Multi-media Production, Installation, Performance and Interdisciplinary Art, The University of Georgia at Athens, Athens, GA. (Aug 2002-May 2007) Assistant Professor of Art and Coordinator of the Intermedia Program, Video and Net Production, West Virginia University, Morgantown, WV. (Jan 2000-May 2002) Research Associate, STUDIO For Creative Inquiry, Carnegie Mellon University, Pittsburgh, PA. (Aug 2001-Aug 2004) Faculty Associate, Virtual Environments Lab, West Virginia University, Morgantown, WV. (Aug 2001-May 2002) Artist / Educator, Project Director of Urban Interview’s print and on-line magazine, “Urban Youth Technology Program,” The Andy Warhol Museum, Pittsburgh, PA. (Aug 2001-May 2002) SELECTED EXHIBITIONS * DENOTES INVITATIONAL EXHIBITIONS ** DENOTES JURIED EXHIBITIONS SOLO Men of God, Men of Nature, Interactive Installation, Fuse Box Gallery at the Denver Art Museum, Denver, CO. (2012* upcoming) The Xerces Society, Installment VII: From London to Marrakech, Single Channel Video Installation, and The Catalysts, Hybrid Media, Menlo Gallery, Napa, CA. (2008*) The Xerces Society, Installment VII: From London to Marrakech, Single Channel Video Installation, Gallery 498, Cleveland, OH. (2007*) Lines Drawn in the Sand, Mixed-media Installation, Feldman Gallery, Pacific Northwest College of Art, Portland, OR. (2006*) Raheleh, Single Channel Video Installation, Project Space, Pacific Northwest College of Art, Portland, OR. (2006*) The Xerces Society, Installment VI: Sir Samuel Cropia’s Public Laboratory, Interactive Multimedia Installation and Performance, Georgia Museum of Art, The University of Georgia, Athens, GA. (2004*) Wild Horses, Single Channel Video Installation, Chatham Gallery, Chatham College, Pittsburgh, PA. (2004*) U-Gen-A-Chix, Performance, subRosa collective, Southwest Missouri State University, Springfield, MO. (2003*) The Xerces Society, Installment V: Sir Samuel Cropia’s Private Laboratory, Interactive Multimedia Installation, Chatham Gallery, Chatham College, Pittsburgh, PA. (2002*) The Xerces Society, Installment V: Sir Samuel Cropia’s Private Laboratory, Interactive Multimedia Installation, Mesaros Gallery, West Virginia University, Morgantown, WV. (2001*) TWO-PERSON | GROUP Entropic Order, Interactive Installation, Place, University of Colorado at Colorado Springs Gallery of Contemporary Art, Colorado Springs, Colorado. (2011*) W3FI, Interactive Installation, collaboration with Chris Coleman, BIODOME: an Experiment in Diversity, Boulder Museum of Contemporary Art, Boulder, Colorado. (2011*) In the Public Eye: a Mandatory Garment, Hybrid media, Do It!, Philip J. Steele Gallery, Rocky Mountain College of Art and Design, Colorado; (Dis)covering the Veil: Visible and Invisible Spaces, Cyrus Running Gallery, Concordia College, Moorhead, MN. (2011*) The Xerces Society, Installment VII: From London to Marrakech, Single Channel Video, Bring Your Own Beamer, RedLine, Denver, CO. (2011*) Raheleh, Single Channel Video, Close to My Heart, CologneOFF2011, Cologne, Germany; Arad Art Museum, Romania; Arteles & Galleria Rajatila, Tampere, Finland; Baltic Sea-Szczecin, Poland,IDE Szczecin. (2011*) Paralytic Conflux, 3-D Print, collaboration with Chris Coleman, International Digital Media and Arts Association, Emily Carr University, Vancouver, Canada. (2010**) The Xerces Society, Installment VII: From London to Marrakech, Single Channel Video, EdgeLogue, Alliance Fraincais New Delhi, New Delhi, India. (2010*) The Xerces Society, Installment VII: From London to Marrakech, Single Channel Video, Peak at the Arts: Global Artists Exchange Festival, Colorado Springs, Colorado. (2010*) The Xerces Society, Installment VII: From London to Marrakech, Single Channel Video, Cologne Online Film Festival, Cologne, Germany. (2010**) The Xerces Society, Installment VII: From London to Marrakech, Wild Horses, Lost in Translation II, Single Channel Videos, Manipulated Image, Santa Fe Complex, New Mexico. (2010**) The Xerces Society, Installment VII: From London to Marrakech, Single Channel Video Installation, Best of Show, Less is More: Simplicity leads to Sustainability, Connexion Gallery-Design Studio, Dunwoody, GA. (2009**) International Markets of Flesh (IMF), Mixed-media, subRosa collective, A Studio of Their Own: The Legacy of the Fresno Feminist Experiment, Phoebe Conley Art Gallery at California State University, Fresno, CA. (2009*) The Xerces Society, Installment VII: From London to Marrakech, Raheleh and Wild Horses, Single Channel Video Installation, 17 Days, Richmond Center for Visual Arts, Western Michigan University, Kalamazoo, MI; University of Buffalo, Buffalo, NY; CEPA Gallery, Buffalo, NY; Digital Media and Animation Gallery, Alfred State College, Alfred, NY; University of Virginia. (2008**) Wild Horses, Single Channel Video, Particulate, Vox Populi, Philadelphia, PA. (2007*) ExpoEmmagenics, Digital Prints and Single Channel Video, subRosa collective, Corporate Art Expo '07, The LAB, San Francisco, CA. (2007*) Wild Horses, Single Channel Video, Particulate, LumpWest Gallery, Eugene, OR. (2007*) Objects in Mirror are Closer Than They Appear, Mixed-media, Do Not Fold, Bend, Spindle or Mutilate: Computer Punch Card Art, Visual Arts Center, Washington Pavilion of Arts and Science, Sioux Falls, SD. (2006*) The Xerces Society, Installment VII: From London to Marrakech, Single Channel Video Installation, Myhren Gallery, University of Denver, Denver, CO. (2007*) Taking Sides, Multimedia Interactive Installation, collaboration with Chris Coleman, Gigantic, The Soap Factory, Minneapolis, MN. (2005*) Raheleh, Single Channel Video Installation, two-person exhibition, I Fly, You Fly, Broad Street Gallery, The University of Georgia, Athens, GA. (2005*) International Markets of Flesh (IMF), Performance, subRosa collective, Arte Nuevo InteracticA'05, Patio Central del Centro Cultural Olimpio, Merida, Yucatan. (2005*) Clothing Tag Map, Mixed Media, subRosa collective, Thought Crimes: The Art of Subversion, DiverseWorks, Houston, TX. (2005*) The Gift, Gelatin Silver Print, Center for Humanities and Arts Exhibition, The University of Georgia, Athens, GA. (2005*) Can You See Us Now?, Multimedia Installation, subRosa collective, The Interventionists: Art in the Social Sphere, Massachusetts Museum of Contemporary Arts, North Adams, MA. (2004*) Untitled, Mixed-media, What an Art Gallery Should Actually look Like (Large Glass), curated by Michele Thursz and Anne Ellegood for Public.exe: Public Execution, Exit Art, New York, NY. (2004**) Human Mobility Administration (HMA), Multimedia Performance, collaboration with Nathan Martin, Next 5 Minutes 4 Tactical Media Festival, Paradiso, Amsterdam, Holland. (2003*) ecard: for Everyone, Everything, Everywhere and Everyday, Multimedia Interactive Installation, Pittsburgh Biennial, Pittsburgh Center for the Arts, Vicky Clark and Robert Raczka Jurors, Pittsburgh, PA. (2003*) Wild Horses, Single Channel Video, Stumps, Orlo Video Slam, Portland, OR. (2003**) International Markets of Flesh (IMF), Multimedia Performance, subRosa collective, Ex Teresa Arte Actual, 11th International Performance Festival, Mexico City, Mexico. (2003*) YOUGenics, Print and Web work, subRosa collective, YOUgenics 2.0 Exhibition, Curator - Ryan Griffis, Art and Design Gallery, Springfield, MO. (2003*) Easy People and Easy Money, Digital Images, subRosa collective, "Spread the Word: Text and Art," Get-Carded.net. (2002*) 25th Anniversary, 25th Degeneration, Single Channel Video, collaboration with Shaila Christofferson, Doppelganger, Mesaros Gallery, West Virginia University, Morgantown, WV. (2002*) Biopower Unlimited, Multimedia Performance, subRosa collective, 23 Annual New Music and Art Festival, State University of Ohio at Bowling Green, Bowling Green, OH. (2002*) Sex and Gender in the Biotech Century, Performance, subRosa collective, Hardware, Software, Wetware, and Women, The Third Annual Women Studies Colloquium on Women and Technology, St. Mary’s College of Maryland, St. Mary's City, MD. (2002*) subRosa, Net-based Media, subRosa collective, Aller Anfang, Museum für Volkskunde, Vienna, Austria. (2002*) USA Grade AAA Premium Eggs, Performance, subRosa collective, State University of Ohio at Bowling Green, Bowling Green, OH. (2002*) subRosa, Net-based Media, subRosa collective, UnMediated Vision, Salina Art Center, Salina, KS. (2002*) Easy People and Easy Money, Digital Images, subRosa collective, "Spread the Word: Text and Art," Get-Carded.net. (2002*) B.A.Z. (Becoming Autonomous Zone), Performance, subRosa collective, Very Cyberfeminist Symposium, Hamburg, Germany. (2001*) The Extinction Store, Mixed-media Installation and Performance, collaboration with Shaila Christofferson, Unbound Ground at Brew House Space 101, You Are Here Exhibition held in conjunction with the international WASTE (Women Assessing the State of the Environment) conference, Pittsburgh, PA. (2001*) deNatured, Digital Video, and Lost in Translation II, 16mm Film and Video, Sutton Film Festival, Sutton, WV. (2001*) Parvaneh, Gelatin Silver Prints, Photographs by Artists, Made for a Variety of Purposes, Artists Image Resource at Foreland Street Studio, Pittsburgh, PA. (2001*) 35° 41' N 51° 25' E, Digital Image, Here and Now, Brooklyn, NY. (2001*) M•haüs, Multi-Media event and performance, collaboration with Mike Slaven, Chris Coleman and George Cicci, organized and directed crew of 15 people, Mesaros Gallery, Morgantown, WV. (2001*) Robo-Hydro-Repro, Multimedia Presentation, subRosa collective, Invitational, STUDIO for Creative Inquiry, Carnegie Mellon University, 19th International Sculpture Conference, Pittsburgh, PA. (2001*) Lost in Translation II, 16mm Film and Video, Ponte Futura, Cortona, Italy. (2001*) Expo EmmaGenics, Performance and Multi-media Trade Show Installation, subRosa collective, ART Happens! Intermediale Festival, Mainz, Germany. (2001*) deNatured, Digital Video, New Artists in the Mountain State, Museum in the Community, Hurricane, WV. (2001*) Sex and Gender in the Biotech Century, Performance and Think-tank participant, subRosa collective, Digital Secrets, Arizona State University, Tempe, AZ. (2000*) Lost in Translation II, 16mm Film and Video, Briefcase Exhibition, Institute for Studies in the Arts, Arizona State University, Tempe, AZ. (2000*) Knowing Bodies, Installation and Performance, subRosa collective, Studio for Creative Inquiry’s Artist in the Research Environment, Virginia Miller Gallery, Carnegie Mellon University, Pittsburgh, PA. (2000*) Moths and Soldier, Gelatin Silver prints, West Virginia University Exhibition, Federal Courthouse, Charleston, WV. (2000) Lost in Translation II, 16mm Film and Video, Experimental Video Festival, Carnegie Museum of Art, Pittsburgh, PA. (1999** ) Re-Designing the Golden Triangle: More Pittsburgh Than Pittsburgh, Mixed-media collaboration with members of the Pittsburgh community, The Architect of Reassurance: Designing the Disney Theme Parks, The Andy Warhol Museum, Pittsburgh, PA. (1999) SuZan, Performance and Sound Installation, collaboration with Sallyann Kluz, Watching From the Wings: Warhol and Dance, The Andy Warhol Museum, Pittsburgh, PA. (1999**) Passage, Multi-media Installation, collaboration with Sallyann Kluz, First Night Pittsburgh, Pittsburgh, PA. (1999**) Do-It, Performance, collaboration with Jon Dunn, Do It, Pittsburgh Center for the Arts, Pittsburgh, PA. (1998*) The Xerces Society, Installment IV: Manuel’s Disappearance, Multi-media Interactive Installation, Clarion University, Clarion, PA. (1998*) The Xerces Society, Installment IV: Manuel’s Disappearance, Multi-media Interactive Installation, Pittsburgh Biennial, Pittsburgh Center for the Arts, Larry Rinder Juror, Pittsburgh, PA. (1998**) Trans, Super-8 color sound film, The Andy Warhol Museum, Three Rivers Arts Festival, Pittsburgh, PA. (1997**) Small Red House, Super–8 color sound film, Wats:on? Festival, Pittsburgh, PA. (1997) The Xerces Society, Multi-media installation, 7 Artists, MFA Thesis Exhibition, Carnegie Mellon University, Associated Artists of Pittsburgh Gallery, Pittsburgh, PA. (1997) By the Hands of Women, Public Art Sculpture for Mellon Square Park, collaboration with Emily Walazek and forty homeless residents at the Bethlehem Haven Shelter for Women, Pittsburgh, PA. (1996-2001) Trans, Super-8 color sound film, European Media Art Festival, Osnabruck, Germany. (1996**) Lost in Translation, Video, Public Domain's Sixth Issue: "Terrorism, Demographics and Propaganda," Atlanta Arts Festival, Atlanta, GA. (1996*) Naturalized, World Wide Web electronic journal, Cultronix, Issue 2, http://english-server.hss.cmu.edu/Cultronix/mehran. (1995*) SELECTED PROFESSIONAL ACTIVITIES Founder | Director Artistic Director & Steering Committee, TEDxDU, University of Denver, Denver, CO. (2010) Project Co-Manager & Artistic Director of Experiential/Interactive Design, The Living City Block, Denver Biennial of the Americas, Denver, CO. (2010) Project Manager, The Green Constitutional Congress: a Symposium on the Future of Environmental Action, In collaboration with Bruce Mau Design and Dialog:City, and in conjunction with the Democratic National Convention, Denver, CO. (2008) Visual Media Producer, for Krzysztof Wodiczko, The Veteran Vehicle Project, Denver, CO. (2008) Co-Founder, with Christopher Coleman, "CO-LAB," forums and symposia on transdisciplinary and collaborative approaches to creative work, www.co-lab.info. (2007-present) Co-Founder, with Isabelle Wallace, "art talk," forums on contemporary art and culture, www.art.uga.edu/arttalk. (2006-2008) Primary Investigator, Personal Property, Interactive Multi-User Virtual Environment, supported in part by the Virtual Environments Lab, National Science Foundation’s EPSoR (Experimental Program to Stimulate Competitive Research), West Virginia University, Morgantown, WV. (2001-2002) Co-organizer, Unveiling Iranian Cinema, CMA Cinema Series, Carnegie Museum of Art, Pittsburgh, PA. (2000) Visiting Artist Lectures Artist Lecture, "The Xerces Society," University of Giessen Friedberg, Giessen, Germany. (2012 upcoming) Artist Lecture, "Entropic Order," University of Colorado at Colorado Springs, Colorado Springs, CO. (2012 upcoming) Artist Lecture, "Time-Based Culture," University of Colorado at Colorado Springs, Colorado Springs, CO. (2011 upcoming) Artist Lecture, "W3FI," Boulder Museum of Contemporary Art, Boulder, CO. (2011) Artist Lecture, "Exploring Diversity in Boulder," Chautauqua Community House, Boulder, CO. (2011) Artist Lecture, "Strange Place," Peculiar Denver, Museo De Los Americas, Denver, CO. (2010) Artist Lecture, "Unveiling Ideology," Santa Fe Complex, Santa Fe, New Mexico. (2010) Artist Lecture, "Icons & Myths," Sonoma State University Valley, Rohnert Park, CA. (2008) Artist Lecture, "The Process," Napa Valley College, Napa, CA. (2008) Artist Lecture, "Notions of Time," Massachusetts College of Art, Boston, MA. (2007) Artist Lecture, "Considering History," University of Denver, Denver, CO. (2007) Artist Lecture, "The Future of Art and Arts Administration," University of Oregon, Eugene, OR. (2007) Artist Lecture and Workshop, "Notions of Time" and "Techniques in Time-Based Media," Willamette University, Salem, OR. (2007) Artist Lecture, "Past Imperfect," Pacific Northwest College of Art, Portland, OR. (2006) Artist Lecture, Artist Lecture, New York State Summer School for the Arts, Ithaca, NY. (2005) Speaker, Methodologies in Making Art, University Woman's Club, the Georgia Museum of Art, Athens, GA. (2004) Lecturer, Matrixial Technologies: Art and Science, Rensselaer Polytechnic Institute, Troy, NY. (2003) Speaker, Location, Location, Location: Cyberfeminism, “Women of Vision and Courage,” Women’s Studies Program, The University of Georgia, Athens, GA. (2003) Artist Lecture/Performance, “Tion” vs. “Ness,” concepts and methods in my work, organized and directed 30 Division of Art and Theatre students for the performance aspect of the lecture, West Virginia University, Morgantown, WV. (2001) Artist Lecture, Artist Lecture Series, Associated Artists of Pittsburgh Gallery, Pittsburgh, PA. (1997) Artist Lecture, Unveiled: Cultural Identity, “International Week,” Carnegie Mellon University, Pittsburgh, PA. (1995) Conferences | Symposia Collaborator, Interdisciplinary round-table discussions determining the epic challenges of our time, IDEAS Salon, Westerly, RI. (2011) Panelist, "Going Public: Speaking to Broad Audiences about Feminist Cultural Radicalism," National Women's Studies Association, Denver, CO. (2010) Panelist, "Wireside Chat with Lawrence Lessig: Fair Use, Politics and online Video," live television panel discussing Fair Use issues following Lawrence Lessig presentation, Denver Open Media, Denver CO. (2010) Artist Lecture, "The Xerces Society," Vail Symposium: Rethinking Iran, Vail, CO. (2010) Panelist, Penrose Library Liaison Advisory Group, Penrose Instruction Program, Workshops, and the Research Center, University of Denver, Denver, CO. (2010) Panelist, "Interactive Narratives & Slicing Time,” DU’s Writing Center Mini-Symposium, MULTILITERACIES: Modes, Media, Cultures, University of Denver, Denver, CO. (2010) Exhibitor, "Making Art with Meaning,” Colorado Art Education Association Conference, Breckenridge, CO. (2008) Panelist, "Agents of Change: Alternative Networks and New Visions for Research in the Arts," ARTspace, College Art Association, Atlanta, GA. (2005) Workshop Leader, Cloning Cultures, subRosa collective, “Art + Biology Talks,” La Salle-SIA College of Arts, Singapore. (2003) Workshop Leader, The Integrated Circuit? Embodiment, Difference, Resistance, subRosa collective, Version>03 Digital Arts Convergence: Technotopia vs. Technopocalypse, Museum of Contemporary Art, Chicago, IL. (2003) Panelist, Biotech, “Digital/Media/Poetics,” Humanities Computing and Virtual Reality Symposium, SUNY at Buffalo, Buffalo, NY. (2002) Panelist, The Digital Commons, subRosa collective, “Developing a Tactical Language: Relevant approaches to Aesthetics and Everyday Life,” Version>02 Digital Arts Convergence, The Museum of Contemporary Art Chicago, Chicago, IL. (2002) Presenter, Personal Property, “Expanding Horizons,” Eighth Annual West Virginia National Science Foundation’s EPSoR (Experimental Program to Stimulate Competitive Research) State Conference, Charleston, WV. (2001) Panelist, Image, Text and the Built Environment: Gendered Space, “The Female Gaze in Literature and Film,” Twenty-fifth Annual Colloquium on Literature and Film, Morgantown, WV. (2000) Panelist, Artist as Interpreter: Interpretation as Art, 95th American Association of Museums Conference, Baltimore, MD. (2000) Reviewer | Juror Grant Reviewer, Creative Capital Foundation, New York, NY. (2008) Juror, "Sprockets Film Festival," Athens, GA. (2006) Outside Professional MFA Critic, Rensselaer Polytechnic Institute, Troy, NY. (2004) Artist-in-Residence Artist-in-Residence, The University of Georgia Cuba Program, Cuba. (2005) Artist-in-Residence, Matrixial Technologies, subRosa collective, La Salle-SIA College of Arts and National University of Singapore, Singapore. (2003) Artist Assistant Artist Assistant to Fred Wilson for From Sight to Site–A Peculiar Tour of the College of Fine Arts Building, Wats:on? Festival, Pittsburgh, PA. (1997) Artist Assistant to Fred Wilson for An Invisible Life, duties included: Prop scout, installation, docent and art packer, Three Rivers Arts Festival, Pittsburgh, PA. (1996) Artist Assistant to Alan Kaprow for Happening, Pittsburgh, PA. (1996) SELECTED ARTICLES & PUBLICATIONS Books edited “Domain Errors: Cyberfeminist Practices!,” book, Maria Fernandez, Faith Wilding, Michelle M. Wright, eds., (New York: Autonomedia, 2003). A subRosa anthology of essays and artist’s pages on cyberfeminism, difference, and digital technologies. 288 p. paperback with illustrations. (2003) Chapters in Books “The Object of Labor: Art, Cloth, and Cultural Production,” book, edited by Joan Livingstone and John Ploof, The MIT Press and School of the Art Institute of Chicago Press, 2007, 446 p. hardback with illustrations. (2007) “The Interventionists: Users’ Manual for the Creative Disruption of Everyday Life,” book, edited by Joseph Thompson, Nato Thompson, and Gregory Sholette, Massachusetts: MIT Press, 2004, 154 p. hardback with illustrations. (2004) Articles in Journals & Edited Volumes “In Their Own Words,” article on subrosa, by Maria Fernandez and subRosa collective, online journal NYFA Interactive, v. 13, no. 21, (November 11, 2004), New York Foundation for the Arts. (2004) “Tactical Performance and The Interventionists,” subRosa collective, The Creative Capital Channel, http://channel.creative-capital.org/medium_article_4.html. (2004) "Stolen Rhetoric," article by subRosa collective, Sarai Reader 03: Shaping Technologies, (New York: Autonomedia and Delhi: sarai.net, 2003), Article reprint in English, 110-119. (2003) “Collaborations,” subRosa collective, M/E/A/N/I/N/G/S 02, (winter), artkrush.com. (2002) “Gestohlene Rhetorik: Die Aneignung der Wahl durch die ART Industrien” (Stolen Rhetoric: The Appropriation of Choice by ART Industries), subRosa collective, Kunstforum International, January-March 2002, v. 158, 26-33. (2002) “Tactical Cyberfeminism: An Art and Technology of Social Relations,” subRosa collective, http://www.artwomen.org/cyberfems/subrosa/index.htm. (2002) "Economies of ART," article by subRosa collective, n.paradoxa, Vol.8, July, 2001 (London: KT Press, 4 pgs, with illustrations), 59-64. (2001) Articles & Anthologies About Creative Research “Fresno State Helped Birth Feminist Art,” article on A Studio of Their Own: The Legacy of the Fresno Feminist Experiment exhibit in which subRosa is given complimentary reference, by Donald Munro, http://www.fresnobee.com, August 30, 2009. (2009) “Under Xerces Wings: Laleh Mehran’s Laboratory Politics,” special feature article on The Xerces Society, Installment VI: Sir Samuel Cropia’s Public Laboratory, by Lizzie Zucker Saltz, pp 17-19, Art Papers, v. 29, no 2, March/April 2005. (2005) “The Interventionists: Art in the Social Sphere,” article on Interventionists exhibit in which subRosa is given complimentary reference, by T.J. Demos, pp 228, ArtForum International. (2004) “Reining in Our Freedoms: Two Artists Explore Mechanisms of Control,” article on Wild Horses, by Sharmila Venkatasubban, pp 33-34, Pittsburgh City Paper. (2004) “Tandem Surfing Part 3: SubRosa,” article on subRosa, by Ryan Griffis, Amsterdam: Next Five Minutes Organization, pp. 100-110. Next 5 Minutes 4 Reader. (2003) “Kontrolle, Spass und Befruchtung,” (Control, Fun and Yielding Results), article on subRosa at the Intermediale Festival, by Gisela Kirschstein, Allgemeine Zeitung Mainz. (2001) “Zebrastreifen Gegen Identitatsverlust,” (Loss of Identity), article on subRosa at the Intermediale Festival, by Anne Moschinski, Mainz Rheinzeitung. (2001) “A Banner Biennial,” article on the Pittsburgh Biennial, by Graham Shearing, Pittsburgh Tribune Review. (1998) “Searching for the Edge in Art Show,” article on the Pittsburgh Biennial, by Donald Miller, Pittsburgh Post-Gazette. (1998) “Biennial Buzz,” article on the Pittsburgh Biennial, by Mary Thomas, Pittsburgh Post-Gazette. (1998) “Downtown Sculpture Gives a Hand to Battered Women,” article on By the Hands of Women, by Patricia Lowry, Pittsburgh Post-Gazette. (1996) “Artists, Homeless Join Hands to Shape Sculpture,” special feature on By the Hands of Women, by Heather Hannan, Pittsburgh Tribune Review. (1995) SELECTED AWARDS / GRANTS & COLLECTIONS Faculty Research Fund, Arts, Humanities, and Social Sciences Divisions of the University of Denver and the Office of Graduate Studies and Research, University of Denver. (2011) Professional Research Opportunities for Faculty Grant, University of Denver. (2010) National Endowment for the Humanities, Institute for the Digital Humanities, Creator and Leader for Digital Video workshops, University of Denver. (2010) Creative Arts Materials Fund, Arts, Humanities, and Social Sciences Divisions of the University of Denver and the Office of Graduate Studies and Research, University of Denver. (2010) Center for Teaching and Learning Travel Grant, University of Denver. (2010) Community-Based Learning Mini-Grant, Center for Community Engagement & Service Learning, University of Denver. (2010) Service Learning Associate Grant, Center for Community Engagement & Service Learning, University of Denver. (2010) Creative Arts Materials Fund , Arts, Humanities, and Social Sciences Divisions of the University of Denver and the Office of Graduate Studies and Research, University of Denver. (2009) Service Learning Scholar Grant, Center for Community Engagement & Service Learning, University of Denver. (2009) Public Good Grant, Co-grantee with Christopher Coleman, Center for Community Engagement & Service Learning, University of Denver. (2008) Faculty Research Fund, Arts, Humanities, and Social Sciences Divisions of the University of Denver and the Office of Graduate Studies and Research, University of Denver. (2008) Creative Arts Materials Fund, Arts, Humanities, and Social Sciences Divisions of the University of Denver and the Office of Graduate Studies and Research, University of Denver. (2007) Internationalization Grant, Interdisciplinary Faculty Development, University of Denver. (2007) University Faculty Travel Grant, University of Georgia, Athens, GA. (2006) University Faculty Travel Grant, University of Georgia, Athens, GA. (2006) University Faculty Travel Grant, University of Georgia, Athens, GA. (2005) Junior Faculty Research Grant in the Humanities and Arts, The University of Georgia Research Foundation, Inc., The University of Georgia Research Foundation, Athens, GA. (2005) Applied Instructional Technologies Grants, Office of Instructional Support and Development, University of Georgia, Athens, GA. (2004) University Faculty Travel Grant, University of Georgia, Athens, GA. (2004) Foreign Travel Grant, University of Georgia Research Foundation, Inc., Athens, GA. (2003) Creative Capital Foundation Grant, awarded to subRosa collective, New York, NY. (2002) Grant for Individual Artist, West Virginia Commission on the Arts, West Virginia. (2002) Pennsylvania Council on the Arts, awarded to subRosa collective, Pittsburgh Filmmakers. (2002) Pennsylvania Council on the Arts, Individual Artist Grant, Pittsburgh Filmmakers. (2001) Experimental Program to Stimulate Competitive Research, National Science Foundation, Virtual Environments Lab, West Virginia University. (2001) College of Creative Arts Professional Activities Grant, West Virginia University. (2001) University Faculty Development Grant, West Virginia University. (2001) University Faculty Travel Grant, West Virginia University. (2000) Academic Scholarship, Carnegie Mellon University. (1994-97) Pittsburgh Filmmakers’ First Film Grant, Pittsburgh Filmmakers. (1996) Kodak Grant, Pittsburgh Filmmakers. (1996) PROFESSIONAL ASSOCIATION MEMBERSHIPS College Art Association, Art and Science Collaborations Inc., University Film and Video Association, National Women's Studies Association, Rhizome, New Media Caucus and Undercurrents. http://lalehmehran.com/Taking-Sides http://lalehmehran.com/following/lalehmehran.com/Taking-Sides Mon, 18 Jul 2011 04:10:01 +0000 http://lalehmehran.com 1742061 Taking Sides Collaboration with Christopher Coleman Interactive installation, 2005 Taking Sides is an interactive installation. Entering the installation, the viewer becomes an instant participant rather than a passive viewer. They are directly implicated in a debate, siding with one view or the other. The viewer's location in the installation space is sensed and interpreted as reinforcement for that viewpoint which triggers randomly generated sound from a pool of clips whose intensity is translated into physical motion via several fans on each side. The viewer can choose to position themselves with other participants thus increasing the dominance of that position, expressed as growing intensity in physical and sonic exchange; or take the minority position on the other side to attempt to change the balance of power. http://lalehmehran.com/Paralytic-Conflux http://lalehmehran.com/following/lalehmehran.com/Paralytic-Conflux Mon, 18 Jul 2011 04:10:00 +0000 http://lalehmehran.com 1742063 <img src="http://payload.cargocollective.com/1/4/128573/1742063/paralytic3_800.jpg" width="800" height="845" width_o="800" height_o="845" src_o="http://payload.cargocollective.com/1/4/128573/1742063/paralytic3_o.jpg" data-mid="8620959" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/128573/1742063/paralytic4_800.jpg" width="800" height="654" width_o="800" height_o="654" src_o="http://payload.cargocollective.com/1/4/128573/1742063/paralytic4_o.jpg" data-mid="8620961" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/128573/1742063/paralytic5_800.jpg" width="800" height="517" width_o="800" height_o="517" src_o="http://payload.cargocollective.com/1/4/128573/1742063/paralytic5_o.jpg" data-mid="8620962" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/128573/1742063/paralytic6_800.jpg" width="800" height="567" width_o="800" height_o="567" src_o="http://payload.cargocollective.com/1/4/128573/1742063/paralytic6_o.jpg" data-mid="8620963" border="0" align="left"/> Paralytic Conflux Collaboration with Christopher Coleman 3-D Print, 2010 Paralytic Conflux is a nexus of energy and potential, simultaneously frozen and waiting. The forms make reference to parasites and their often symbiotic relationships where each partner relies on the other for balance. The sculpture was created and printed using open-source software and hardware. A kit was used to build a 3D printer to digitally create and then realize the concept in physical form. For this sculpture the capabilities of the printer were pushed to produce a feeling of entanglement. http://lalehmehran.com/Human-Mobility-Administration http://lalehmehran.com/following/lalehmehran.com/Human-Mobility-Administration Mon, 18 Jul 2011 04:09:59 +0000 http://lalehmehran.com 1742065 Human Mobility Administration (HMA) Collaboration with Nathan Martin Multi-media performance, 2003 In current "safety and security" practices of governments, corporations, and communities, many restrictions are being placed on individual and group behavior including thought and movement. These restrictions are at times done through arguably discriminatory profiling procedures. In situations where individuals are not willing to self-police, organizations have been created to aid in the management of mobility. The Human Mobility Administration (HMA) presents itself as one such organization. The control of space and movement at the Paradiso during part of the Next 5 Minutes event makes highly visible some of the more restrictive and discriminatory practices of its' legitimate brethren. http://lalehmehran.com/SuZan http://lalehmehran.com/following/lalehmehran.com/SuZan Mon, 18 Jul 2011 04:09:59 +0000 http://lalehmehran.com 1742068 SuZan Collaboration with Sallyann Kluz Performance and installation, 1999 SuZan ("needle" in Farsi) is a reflection on the private movements of the workers hidden behind the scenes who support our daily activities and our public lives. The performances expanded over one month during which the performers would continuously, without any breaks, work for hours sewing 180 yards of red cloth. Each sewing machine was equipped with a contact microphone connected to speakers that resonated throughout The Andy Warhol Museum. http://lalehmehran.com/ecard-for-Everyone-Everything http://lalehmehran.com/following/lalehmehran.com/ecard-for-Everyone-Everything Mon, 18 Jul 2011 04:09:57 +0000 http://lalehmehran.com 1742070 <img src="http://payload.cargocollective.com/1/4/128573/1742070/ecard1_800.jpg" width="800" height="600" width_o="800" height_o="600" src_o="http://payload.cargocollective.com/1/4/128573/1742070/ecard1_o.jpg" data-mid="8596910" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/128573/1742070/ecard2_800.jpg" width="800" height="600" width_o="800" height_o="600" src_o="http://payload.cargocollective.com/1/4/128573/1742070/ecard2_o.jpg" data-mid="8596911" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/128573/1742070/ecard3_800.png" width="800" height="548" width_o="800" height_o="548" src_o="http://payload.cargocollective.com/1/4/128573/1742070/ecard3_o.png" data-mid="8597169" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/128573/1742070/ecard4_800.jpg" width="800" height="541" width_o="800" height_o="541" src_o="http://payload.cargocollective.com/1/4/128573/1742070/ecard4_o.jpg" data-mid="8596915" border="0" align="left"/> ecard: for Everyone, Everything, Everywhere and Everyday Multi-media installation, 2003 This installation consisted of 3 voting booths with postcards for participants to complete. The questions on the postcards raised notions of our personal/private information and the parameters by which we judge others. Participants were encouraged to embellish their information as they filled out the postcards. The postcards were mailed to a P.O. Box and the information entered into a public online database showing the conflation of personal information with falsities and at the same time revealing our private criteria for evaluating others. http://lalehmehran.com/Lines-Drawn-in-the-Sand http://lalehmehran.com/following/lalehmehran.com/Lines-Drawn-in-the-Sand Mon, 18 Jul 2011 04:04:53 +0000 http://lalehmehran.com 1742055 <img src="http://payload.cargocollective.com/1/4/128573/1742055/lines_sand7_800.jpg" width="800" height="532" width_o="800" height_o="532" src_o="http://payload.cargocollective.com/1/4/128573/1742055/lines_sand7_o.jpg" data-mid="8650839" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/128573/1742055/lines_sand20_800.jpg" width="800" height="533" width_o="800" height_o="533" src_o="http://payload.cargocollective.com/1/4/128573/1742055/lines_sand20_o.jpg" data-mid="8661165" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/128573/1742055/lines_sand19_800.jpg" width="800" height="533" width_o="800" height_o="533" src_o="http://payload.cargocollective.com/1/4/128573/1742055/lines_sand19_o.jpg" data-mid="8661761" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/128573/1742055/lines_sand6_800.jpg" width="800" height="533" width_o="800" height_o="533" src_o="http://payload.cargocollective.com/1/4/128573/1742055/lines_sand6_o.jpg" data-mid="8650840" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/128573/1742055/lines_sand5_800.jpg" width="800" height="470" width_o="800" height_o="470" src_o="http://payload.cargocollective.com/1/4/128573/1742055/lines_sand5_o.jpg" data-mid="8650841" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/128573/1742055/lines_sand4_800.jpg" width="800" height="533" width_o="800" height_o="533" src_o="http://payload.cargocollective.com/1/4/128573/1742055/lines_sand4_o.jpg" data-mid="8650842" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/128573/1742055/lines_sand3_800.jpg" width="800" height="533" width_o="800" height_o="533" src_o="http://payload.cargocollective.com/1/4/128573/1742055/lines_sand3_o.jpg" data-mid="8650844" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/128573/1742055/lines_sand2_800.jpg" width="800" height="533" width_o="800" height_o="533" src_o="http://payload.cargocollective.com/1/4/128573/1742055/lines_sand2_o.jpg" data-mid="8650846" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/128573/1742055/lines_sand18_800.jpg" width="800" height="562" width_o="800" height_o="562" src_o="http://payload.cargocollective.com/1/4/128573/1742055/lines_sand18_o.jpg" data-mid="8652740" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/128573/1742055/lines_sand17_800.jpg" width="800" height="533" width_o="800" height_o="533" src_o="http://payload.cargocollective.com/1/4/128573/1742055/lines_sand17_o.jpg" data-mid="8652742" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/128573/1742055/lines_sand16_800.jpg" width="800" height="533" width_o="800" height_o="533" src_o="http://payload.cargocollective.com/1/4/128573/1742055/lines_sand16_o.jpg" data-mid="8652744" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/128573/1742055/lines_sand12_800.jpg" width="800" height="533" width_o="800" height_o="533" src_o="http://payload.cargocollective.com/1/4/128573/1742055/lines_sand12_o.jpg" data-mid="8652750" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/128573/1742055/lines_sand11_800.jpg" width="800" height="533" width_o="800" height_o="533" src_o="http://payload.cargocollective.com/1/4/128573/1742055/lines_sand11_o.jpg" data-mid="8652751" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/128573/1742055/lines_sand9_800.jpg" width="800" height="533" width_o="800" height_o="533" src_o="http://payload.cargocollective.com/1/4/128573/1742055/lines_sand9_o.jpg" data-mid="8652761" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/128573/1742055/lines_sand8_800.jpg" width="800" height="533" width_o="800" height_o="533" src_o="http://payload.cargocollective.com/1/4/128573/1742055/lines_sand8_o.jpg" data-mid="8652763" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/128573/1742055/lines_sand14_800.jpg" width="800" height="533" width_o="800" height_o="533" src_o="http://payload.cargocollective.com/1/4/128573/1742055/lines_sand14_o.jpg" data-mid="8661417" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/128573/1742055/lines_sand13_9_800.jpg" width="800" height="533" width_o="800" height_o="533" src_o="http://payload.cargocollective.com/1/4/128573/1742055/lines_sand13_9_o.jpg" data-mid="8661163" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/128573/1742055/lines_sand15_800.jpg" width="800" height="756" width_o="800" height_o="756" src_o="http://payload.cargocollective.com/1/4/128573/1742055/lines_sand15_o.jpg" data-mid="8661677" border="0" align="left"/><img src="http://payload.cargocollective.com/1/4/128573/1742055/lines_sand10_800.jpg" width="800" height="674" width_o="800" height_o="674" src_o="http://payload.cargocollective.com/1/4/128573/1742055/lines_sand10_o.jpg" data-mid="8664074" border="0" align="left"/> Lines Drawn in the Sand Mixed-media installation, 2006 Absence is both a theme and formal device in a topographically charged map representing complex levels of power seen through the physical variations of heights in the sand. Indeed, this installation through which the spectator navigates made from the impress of figurines and symbols in the sand depicts elaborate war scenes and symbols suggestive of their cause. What remains is an absent presence: the visible remains of impression that endures despite the removal of all bodies from a space whose symbol-laden topography in turn suggests a second absent presence -- that of history and the conflicts it memorializes, perpetuates and preserves. As such, the work can be seen to draw lines that are both literal and metaphoric, artistic and political, ancient and contemporary.