Venice Biennale 2013 - Faiza Butt's latest work

May 28-31, 2013

 

 

 

 

 

Bono and Imran @ The Met Roof Top

Source: Artwallaa, Little Bird

Where The Streets Have No Name

Imran Qureshi's Roof Garden Commision at the Met - Review in the Financial Times

Common ground in a divided world

By Jan Dalley

Can art act as an ambassador? Can it span chasms of mutual mistrust and misunderstanding?

©Hyla Skopitz

Imran Qureshi’s installation on the roof of New York’s Metropolitan Museum

 

Can art act as an ambassador? Can it spin a web of connective tissue across chasms of mutual mistrust and misunderstanding? Should we expect it to? .....

 

........... Elsewhere in New York last week was the opening of an installation whose significance also echoes across a political chasm. Pakistani artist Imran Qureshi has covered the roof of the Metropolitan Museum with what look at first like shocking splashes of blood, the vermilion-spattered floor of an abattoir, the deadly-bright aftermath of a massacre. The Met has a lively programme of commissioned installations on the flat roof overlooking the treetops of Central Park and its ring of fiercely elegant skyscrapers – one of the greatest city-gardens in the world; rus in urbe.

Echoing that unique location, it is the garden tradition of the Mughals that is the powerful reference of Qureshi’s work here. Each of these sanguineous splodges, on closer inspection, grows an explosion of flowers, delicate misty petals painted directly on to the concrete in the neo-miniaturist tradition this artist has made his own.

It is magically beautiful – more so, even, in the aftermath of a Manhattan downpour that left most of the bloody blossoms gleaming through puddles. The title of the piece, “And How Many Rains Must Fall Before the Stains are Washed Clean”, took on an extra spin. You can’t tell whether the intricate petals and leaves are emerging from the redness like a slowly developing photograph, or whether they are gradually dissolving and disappearing into the brilliant sludge. You can’t stop looking.

Sheena Wagstaff, the installation’s curator and chairman of the Department of Modern and Contemporary Art, first encountered Qureshi’s work on a visit to Afghanistan. A student of the rigorous techniques of 16th- and 17th-century Islamic miniature painting, Qureshi makes meticulous, painted and gilded works with a contemporary twist: his 2006 “Moderate Enlightenment” series, disconcertingly and half tongue-in-cheek, gorgeously portrays friends and family members (sometimes in flip-flops or trainers, pulling off a T-shirt or holding an umbrella) within the formalised tradition.

And painted installations similar to the Met’s have drawn rapt attention in places as disparate as Oxford and Sharjah. It’s work in which eastern ornamentation and western abstraction melt easily into each other, to produce a powerfully distinct new mood that harnesses its own contradictions and makes a virtue of the crossplay of past and present.

Wagstaff is quick to realise the possible implications of the Met installation – “especially after Boston”, she tells me. But Qureshi himself, she says, was not to be swayed. In so much of his work – although there is no overt political statement-making – he is nudging us towards the delicate tissue of thought and beauty that links us, across cultures and across time, without ducking the punches that his imagery so elegantly delivers. A Pakistani in the heart of New York, an Islamic garden at the edge of Central Park: here is proper courage. ........  see the article/read more

 

 

 

Video - Imran Qureshi speaking about his Roof Garden Commission at The Met

Enjoy !

 

 

 

A Proud Milestone for Pakistan & Asian Art

by Artwallaa

Periodically, Artwallaa intends to scribble some editorial notes on the art scene in Pakistan. These will be more personal notes based on personal observations.

Inauguration of Imran Qureshi's solo exhibition at the KunstHalle (formerly Guggenheim) Berlin, is a very proud moment for not only the artist but the whole of the art fraternity in Pakistan and Asia.

Apart from the official coverage (some of which we have posted below and more to come), some titbits ......

A Little Bird tells Artwallaa .....

• Imran has become the first Asian artist to get the Deutsche Bank's global artist award
• This is the biggest ever solo exhibition by a Pakistani contemporary artist in the Western hemisphere
• there were over 1,000 attendees at the opening, with queues outside
• Over 60 journalists participated in the the press conference earlier in the day
• the exhibition had become even more important because of the renaming (and launching) of the Deutsche Museum from Guggenheim to KunstHalle.
• Pakistan art fraternity was represented by Imran's better half - Aisha Khalid, Dr Shabnum Khan, Faiza Butt, Amna Naqvi, Bani Abidi, Wardha Shabbir (who is doing her residency in Brussels) and the honorary Pakistani - Virginia Whiles.
• Pakistan government staked a claim as well and was represented by none other than the Ambassador to Germany himself.
• The gift shop at the museum was equipped with special art(-efacts) from Pakistan including Sultan Rahi posters, truck-art inspired cushion covers, lamp-shades; chinioti wooden combs, etc.
• There were Imran Qureshi posters all over Berlin. The ones bearing Imran's 'Dexter' look are a big hit, locally and back home.
• Imran and her spouse were in desi clothes - Imran in a shalwar kameez and Aisha in a saree.
• The exhibition is a must see especially the way minitiature painting have been displayed - dark rooms, low ceilings and the works divided through a maze.
• The book published alongside the exhibition is brilliant. It has more than 300 images, covers the whole body of Imran's work, gives one of the best descriptions of NCA by a foreign publication, and beautifully produced.

The exhibition is on till August. Do try to go and see it.

Dare we say that after Iqbal and Anne Marie Schimmel, Imran is making Pakistan famous in Germany. Dankeschön Imran !

With Imran, Rashid Rana, Shazia Sikander and Aisha Khalid firmly establishing themselves as International artists and a very strong second wave of artists getting into the footsteps of these four masteroes, Pakistan art scene is on the way up. It has taken us twenty years (since the early nineties) to resurrect our artistic ouvre from the dark ages of Zia-ul-Haq, but let me tell you today - Pakistan art is Back to the days when the Sadequains, the Bashir Mirzas, the Shemzas of Pakistan art used to be mainstream global artists !

Long live Pakistan and the creative spirit of its people !


Imran is everywhere in Berlin ..........

 

 

Source: A Little Bird

 

 

 

 

Video - Imran Qureshi speaking about his Roof Garden Commission at The Met

Excellent !

 

Imran Qureshi - Solo Exhibition at the KunstaHalle in Berlin - 18 April - 4 Aug 2013

  

Source: Nafas Art Magazine

 To see details, click here

View of the exhibition at KunstHalle Deutsche Bank © Photo: Haupt & Binder

Khadim Ali's MFA Thesis Show in Sydney

Source: Gandhara-art Space

See details here

Video - Imran Qureshi: Artist of the Year 2013 - Deutsche Bank KunstHalle

Imran Qureshi at Venice Biennale - The 2013 Venice Biennale Artist List Is Out!

By Zoë Lescaze and Andrew Russeth 3/13

 

(Getty Images)

Big news! The artists participating in Massimiliano Gioni’s Venice Biennale exhibition, “The Encyclopedic Palace,” were just announced. The show, which will run from June 1 to Nov. 24, will feature a dizzying array of artists (as well as cultural items like “Shaker Gift Drawings” and “Haitian Vodou Flags”). See the complete list below. (And here are the artists who are younger than Jesus.)

.... read more

 

Imran Qureshi becomes the first South Asian artist to exhibit at the MET, NY

Imran Qureshi Invited to Undertake Roof Garden Commission at Metropolitan Museum This Summer
May 14–November 3, 2013 (weather permitting)

Location: The Iris and B. Gerald Cantor Roof Garden
Press Preview: Monday, May 13, 10:00 a.m.–noon

(New York, March 7, 2013)—Pakistani artist Imran Qureshi will create a site-specific work atop The Metropolitan Museum of Art’s Iris and B. Gerald Cantor Roof Garden this summer, the Museum announced today. Considered one of the leading figures in developing a “contemporary miniature” aesthetic, integrating motifs and techniques of traditional miniature painting with contemporary themes, Qureshi is the first artist to create a work that will be painted directly onto the surfaces of the Roof Garden. The work will relate to elements from his earlier works while responding to the broad vistas of nature in Central Park that can be viewed from the Roof Garden, as well as to the area’s architectural and historical contexts. The installation, The Roof Garden Commission: Imran Qureshi, will be on view from May 14 through November 3, 2013 (weather permitting).

The exhibition is made possible by Bloomberg.

Additional support is provided by Cynthia Hazen Polsky and Leon B. Polsky.

“We are so excited and honored to invite Imran Qureshi to cast his perceptive gaze on the Metropolitan Museum,” said Sheena Wagstaff, the Museum’s Chairman of Modern and Contemporary Art. “As a painter, his sensitivity to the environment in which he finds himself—whether the hallowed symbolic space of an old courtyard, a neglected vestigial area of construction or seepage, or an 18th-century palace in the middle of a war-zone city—has resulted in remarkable installations across the world over the past decade. His art is wonderfully complex at the same time as appearing quite simple: it reckons with the realities of contemporary ideologies while reveling in the ability of paint and color to actively both cause and depict regeneration.”

Qureshi (born 1972, Hyderabad, Pakistan) is renowned for his skillful interpretations of traditional miniature painting, which first flourished in the Mughal courts of the Indian subcontinent at the end of the 16th century. Combining the motifs, symbolism, and ornamental techniques of Islamic art with modern conceptual approaches, Qureshi’s paintings reflect his artistic reconciliation of the region’s history with the reality of Pakistan today, as well as using art as a means to reconsider the contemporary relationship between Islam and the West.

Qureshi is equally adept at creating large-scale environments in architectural space, addressing the building’s proximity and the site’s historical and political associations. In these works, ornamental foliate motifs sourced from miniature drawings are transposed to a large scale through the careful layering of spilled and hand-applied paint. The result surrounds the viewer and transforms the site.

Qureshi received his B.A. in Fine Art in 1993 from the National College of Arts in Lahore, where as assistant professor he now teaches a new generation of artists. He was named Deutsche Bank’s “Artist of the Year” for 2013 and will inaugurate the Deutsche Bank KunstHalle in Berlin this spring with a major solo exhibition. He won the 2011 Sharjah Biennial Prize for his installation Blessings Upon the Land of my Love. Qureshi was also one of 15 Pakistani artists featured in the Asia Society exhibition Hanging Fire: Contemporary Art from Pakistan (2009-2010). Solo exhibitions of his work have been held at the Rohtas Gallery in Lahore (2010), Chawkandi Art in Karachi (2010), Corvi-Mora Gallery in London (2007), Canvas Gallery in Karachi (2007), Modern Art Oxford (2007), and Lalit Kala Akademi in New Delhi (2006). His work was also featured at the Singapore Biennale in 2006 and the Sydney Biennale in 2012.

The artist lives and works in Lahore.

The installation at the Metropolitan Museum is organized by Sheena Wagstaff, Chairman, and Ian Alteveer, Associate Curator, of the Department of Modern and Contemporary Art.

It will be featured on the Metropolitan Museum’s website at www.metmuseum.org.

The Roof Garden Commission: Imran Qureshi—the first in a new series of paperback books providing artist perspectives and other contexts in which to consider the annual Roof Garden projects—will be published in conjunction with the installation. It will feature an interview with the artist by Navina Najat Haidar, Curator in the Department of Islamic Art, and Ian Alteveer that explores Qureshi’s creative process and the artistic traditions that have informed it. The volume will be published in May 2013 by The Metropolitan Museum of Art and distributed by Yale University Press.

A related display of objects from the Museum’s collection, organized by the artist and including historical miniatures as well as selections of his own paintings, will be on view in the New Galleries for the Art of the Arab Lands, Turkey, Iran, Central Asia, and Later South Asia.

Khadim Ali at Guggenheim NY: No Country: Contemporary Art for South and Southeast Asia

February 22–May 22, 2013

No Country: Contemporary Art for South and Southeast Asia is the inaugural exhibition of the Guggenheim UBS MAP Global Art Initiative, a multi-year collaboration that will chart creative activity and contemporary art in three geographic regions—South and Southeast Asia, Latin America, and the Middle East and North Africa. Organized by June Yap, Guggenheim UBS MAP Curator, South and Southeast Asia, the exhibition focuses on the artistic practices and cultural traditions of that region, which includes Vietnam, Cambodia, Thailand, Indonesia, Singapore, Malaysia, the Philippines, Myanmar, Bangladesh, and India.

Themes

Khadim Ali

English / Language Arts Social Studies Visual Arts

Vincent Leong

Social Studies Technology Visual Arts

Tang Da Wu

English / Language Arts Social Studies

Shilpa Gupta Social Studies Navin Rawanchaikul

English / Language Arts Social Studies Technology Visual Arts

 

Imran Qureshi- National College of Arts celebrates Imran Qureshi

 

See photographs by clicking here

 

 

 

 

 

Exclusive at Art21 | Shahzia Sikander: “The Last Post”

Another amazing video by Shazia !!

January 25th, 2013, by Ian Forster

Shahzia Sikander, Drawing for “The Last Post.” Courtesy the artist.

“I’m interested in taking a form, breaking it apart, and then rebuilding it. It is about transformation for me — whether it is the transformation of a image or a mark or a symbol or if it’s a transformation of a genre or transformation of a medium – but it is a very core notion that I think stabilizes my practice.”
In today’s Exclusive episode, Shahzia Sikander discusses her animated video work The Last Post (2010). Sikander also describes how beginning to create animations was a natural evolution in her studio process because she had already been working with narrative and layering in her paintings and large-scale installations.

Filmed in 2012 at her Manhattan studio, the video tells a story about the development of her work yet the nature of editing is that content gets cut, even things that you or I may find interesting. During our interview, Sikander shared personal observations that didn’t make it into our final video, but because these thoughts shed more light on her creative process, I thought it important to share them here.

The Last Post began with a series of paintings that Sikander created using gouache, ink and watercolors. The images were then scanned at high resolution, allowing her to analyze and manipulate them in Photoshop and After Effects. In looking at her work under a digital microscope, she was presented with new opportunities and challenges. “One very interesting observation for me is that everything is magnified in HD space,” she said. “So all the marks that create the tactile experience of a drawing become magnified, and may not necessarily sit well in the animation or in a digital space. It’s a very fine line.”

Shahzia Sikander, Drawing for “The Last Post.” Courtesy the artist.

In her attempt to transform paintings into moving images, Sikander must determine which paintings are suitable. For her, this is an experimental process. “There’s a lot of testing going on in terms of how certain forms can create a sense of dimension, a sense of scale, a sense that they can expand indefinitely,” she explains. Of the paintings that make the cut for her animations, she might only use a fraction of the original image. A detail might be magnified and given new associations. For instance, the French horn in the painting at the very top here was extracted for The Last Post and the two figures were removed. Sikander brought the horn together with the top half of the image just above, which she enlarged and used as the background. The seamless end result floats through today’s Exclusive in a moment characterized by almost celestial depth and foreboding movement.

As much as Sikander’s painting process has informed her animations, working in animation has affected her approach to painting, the medium for which she may be best known. “The biggest challenge of animations is to create not just one or two works, or a body of work, but to be able to create drawings that have infinite sensibility of time, scale, and space, so you can freely go through them and use them,” she said. “Working in animation has allowed me to take more care in making the drawings. It has a feedback process.”

 

Shazia Sikander and Aisha Khalid at the Singapore Art Museum

 

Aisha Khalid and Shahzia Sikandar are participating artists at:  Credit Suisse: Innovation In Art Series - The Collectors Show: Weight of History exhibition - Jan 25 to May 5, 2013.

 

The Collectors Show is one of the most anticipated shows on the arts calendar and continues to present compelling contemporary artworks from private collections in Asia. Defying conventional expectations of private art collections as being merely showpieces to be hung on walls, this edition features a spectrum of more than 20 works that show how artists perceive, and re-conceive the multiple facets of history in the Asia-Pacific region.

 

Shahzia Sikander, The explosion of the Company man, 2011, Gouache, hand painting, gold leaf and silkscreened pigment on paper, 203 x 20 x 173 cm, The Rose Trust collection.

 

Curated and independently organised by SAM, Weight of History examines how artists engage with, and evaluate, local traditions and culture, translating them into masterpieces which display the interconnected relationship between past and present in our increasingly globalised societies.

Aisha Khalid's work "Appear As You Are, Be As You Appear" at the Singapore Art Museum" 

 

Aisha Khalid's work "Appear As You Are, Be As You Appear" at the Singapore Art Museum as part of the Exhibition 'The Weight Of History' from 25th January to 5th February, 2013.

 

" Noticed our new profile picture? This artwork, 'Appear As You Are, Be As You Appear' by Aisha Khalid will be showcased in our upcoming show, The Collectors Show, which opens at the end of this month. It is also featured on the cover page of... our latest copy of The Quarterly (January to March 2013).

Interested to find out more about what's coming up at SAM this quarter? Simply download a copy of The Quarterly at http://bit.ly/thequarterlyjan-mar13. It's definitely an exciting new year for us at SAM!"

Cover image: Aisha Khalid, Appear As You Are, Be As You Appear (detail), 2010, fabric (black velvet, red silk), steel needles, 93.98 x 55.88 x 12.7 cm, Mimi Brown collection. Image courtesy of the artist.

 

Fahd Burki at Grey Noise, Dubai

Jan 14- Feb 28, 2013

For his second solo exhibition in Dubai, the artist presents a series of small paintings on paper rendered in acrylics and marker pens, illustrating characters that belong to a personal lexicon of forms.

Playfully executed with a stark graphic sensibility, the figures populating Burki’s work exhibit a sense of celebratory ritual; neon spectral colours clash with deep black and hues of grey to create a state of flux in his totemic anthromorphs. There is coherence between the ancient and modern in the work, sharp edged geometry and synthetic colours contained within primitive silhouettes give the work an atemporal quality. Burki takes his visual cues from a disparate number of sources from tribal and folk art to science fiction and various strands of contemporary popular culture. The work self-consciously references the past, but remains innovative and contemporary.

Ascent 2012, Acrylics and marker on paper, 56.5 x 43.2 cm. Source- Grey Noise Gallery.

 

 

 

Ali Kazim at Jhaveri Contemporary Mumbai : Jan 15 - Feb 18

Ali Kazim is best known for his exquisitely layered paintings, predominantly of lone men. The portraits, simple forms set against flat, clear backgrounds or fields of earth-toned colour, are invested with a distinct tactility: multiple layers of watercolour pigment on textured paper lend the paintings a sense of low relief. This technique, of meticulous repetitive actions, results in a meditative engagement with process that adds a psychological depth to Kazim’s work. His protagonists are reservoirs of mystery, absorbed in reverie, in inner places of truth and stillness.
Material is metaphor for Kazim, and in his new suite of paintings and drawings, he uses Japanese tissue and tracing paper alongside gold leaf and hair in refined explorations of the human body, this time his own. A series of delicate drawings and abstract compositions mark a new direction in the artist’s visual language.



Kazim’s paintings include elements of narrative and fantasy, however their primary impulse remains humanistic: to interact with another or to examine the self. Spare, profound and unsentimental, his art effortlessly transforms the quotidian into the metaphysical, drawing on the powerful themes of time, fate and memory, yet making them entirely his own.

Picasso in Pakistan at Gandhara-art Space

Dec 24 - Feb 2, 2013

For the first time in Pakistan, 13 works of Picasso on exhibition at the Gandhara art Space in Krachi.



“Abstract art is only painting. And what’s so dramatic about that? There is no abstract art. One must always begin with something. Afterwards one can remove all semblance of reality; there is no longer any danger as the idea of the object has left an indelible imprint. It is the object which aroused the artist, stimulated his ideas and set of his emotions. These ideas and emotions will be imprisoned in his work for good... Whether he wants it or not, man is the instrument of nature; she imposes on him character and appearance. In my paintings of Dinard, as in my paintings of Purville, I have given expression to more or less the same vision... You cannot go against nature. She is stronger than the strongest of men. We can permit ourselves some liberties, but in details only.” – Pablo Picasso

Boisgeloup, Winter 1934, Quoted in Letters of the great artists – from Blake to Pollock -, Richard Friedenthal, Thames and Hudson, London, 1963, pp. 256-257 (translation Daphne Woodward)

Pakistan Art Exhibition at Tufts

Illuminated Geographies: Pakistani Miniaturist Practice in the Wake of the Global Turn January 17 - March 31 Tisch Gallery Featuring new works by Ambreen Butt, Faiza Butt, Murad Khan Mumtaz, and Saira Wasim. Guest curated by Justine Ludwig, adjunct curator Contemporary Arts Center, Cincinnati. The practice of Mughal miniature painting originated during the 16th century in the Mughal Empire, which spanned what is now India, Bangladesh, Nepal, and Pakistan. This art form was marked by a meticulous attention to minute detail, lush jewel tones, epic subject matter, and diminutive scale. As the Mughal Empire fell into decline, so did this style. Today we are experiencing a renaissance in this mode of artistic expression, due, in large part, to the National College of Art in Lahore, Pakistan (NCA), which since the 1980s has taught this traditional practice of wasli paper- and brush-making techniques, paint mixing, narrative style, and iconography. Two generations of artists have now studied at the NCA and have revived this practice as a relevant contemporary art form by infusing it with their individual visions and contemporary subject matter. Illuminated Geographies explores how Pakistani miniaturist painting is evolving as it enters into new contexts and how its stylistic foundation is being adapted through four very different artistic visions. This exhibition focuses on four artists trained at the NCA now living outside of Pakistan who are pushing the boundaries of miniaturist practice in different directions. New works by these four artists -- Ambreen Butt, Faiza Butt, Murad Khan Mumtaz, and Saira Wasim -- all deal with themes of cultural hybridity as the artists address the political, social, and cultural realities of both Pakistan and their present locations. Saira Wasim, for example, critiques American politics in the visual language of political cartoons, while Faiza Butt addresses the representation of Muslim men in the London media and the aesthetic qualities of the Urdu and English languages. Through beauty these artists ask difficult question and confront us with the realities of the world we live in. This exhibition has been guest curated by Justine Ludwig, adjunct curator at the Contemporary Arts Center, Cincinnati. A 168-page multi-authored publication will be co-published in February 2013 by the Tufts University Art Gallery and The Contemporary Arts Center, Cincinnati, which organized Realms of Intimacy: Miniaturist Practice from Pakistan (on view September 2011 to January 2012; featuring Ambreen Butt, Faiza Butt, Imran Qureshi, Nusra Qureshi, and Saira Wasim). It will also feature 18 contemporary artists trained at the NCA working internationally.

Ambreen Butt          Faiza Butt          Saira Wasim         Murad Khan Mumtaz

 

Aisha Khalid Whitworth Art Gallery Manchester - Video

Click the bottom right box on the screen above to make it full screen.

 

 

 

 

 

 

 

Zarina: Paper Like Skin is the first retrospective of the Indian-born American artist Zarina Hashmi

Zarina: Paper Like Skin is the first retrospective of the Indian-born American artist Zarina, featuring approximately 60 works dating from 1961 to the present. Paper is central to Zarina’s practice, both as a surface to print on and as a material with its own properties and history. Works in the exhibition include woodcuts as well as three-dimensional casts in paper pulp. Zarina’s vocabulary is minimal yet rich in associations with her life and the themes of displacement and exile. The concept of home—whether personal, geographic, national, spiritual, or familial—resonates throughout her oeuvre. Organized by Allegra Pesenti, curator, Grunwald Center for the Graphic Arts.

“Paper Like Skin reveals the breadth of Zarina’s vision and the versatility of her practice,” explains Hammer director Ann Philbin. “It joins a series of survey exhibitions organized by the Hammer that highlight important but under recognized female artists such as Lee Bontecou and most recently Alina Szapocznikow. The presentation of Zarina’s work also emphasizes the museum’s commitment to the study and collection of works on paper through its Grunwald Center for the Graphic Arts.”

 

Zarina Hashmi , who prefers to be referred to simply by her first name, was born in Aligarh, India, in 1937. After receiving a degree in mathematics, she married a diplomat in 1958 and spent several years living in foreign countries including Thailand, France, and Germany. Though she had planned to train as an architect, she instead explored woodblock printing in Bangkok and pursued her studies in printmaking with S. W. Hayter at Atelier-17 in Paris, and later in Tokyo. In 1975 Zarina moved to the United States, settling first in Los Angeles and then in New York City where she has lived ever since. She came into contact with artistic movements prevalent there in the 1970s, including minimalism, conceptualism, and process art. At this time, Zarina also began to explore the versatility of paper as an art medium, including its sculptural properties, and it has remained the artist’s primary material. Zarina has participated in numerous exhibitions, including most recently Mind and Matter: Alternative Abstractions from 1940s to Present at the Museum of Modern Art, New York, Gouge: The Modern Woodcut at the Hammer Museum, Los Angeles and WACK! Art and the Feminist Revolution, a traveling exhibition organized by the Museum of Contemporary Art, Los Angeles. Her work is in the permanent collections of the Grunwald Center for the Graphic Arts at the Hammer Museum, Los Angeles; the Bibliothèque Nationale, Paris; the Victoria & Albert Museum, London; the Whitney Museum of American Art, New York; the Guggenheim Museum, New York and the Museum of Modern Art, New York. The artist is based in New York.

Doris Duke's Shangri La: Shahzia Sikander - Video

 

Art Radar Journal - Govett-Brewster brings South Asian art to New Zealand audiences: “Sub-Topical Heat” picture feast

 

November 28, 2012

New Zealand’s Govett-Brewster Art Gallery recently concluded its fifth show in an exhibition series on contemporary Asian art.

“Sub-Topical Heat: New Art from South Asia” closed on 4 November 2012 at the Govett-Brewster Art Gallery in New Zealand. Nine South Asian artists showcased their artworks, a selection that included artist books, drawings, installations, miniature paintings, sculptures, photography, photo-media and video art.

Installation view of Gigi Scaria artworks in Govett-Brewster Gallery. Image courtesy Govett-Brewster Gallery.

“Sub-Topical Heat”: Regional concerns

“Sub-Topical Heat: New Art from South Asia” forms part of a series of contemporary Asian art exhibitions held at the Govett-Brewster in Taranaki, a city on the west coast of New Zealand’s North Island. As Director Rhana Devenport explained in an email interview with Art Radar, ....... read more

 

Imran Qureshi, ‘Threatened’, 2010, Gouache on wasli paper.

Imran Qureshi named Deutsche Bank's "Artist of the Year" 2013

13.11.2012 Pakistani artist Imran Qureshi (b.1972) was announced the winner of the award in Berlin, where his works will be shown in a major solo presentation at the Deutsche Bank KunstHalle in spring 2013. The award is based on recommendations of the Deutsche Bank Global Art Advisory Council, which includes internationally renowned curators Okwui Enwezor, Hou Hanru, Udo Kittelmann, and Victoria Noorthoorn and honors artists whose work “addresses social issues in an individual way and has created an outstanding oeuvre that concentrates on the two focal points of the Deutsche Bank Collection: works on paper and photography”. Qureshi follows previous winners Wangechi Mutu in 2010, Yto Barrada in 2011, and Roman Ondák in 2012. Trained in miniature painting, Qureshi works from the motifs, symbolism, and ornaments of the Moghul tradition that flourished in the 16th and 17th centuries in the north of the Indian subcontinent. Imran Qureshi is Assistant Professor at the Department of Fine Art, National College of Arts, Lahore, Pakistan, where he teaches miniature painting. His works have been shown in solo and group exhibitions and collected across Japan, India, the UK, the US, Australia and Pakistan. Qureshi has been involved in international contemporary art surveys on South Asia, notably the exhibition East–West Divan: Contemporary Art from Afghanistan, Iran & Pakistan at the Venice Biennale 2009. He has created large scale installations in architectural spaces at the Singapore Biennial, the Asia Society Museum in New York and most recently on Cockatoo Island as part of the Biennale of Sydney 2012. Qureshi won the Artists Prize for his site-specific installation Blessings upon the Land of My Love at the 2011 Sharjah Biennale, United Arab Emirates. Imran Qureshi, installation view, 2006. Photo: Sharjah Art Foundation. Imran Qureshi, Portraits-8 2007. Courtesy the artist and Collection of Amna and Ali Naqvi. Imran Qureshi, Moderate Enlightenment, 2009, opaque watercolour and gold leaf on wasli paper, 51 x2 4 cm. Collection of Ali and Amna Naqvi.