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src="http://payload146.cargocollective.com/1/4/128573/5234080/TransitionalFragments_resources4_800.jpg" width="800" height="531" width_o="1363" height_o="906" src_o="http://payload146.cargocollective.com/1/4/128573/5234080/TransitionalFragments_resources4_o.jpg" data-mid="28193823" border="0" align="left"/><img src="http://payload146.cargocollective.com/1/4/128573/5234080/TransitionalFragments_resources5_800.jpg" width="800" height="532" width_o="1361" height_o="906" src_o="http://payload146.cargocollective.com/1/4/128573/5234080/TransitionalFragments_resources5_o.jpg" data-mid="28193826" border="0" align="left"/><img src="http://payload146.cargocollective.com/1/4/128573/5234080/TransitionalFragments_resources6_800.jpg" width="800" height="532" width_o="1362" height_o="906" src_o="http://payload146.cargocollective.com/1/4/128573/5234080/TransitionalFragments_resources6_o.jpg" data-mid="28193829" border="0" align="left"/><img src="http://payload146.cargocollective.com/1/4/128573/5234080/TransitionalFragments_resources7_800.jpg" width="800" height="544" width_o="1327" height_o="903" src_o="http://payload146.cargocollective.com/1/4/128573/5234080/TransitionalFragments_resources7_o.jpg" data-mid="28193832" border="0" align="left"/> Fullscreen Transitional Fragments Collaboration with Chris Coleman Hybrid Media, 2013 In the Anderson Academic Commons at the University of Denver, the three floors of the maps make up three differing explorations of “what a map is, has been, and may become.” How do we define where we are and the importance one place has over another? We have used a series of procedural (generative) methods to describe texture, form, and pattern for components of all of these works. The artworks also contain a sort of mathematical imagination of world’s appearance and arrangement. The Mercator Atlas maps were a source of inspiration for Transitional Fragments. These famous maps were drawn from memory and human perception. They reveal the evolution from an analog experience of the world to an increasingly Cartesian space. As we have shifted from the sort of mapping created by walking or sailing across the world, we have invited digital mediation into the description of our world. Satellites tell us where we are and rescan each inch of the globe every several days to further define the spaces in which we exist. On the top floor we see the perspective of the satellites, yet in this case, they are unable to capture the landscape below. The atmosphere provides temporary cover to those in the streets, leaving them to the mundane or the revolutionary paths of their day, untracked. Only the upper echelon remain in view, atop their skyscrapers, connected to the tools that allow them to have “the big picture” as they ascribe the flow of material and information. From this perspective, transparency is not broadly empowering – it is a panopticon. Both the sun and this omniscient point of view are blocked by the storm. It is in the shade that true flux and progress can happen. On the main floor, we capture progress and inscribe it into a terrain. The topology is digitized and left a step away from the analog smoothness of reality. The arrows are drawn from human and animal migratory patterns, the spread of cultures and languages, and from viral vectors. They speak to acquisition, conquering, and digesting new territories. Within the frames, we see a divide, a shift from a singular linear path to a delta of options. Or perhaps instead we see many paths narrow down to one – intermeshing and refinement. On the bottom floor, you will find an array of structures – all subterranean. They describe major underground resources spanning the globe. Resources in which we start wars over and define where people can and cannot live. Resources that shape the evolution of humankind. They have been unearthed, exposed, and remolded so that we might understand the extent to which this terrain defines more about who we are than the mountains and seas. Transitional Fragments Collaboration with Chris Coleman Hybrid Media, 2013 In the Anderson Academic Commons at the University of Denver, the three floors of the... http://lalehmehran.com/Current-Upcoming-Projects http://lalehmehran.com/following/lalehmehran.com/Current-Upcoming-Projects Thu, 12 Jul 2012 10:30:03 +0000 http://lalehmehran.com 3741545 CURRENT & UPCOMING PROJECTS Transitional Fragments Collaboration with Chris Coleman Hybrid Media Penrose Library, University of Denver Spring 2013 Future Cities Hybrid Media Invitation by the American Embassy of the U.S. Department of State as part of a program with the goal of “Enhancing Mutual Understanding” Kingdom of Bahrain Summer 2013 CURRENT & UPCOMING PROJECTS Transitional Fragments Collaboration with Chris Coleman Hybrid Media Penrose Library, University of Denver Spring 2013 Future Cities... 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 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border="0" align="left"/> Fullscreen Teaser video created by Chris Coleman for the LED screen at the Denver Theatre District (14th & Champa) 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 of these paradigms and the profound connections that bind them. Mehran’s most recent installation, a site-specific work designed with Daniel Libeskind's unique architecture of the Denver Art Museum (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. Essay from Exhibition Publication "Men of God, Men of Nature" by Isabelle Loring Wallace, Ph.D. Press: Now, she simply speaks through her work, grand spaces that are simultaneously inclusive and divisive but always reflect contemporary realities. By Daliah Singer for 5280: The Denver Magazine Teaser video created by Chris Coleman for the LED screen at the Denver Theatre District (14th & Champa) Men of God, Men of Nature Site-Specific... http://lalehmehran.com/The-Geometric-Boundary-Structures http://lalehmehran.com/following/lalehmehran.com/The-Geometric-Boundary-Structures Mon, 20 Feb 2012 09:18:35 +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? The Geometric Boundary Structures Collaboration with Chris Coleman Single Channel HD Video, 2012 The act of invasion is called exploration when the more powerful... http://lalehmehran.com/Entropic-Order http://lalehmehran.com/following/lalehmehran.com/Entropic-Order Tue, 18 Oct 2011 20:37:05 +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"/> Fullscreen 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. Entropic Order Interactive Installation, 2011 Ever-shifting structures in politics, religions and urban migrations create new socio-political landscapes,... http://lalehmehran.com/Contact-Bio-CV http://lalehmehran.com/following/lalehmehran.com/Contact-Bio-CV Thu, 21 Jul 2011 11:59:08 +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 Transitional Fragments, Digitally Mediated Forms, collaboration with Chris Coleman, Anderson Academic Commons, University of Denver, Denver, CO. (2013*) Men of God, Men of Nature, Interactive Installation, Fuse Box Gallery at the Denver Art Museum, Denver, CO. (2012*) How to Catch a Moth’s Shadow, New Media Installation, John A. Day Gallery, University of South Dakota, Vermillion, South Dakota. (2012*) W3FI: Arlington, VA, Interactive Installation, collaboration with Chris Coleman, Terrace Gallery in Artisphere, Arlington, VA. (2012*) 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 The Geometric Boundary Structures, Single Channel HD Video, collaboration with Chris Coleman, BYOB (Bring Your Own Beamer), RedLine, Denver, CO. (2013*) The Geometric Boundary Structures, Single Channel HD Video, collaboration with Chris Coleman, The NEW Underground Video Art ANTI-VIP After Hours, Miami Beach, FL. (2012*) The Geometric Boundary Structures, Single Channel HD Video, collaboration with Chris Coleman, The Xerces Society, Installment VII: From London to Marrakech, Single Channel Video, El Reactor, Buenos Aires, Argentina. (2012*) W3FI: Rosario, Argentina, Interactive Installation, collaboration with Chris Coleman, 404 International Festival of Art & Technology, Rosario City, Argentina. (2012**) W3FI: Santa Fe, NM, Interactive Installation, collaboration with Chris Coleman, Currents: The Santa Fe International New Media Festival, El Museo Cultural De Santa Fe, Santa Fe, New Mexico. (2012**) In the Public Eye: a Mandatory Garment, Notes on Feeling, curated by Elissa Author, in conjunction with Off the Beaten Path: Violence, Woman and Art, Redline, Denver, CO. (2012*) Raheleh, Single Channel Video, “Identity & Memory,” Arena 1 Gallery, Santa Monica, CA. (2012*) The Xerces Society, Installment VII: From London to Marrakech, Single Channel Video, Night Festival 2012, ArtReach Nanoplex, Nottingham, United Kingdom. (2012**) The Geometric Boundary Structures, Single Channel HD Video, collaboration with Chris Coleman, Faculty Triennial, Victoria H. Myhren Gallery, University of Denver, Denver, CO. (2012*) Raheleh, Single Channel Video, Close to My Heart, CologneOFF, CeC - Carnival of e_Creativity, Sattal in the Himalayan Mountains, India; Digital Marrakech, Marrakech, Morocco. (2012*) The Xerces Society, Installment VII: From London to Marrakech, Single Channel Video, Specific Environments: Landscape as Metaphor, Fort Collins Lincoln Center, Colorado. (2011*) Entropic Order, Interactive Installation, Place, University of Colorado at Colorado Springs Gallery of Contemporary Art, Colorado Springs, Colorado. (2011*) W3FI: Boulder, CO, 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 | Workshops Artist Lecture, “Symbolic Interpretations: Intersections of Science, Politics and Religion“, Florida Atlantic University, Boca Raton, FL. (2013) Teen Council Workshops at the Museum of Contemporary Art Denver, W3FI workshop with Chris Coleman, Museum of Contemporary Art Denver, Denver, CO. (2013) Artist Lecture, "Men of God, Men of Nature: A Site-Specific Exhibition at the Denver Art Museum,” Arts Humanities & Social Sciences Salon, University of Denver, Denver, CO. (2013) Artist Lecture, "Men of God, Men of Nature: A Site-Specific Exhibition at the Denver Art Museum,” Student Salons for Arts Humanities and Social Sciences, University of Denver, Denver, CO. (2012) Artist Lecture, “How to Catch a Moth’s Shadow,” University of South Dakota, Vermillion, South Dakota. (2012) Artist Lecture, ”Time & Space,” El Reactor, Buenos Aires, Argentina. (2012) Artist Lecture, "Men of God, Men of Nature,” with Gwen Chanzit, Denver Art Museum, Denver, CO. (2012) Artist Lecture, "Mechanization,” Industry and Art, University of Colorado at Colorado Springs, Colorado Springs, CO. (2011) Artist Lecture, "Place,” Geography Department, University of Colorado at Colorado Springs, Colorado Springs, CO. (2011) Artist Lecture, "Entropic Order," University of Colorado at Colorado Springs, Colorado Springs, CO. (2011) Artist Lecture, "Time-Based Culture," University of Colorado at Colorado Springs, Colorado Springs, CO. (2011) 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 think-tank focused on healthcare, IDEAS Salon, San Francisco, CA. (2012) Presenter, “W3FI,” collaboration with Chris Coleman, 404 International Festival of Art & Technology Conference, Rosario City, Argentina. (2012) 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) Media Appearances Television Interview, Voice of America, Interview for "Shabahang" (Late Edition) with Mandana Tadayon about W3FI. (2013) Television Interview, Voice of America, Interview with Siamak Dehghan Pour about presidential political debate and Men of God, Men of Nature. (2012) Television Interview, Canal 5 de Rosario, Interview with Marcelo Tapia about W3FI, Rosario, Argentina. (2012) Radio Interview, Untitled Art Show, Independent online streaming and podcast radio show about art, Radio interview about Men of God, Men of Nature project, Denver CO. (2012) Radio Interview, Untitled Art Show, Independent online streaming and podcast radio show about art, Radio interview about W3FI project, Denver CO. (2011) Television 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) Radio Interview, Untitled Art Show, Independent online streaming and podcast radio show about art, Radio interview about my creative research, Denver CO. (2010) Radio Interview, Untitled Art Show, Independent online streaming and podcast radio show about art, Radio interview about my creative research, Denver CO. (2009) 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 “Art Exhibit Explores Our Digital Selves,” Voice of America, Interview for “American Mosaic” with Caty Weaver about W3FI project (collaboration with Chris Coleman). (2013) “Professor’s art engages and inspires conversation,” article on Men of God, Men of Nature, by Hsing Tseng, The Clarion, University of Denver, November 6, 2012. (2012) “Outside the Lines: The Intellectual,” Featured Denver Artist, article by Daliah Singer, 5280: The Denver Magazine, Print magazine and online, Fall Issue, 2012. (2012) “Ideas para sacudir el mundo en ‘intervalos de un minuto’,” (Ideas to shake the world in one-minute intervals), article on W3FI, by Javier Hernández, El Ciudadano in-print and online, October 15, 2012. (2012) “El arte es una manera de revolucionar,” (Art is a way of revolutionizing), article on W3FI, by Edgardo Pérez Castillo, Rosario|12 in-print and online, October 13, 2012. (2012) "At DAM, Contemplating Faith, its Comfort and Perils," article on Men of God, Men of Nature, by Ray Mark Rinaldi ,The Denver Post, July 22, 2012. (2012) "Men of God, Men of Nature," exhibition essay for Men of God, Men of Nature, by Isabelle Loring Wallace, Denver Art Museum. (2012) "Men of God, Men of Nature Makes Denver Art Museum A Mecca,” article on Men of God, Men of Nature, by Leanne Goebel, adobeairstream.com, July 6, 2012. (2012) "W3FI Weaves A Tangled Web Of Santa Fe's Social Media Interactions," article on W3FI, by An Xiao, thecreatorsproject.com, July 11, 2012. (2012) "Santa Fe Grows Its New Media Festival," article on “Currents” exhibition, by An Xiao, hyperallergic.com, July 6, 2012. (2012) "Santa Fe Takes on International New Media Festival," article on “Currents” exhibition, by Hannah Hoel, adobeairstream.com, June, 29 2012. (2012) "DU artist places new installation at Denver Art Museum," article on Men of God, Men of Nature, by Greg Glasgow, DU Today online magazine, May 25, 2012. (2012) "The Cosmopolitanism of the Networked Biodome," exhibition catalog essay on W3FI, by Adrienne Russell and John Tomasic, BIODOME: an Experiment in Diversity, Boulder Museum of Contemporary Art. (2012) “Digital Art Class Focuses on Promoting Local Nonprofit,” article on my Designing Social Awareness class, by Katy Owens, The Clarion, University of Denver, May 7, 2012. (2012) “Online, and now in Tayouneh,” article on "Close To My Heart" exhibit, by Jim Quitty, The Daily Star, August 21, 2011. (2011) “Professor Has New Perspective on Art,” article on "Entropic Order" exhibit, by Katy Owens, The Clarion, University of Denver, October 4, 2011. (2011) Pioneering Islamic Art Installation Premieres at Colorado's Gallery of Contemporary Art, Islam Today online, October 21, 2011. (2011) “Black Sand & Pinatas,” article on Entropic Order exhibit, by Edie Adelstein, Colorado Springs Independent, October 20, 2011. (2011) “Shades of White: BMoCA Exhibit Explores Diversity in the Community,” article on W3FI exhibit, by Krystal Baugher, Boulder Weekly, July 7, 2011. (2011) “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) Contact Laleh Mehran "LFMehran(at)gmail(dot)com" Bio / Artist Statement Though many scientists and cultural theorists have come to critique the association of... http://lalehmehran.com/Taking-Sides http://lalehmehran.com/following/lalehmehran.com/Taking-Sides Sun, 17 Jul 2011 23:10:01 +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. Taking Sides Collaboration with Christopher Coleman Interactive installation, 2005 Taking Sides is an interactive installation. Entering the installation, the... http://lalehmehran.com/Paralytic-Conflux http://lalehmehran.com/following/lalehmehran.com/Paralytic-Conflux Sun, 17 Jul 2011 23:10:00 +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"/> Fullscreen 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. Paralytic Conflux Collaboration with Christopher Coleman 3-D Print, 2010 Paralytic Conflux is a nexus of energy and potential, simultaneously frozen and waiting.... http://lalehmehran.com/Human-Mobility-Administration http://lalehmehran.com/following/lalehmehran.com/Human-Mobility-Administration Sun, 17 Jul 2011 23:09:59 +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. Human Mobility Administration (HMA) Collaboration with Nathan Martin Multi-media performance, 2003 In current "safety and security" practices of governments,... http://lalehmehran.com/SuZan http://lalehmehran.com/following/lalehmehran.com/SuZan Sun, 17 Jul 2011 23:09:59 +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. SuZan Collaboration with Sallyann Kluz Performance and installation, 1999 SuZan ("needle" in Farsi) is a reflection on the private movements of the workers...