2012 Museum Acquisitions

Leila Heller Gallery is pleased to announce that the following museums have acquired works by artists represented by the gallery.

The Brooklyn Museum of Art, New York, NY


Ran Hwang
East Wind, 2012
Buttons, beads, pins on wood board
70 x 141 in / 180 x 360 cm

Using common, mass-produced fashion materials, Ran Hwang creates striking works of art that transform and re-contextualize these everyday objects. Sparkling buttons, shimmering beads, and long spools of thread are affixed to wood panels with thousands of pins to form Buddhas, temples, urns, and plum blossoms—all iconic symbols of Zen Buddhism.

The Metropolitan Museum of Art, New York, NY

Marcos Grigorian
Midsummer Night #10, 1991

Straw on mixed media compound on canvas
20 x 19.8 in / 50.8 x 50.2 cm

Marcos Grigorian
Untitled, 1970s
Straw on mixed media compound on canvas
20 x 24 in / 50.8 x 61 cm

In the early 1960s, Marcos Grigorian began his series of “earthworks”, canvases and multi-media pieces using dirt as its primary medium. Years ahead of his time, Grigorian’s experimentation with earth, straw and paint predate later pieces by American, European and Japanese artists. Over the course of thirty years, Grigorian formed a significant collection of abstract works largely fabricated by earth media. Using soil, straw, and wood bounded by polyester and paint, the artist created a multitude of two dimensional reliefs which curator Donna Stein aptly describes as “small capsules of the landscape.”

Pouran Jinchi
Noon 1,  2012
Mixed media on Okawara Paper
74 x 39 in / 188 x 99.1 cm

Pouran Jinchi’s work often employs a mixture of calligraphy and abstract expressionism that intertwines Islamic geometry, Iranian traditions and contemporary aesthetics, with a unique lyricism. Her works see form and word blur, the text becomes a pattern and the pattern (Eastern and Western textile forms for example) themselves become unreadable text. 

The Museum of Contemporary Art, Los Angeles, CA

Shiva Ahmadi
Safe Haven, 2011
Watercolor, ink, and acrylic on Acquaboard
60 x 120 in / 152 x 304 cm

Playfully selective with her referencing of miniature painting: Shiva Ahmadi is even difficult to place within a now canonized group of contemporary miniature revivalists (mainly out of Lahore, Pakistan). Relying heavily on the traditions of the ancient art form, she has created an allegorical realm where faceless tyrants and religious authorities sit on ornate gilded thrones while subservient minions bow to them.



Shoja Azari
The Day of the Last Judgement, 2009
Video projection on canvas
Dimensions variable
View video here

Shoja Azari using Modaber’s “day of judgment,” juxtaposes this iconic imagery, with contemporary clips and images of Muslims and their conflicts around the globe.  Here in this visual tapestry we are faced with a revelation; how over several centuries, religious fervor in Islam has remained constant.  And we begin to detect how the contemporary images in Islam that we are inundated everyday, maintain similar visual and metaphorical values in relation to aesthetic and representation that was once applied to the art of ‘Coffee house” paintings.

Los Angeles County Museum of Art, Los Angeles, CA

Ayad Alkadhi
Upside Down (from The Hanging Series), 2008
Mixed media on canvas
72.3 x 48 x 2 in / 183.5 x 121.9 x 5.1 cm

In Upside Down Ayad Alkadhi juxtaposes strong draftsmanship, in the Western sense, with his mastery of Arabic calligraphy, which makes for both dramatic fusion and visual tension. The words are not mere decoration but merge with and amplify his emotionally charged image of a pair of legs belonging to someone hung upside down. The text, by the tenth-century poet Abu Firas al-Hamdani, is written as if spoken by a prisoner to a dove that has landed near his window.

Farideh Lashai
Between the Motion / And the act/ Falls the shadow, 2012
2-channel video projection with soung on a screen and painting (oil, acrylic, and pencil on canvas)
82.7 x 62.2 in / 210 x 158 cm
AP 1 of edition of 5, 2 APs

Farideh Lashai's video brings into life the popular and lowbrow culture of ‘ café – cabaret’ verve that symbolized the nightlife ubiquitous in the Iran of the 1950-1970s, and was one of the main themes of the mass commercial cinema known as ‘Film Farsi’. These films also serve as historical documentation of modern Iranian folklore going back as early as the Qajar era (in Dash Akol for example) and all the way up to the early 1970s.

Cornell Fine Arts Museum, Rollins College, Winter Park, FL

Hadieh Shafie
White, Turquoise, Green, Gold, Yellow & Blue (6 Colors), 2012
Ink, acrylic and paper with printed & hand written Farsi Text Esheghe "Love"
36 in / 91.4 cm diameter

Hadieh Shafie's intricate paper scroll pieces represent a re-interpretation of the tradition of calligraphic script and design repetition present in Iranian and Islamic art and design. Shafie's colorful and multidimensional works are comprised of the layering of thousands strips of hand painted and rolled paper. Shafie paints the edges of the strips of paper, and after doing so she writes the Persian word "eshghe" (love) repeatedly on each strip of paper. When dry, these strips are then rolled together to create individual miniature “Ketabs” (books), and finally they are placed within a frame to create one work of art.


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