Mumbai: Shahzia Sikander was born in Pakistan in 1969, and currently lives in New York. She left Pakistan in 1993, went on to graduate school at the Rhode Island School of Design, and lived briefly in Houston before moving to New York. Sikander is known for the ways in which she adapts Indo-Persian miniature paintings in her work. Besides her small-format paintings, she has also executed a number of large wall murals, video works, animations, and large-scale installations. Sikander’s works combine traditional motifs and techniques with her own personal visions, and her views on politics and sexuality. The artist has also been interested in exploring both sides of the Hindu and Muslim ‘border,’ reflected in the way she stylistically mixes Mughal and Rajput painting traditions in her work.
Sikander’s work first made a splash when it was shown in 1997 at the Whitney Biennial in New York. Impressed by her work at the Biennial, Deitch Art Projects gave Sikander her first solo show in the city. She has since held solo exhibitions throughout the United States, the United Kingdom, Germany, Ireland, Australia and Hong Kong.
Shahzia Sikander Apparatus of Power 1995, in the 1997 Whitney Biennial Image courtesy: http://www.artnet.com
Saffronart’s first auction of the modern and contemporary Art of Pakistan, includes a painting by Shahzia Sikander titled Let It Ride #3, which was exhibited at her 1997 solo show at Deitch Art Projects in New York. This lot reflects the artist’s unique adaptation of traditional miniature painting techniques in her work.
Shahzia Sikander, Let It Ride #3
According to the Deitch Art Projects press release for the exhibition, “Sikander often tells the story about how she was the first student in ten years to ask to concentrate on miniature painting when she enrolled at Lahore’s National College of Arts in 1987. Sikander’s reinvention of miniature painting inspired numerous others to follow and now the department has about thirty students. The way that Sikander uses the miniature tradition as a structure for visual diversity reflects the multicultural traditions of Pakistan. The culture incorporates both Muslim and Hindu elements and the strong influence of Persia. There is also the legacy of the British Colonial period. Sikander’s work, like contemporary Pakistani society, has elements that are Muslim, Hindu, Persian, Indian and European. Sikander points out how she incorporates such things as Celtic imagery in her work. A careful unraveling of her work reveals dialogues with many unexpected visual sources.”
Shradha Ramesh shares a note on the current exhibition at Gallery L8, The Nelson-Atkins Museum of Art New York: “Echoes: Islamic art and Contemporary Artists” resonates an epoch of Islamic art and culture from across the globe, dating from 9th century to 21st century. The works on display are a visual diary of Islamic art through time and geography. A narration tracing from Nelson Atkins 17th century mosaic Persian arch, being juxtaposed with variegate Islamic inspired contemporary art. The Director of the Nelson-Atkins, Julián Zugazagoitia, during the press release said “This exhibition highlights some of the outstanding works in our collection that have not been seen in a long time,”
The geographic chronology of Islamic art and architecture ranges from west to east. The region of influence starts from North Africa and Spain on Western region; then the Middle East (Egypt, Syria, Jordan, Palestine, Iraq, and the Arabian Peninsula), Anatolia and the Balkans (Turkey and Southeast Europe), Iran and Central Asia (including Afghanistan and the Central Asia Republics) and eventually the Indian subcontinent.
Image Credit: The Nelson-Atkins Museum of Art Bowl, Iran, late 12th–early 13th century. Fritware with opaque turquoise glaze and over-painted decoration. 35-31/4
The Contemporary artists represented at the exhibition are primarily from Pakistan, Iran and Saudi Arabia. Though they are from these regions they work and live in different parts of the world, adding to the diverse Islamic impression. The artists represented are Shirin Neshat, Asheer Akram , and Hayv Kahraman and Shahzia Sikander live and work from United States. The others work from their respective native land Hamra Abbas (Pakistani), Ahmed Mater (Saudi Arabian), Nasser Al Salem(Saudi Arabian), Gohar Dashti (Iranian) , Ayesha Jatoi(Pakistani), Nasreen Mohamedi (Indian), Rashid Rana (Pakistani). Given their background and the vast medium on display one gets transported to a different visual space.
Image Credit: Eye Burfi Shirin Neshat, Iranian, b. 1957. Stories of Martydom , 1994. Black and white RC print and ink
The common visual ground, upon which the exhibit traverses are the geometric or vegetative design with intricate details and patterns of Arabic calligraphy, rendered in rich colors and forms in an anomalous vista. Kimberly Masteller, the first Jeanne McCray Beals Curator of South and Southeast Asian Art, explains the concept behind the exhibit “The overarching theme here is dialogue,…We use the installation and the artists’ interviews to invoke conversations between the works and their cultures, and also between past and present.”
The 28 featured art works include ceramics, textiles, miniature paintings, decorative brass, photographs and video art. The magnum opus is a Pakistani Cargo Truck Initiative at the entrance made by artist Asheer Akram, from Kansas City.
Image Credit: The Kansas City Star Magazine Asheer Akram’s “Pakistani Cargo Truck Initiative”
The Nelson-Atkins Museum of Art began was started in late 1800 and early 1900 by two ardent art lovers, William Rockhill Nelson and Mary Atkins as two separate art museum. Both the museum merged to form the Nelson-Atkins. “Echoes” is joint venture by The Nelson-Atkins Museum of Art, the Kansas City Artists Coalition, and the Kansas City Public Library. The exhibit runs until March 30, 2014 at the museum’s Gallery L8.
Mumbai: The Dhaka Art Summit organized by the Samdani Art Foundation, a non-profit art infrastructure development organization, aims to support and promote Bangladeshi contemporary art internationally.
The first edition of the Dhaka Art Summit was a ground-breaking initiative in 2012, that showcased more than 240 Bangladeshi artists.
The 2nd edition focuses on South Asian contemporary art practices. It brings together over 250 established and emerging South Asian artists. The programme includes presentations and several new commissions by artists such as Jitish Kallat, Shilpa Gupta, Rashid Rana, Shahzia Sikander, Tayeba Begum Lipi, Mithu Sen, Naeem Mohaiemen and many more.
DAS 2014 will feature a wide range of programmes including six curatorial exhibitions by international and Bangladeshi curators, 12 solo art projects by celebrated artists from across South Asia, a city wide Public Art Project, Performances, Screening of experimental films, Speaker’s Panel and the participation of Bangladeshi and South Asia focused galleries.
Guest blogger, Ali Adil Khan reflects on geniuses of Pakistani modern and contemporary art
Toronto: Over the last few years, I have often pondered on who could be considered young geniuses amongst the modern and contemporary artists of Pakistan. I have thought long and hard, and researched and discussed my reasoning with fellow art critics and collectors.
Finally, I have settled on a list. My assessment is in no way conclusive and the list is not meant to be exclusive. The result is simply my conclusion based on my definition of a genius in art practice as “someone who invents a new way of looking at or creating art, one who is ahead of their time, creates a following and movement, and is admired by fellow artists, locally and internationally.”
As geniuses are revealed at a young age, among important artists there are young geniuses who tend to be conceptual thinkers and often create iconic individual works. Then there are old masters who make equally important contributions to art forms and movements and produce their greatest work when they are older. Think of Picasso as a young genius and Cezanne as an old master. Picasso’s “Les Demoiselles d’Avignon,” which he painted at 26, appears in more than 90 percent of art history textbooks published in the past 30 years. Similarly, Georges Seurat’s “A Sunday Afternoon on the Island of la Grande Jatte,” which he finished at 27, appears in more than 70 percent. For old masters, on the other hand, discoveries evolve over years instead of exploding onto the scene in a single masterpiece. Thus no single painting by Cézanne or his friend Claude Monet appears in even half of art history textbooks. Yet no one would question their place among the greats.
Abdur Rahman Chughtai, Zainul Abedin, Sadequain, Ismail Gulgee, Zahoor ul Akhlaq, Rashid Rana, Shahzia Sikander and Hamra Abbas proved their geniuses at a young age. Shakir Ali, Zubaida Agha, Ahmed Parvez, Anwar Jalal Shemza, Bashir Mirza, Jamil Naqsh and Colin David are old masters. The differences between these artists’ creative life cycles are not accidental. Precocious young geniuses make bold and dramatic innovations – think of Picasso’s cubism – and their work often expresses their ideas or feelings. Wise old masters, on the other hand, are experimental thinkers who proceed by trial and error.
Even before Pakistan came into existence, Chughtai had already proven his mantel and established himself internationally as the pre-eminent artist of the subcontinent.
Below is my list of the young geniuses of modern art in the history of Pakistan.
Chughtai (1897-1975) fused miniature paintings from India with a Persian style of painting, and romanticised it to invent a personal style that was later known as Chughtai art or the Lahore School of Painting. As they say, “It takes a diamond to recognise a diamond,” and Dr Mohammad Iqbal acknowledged Chughtai’s genius in the foreword he wrote for the Muraqqa-e-Chughtai, a compilation of Chughtai’s drawings and paintings on Dewan-e-Ghalib in 1928. Iqbal wrote: “He [Chughtai] is only twenty-nine yet. What his art will become when he reaches the mature age of forty, the future alone will disclose. Meanwhile all those who are interested in his work will keenly watch his forward movement.”
Zainul Abedin (1914-1976) played a pioneering role in the modern art movement of Pakistan. Although now legitimately claimed by Bangladesh as Shilpacharya, or father of modern art, Zainul Abedin was instrumental in establishing the first art institute in Dhaka and charting a trajectory for a future generation of artists. His dedication and contribution in establishing and nurturing the art institute and the Dhaka Artists Group is of major importance. His genius as an artist was revealed through his drawings of the 1943 famine in Bengal when he sketched over 2,000 drawings using the barest economy of line with Indian ink and brush on ordinary pieces of brown wrapping paper. His images were so powerful and moving that even if seen today, as I did recently at the National Museum of Bangladesh, they remind us of his extraordinary ability to generate an enormous emotional response.
Syed Sadequain Ahmed Naqvi Untitled (Acrobats) Art of Pakistan Auction (November 7-8, 2012)
Sadequain (1930-1987) undoubtedly is the greatest contemporary artist that South Asia has produced. His genius was exposed early on in his career when he was declared Laureate Biennale de Paris when he participated in the 1961 Paris Biennale at the age of 31. Sadequain is single-handedly responsible for the renaissance of calligraphy in South Asia and the Middle East. He was able to accomplish a lot in a short period of time and was able to evolve a unique art form based on the cactus and the Urdu letter alif. Dr Akbar Naqvi writes in his book Image and Identity, “In November 1968, which was Ramadan, his calligraphy of Quranic verses was exhibited in a celebrated exhibition at the Karachi Arts Council. For the first time art touched the underprivileged people of the city, who came in droves to see the exhibition and made Sadequain an Awami [national] painter overnight. Art had broken the class barrier and bridged Lalu Khet with KDA Scheme-1.” Naqvi further says, “As early as 1961, he [Sadequain] invented the style, either in Paris or in Karachi, which was a distinguished contribution to Cubism. Sadequain’s style was, if we must have a name, Calligraphic Cubism.” Furthermore, Sadequain’s phenomenal murals in Pakistan, India and parts of Europe defy Michelangelo. While Sadequain’s figurative work had strong social commentary and criticisms, his paintings also looked into the future.
Zahoor ul Akhlaq, Farman Art of Pakistan Auction (November 7-8, 2012)
Gulgee (1926-2007) invented abstract calligraphy based on action painting popularised by Jackson Pollock in the USA in the 1950s. Gulgee was completely self-taught and began painting while studying engineering at Columbia and Harvard Universities in the US. Early on in his artistic career, he focused on portraiture and excelled in it. He was commissioned to paint the portrait of King Zahir Shah of Afghanistan (1959), Prince Karim Aga Khan (1961), Zhou Enlai (1964), Queen Farah Diba of Iran (1965) and President Ayub Khan of Pakistan (1968). He then turned to making portraits from marble mosaic and semi-precious stones, a technique that he developed in Kabul using Lapis Lazuli. In the late 60s and early 70s, he reinvented himself by working in abstract styles using broad brush and bold colours and incorporating local materials such as coloured beads, small pieces of mirrors, and gold and silver leaf. During this period, Gulgee produced some of the most spectacular works of modern art ever seen in Pakistan. In the late 70s and early 80s, Gulgee started experimenting again, this time combining action painting with calligraphy. By this time, he had already mastered all major styles of calligraphy, and completely modernized it to invent a distinct and unique style, never seen before in and outside of Pakistan. He was very prolific in the 90s and until his tragic death in 2007. He leaves behind a large body of paintings and sculptures for future generations to decipher.
Lot 33: Rashid Rana, Ommatidia II (Salman Khan), 2004 24 Hour Auction: Art of Pakistan (Nov. 7-8, 2012)
Rashid Rana (b. 1968) is one of the most sought after contemporary artist from South Asia. His recent exhibition at the Musée Guimet in Paris and major collections at the Saatchi Gallery in London and the Devi Art Foundation in Delhi are a testament to his genius. His creations in C-print + DIASEC, such as the “Red Carpet” exhibited at the Asia Society in 2009 and “Desperately Seeking Paradise” first exhibited at Art Dubai in 2008 are masterpieces that have no equal.
Lot 30 – Shazia Sikander, Let It Ride # 3, 1987 24 Hour Auction: Art of Pakistan (Nov. 7-8, 2012)
Shahzia Sikander (b. 1969) at age 36 was awarded the MacArthur Foundation’s fellowship (also generally referred to as the genius award) which provides unrestricted use of US$500,000 to talented individuals who have shown extraordinary originality and dedication in their creative pursuits and a marked capacity for self-direction. Shahzia was the first to breakaway from the miniature tradition, and has been instrumental in the rediscovery, re-infusion, and re-contextualisation of Indo-Persian miniature painting, which has helped establish an art form that is now known and recognised as contemporary miniature, or neo-miniature. She has now entered the mainstream of contemporary art internationally and is a recognised superstar.
Hamra Abbas (b. 1976) left a lasting impression on me when I first saw her sculptures titled “Lessons on Love,” a set of life-size works based on erotic miniature paintings from the Kama Sutra, and in particular, one that showed a man and a woman seated facing each other on a Howdah (an elephant or horse back mount), embraced in love and engaged in a hunting scene. This brilliant composition and a transformation of miniature into a life-size sculpture captured my attention, as I fully comprehended Hamra’s creative expression of a paradoxical relationship between sex and violence. Last year when I saw her masterpiece titled ‘Buraq’ at the “Hanging Fire” exhibition in New York, it further confirmed Hamra’s exceptional talent and genius. Hamra’s versatile practice straddles a wide range of media, as she questions widely accepted traditions and uses culturally loaded imagery and iconography in creating new platforms from which to view notions of culture, tradition and exchange. Hamra’s research on madrassahs [Islamic seminaries] after her return to Pakistan in 2007, resulted in creation of exceptional works: an installation titled ‘Read,’ which was exhibited first at the National Art Gallery in Islamabad and then at the Royal Ontario Museum in Toronto, and the 99 faces of children in the madrassahs, which was awarded the Jury Prize at the Sharjah Biennale in 2009. Hamra is the recipient of the 2011 Abraaj Capital Art Prize and currently doing a residency in New York.
Toronto: My top ten favorite works in the Art of Pakistan Auction have been listed in the slideshow below in order of priority and importance.
All of the works I have selected are by Pakistani artists who have excelled in contemporary miniature art – in its development and global recognition. This movement is strong, grounded in tradition and has left its mark on the international art scene. The credit goes to the modern practitioners and teachers of miniature art. The oldest and most influential art school of the country, the National College of Arts (NCA) in Lahore, has been a cornerstone in identifying and developing next generation of artists. The Indus Valley School of Art and Architecture (IVS) in Karachi and the Beaconhouse National University (BNU) in Lahore have also established world class programs in fine arts. These institutions offer highly sought after programs in miniature painting that attract the best and the brightest, channel their creativity and challenge their thinking in ways that equip them to push defined boundaries. They subvert traditional practices, innovate and deconstruct miniature paintings to reinvent and revive a movement that we all know as neo-miniature (contemporary miniature) style of painting. Zahoor ul Akhlaq, Salima Hashmi, Ustad Bashir Ahmed, Imran Qureshi,Muhammed Zeeshan and Sumaira Tazeen, among other established artists and faculty of these institutions have been instrumental in paving the road for the next generation of artists. Some stalwarts included in this Auction clearly standout. Shahzia Sikander, Saira Wasim, Nusra Latif Qureshi, Talha Rathore, Waseem Ahmed, Hasnat Mahmood and Khadim Ali.
I have chosen Zahoor’s Farman (Lot 3) as my favorite because of its importance in setting an early direction for the movement. It is composed in the confines of the borders of a traditional miniature painting, yet it is highly contemporary. It is a painting of significant importance given that it is referenced by two important scholars of Pakistani art – Dr. Akbar Naqvi and Roger Connah. The influence of Zahoor on the contemporary art of Pakistan is unquestionable.
Khadim Ali’s painting (Lot 55) incorporates the on-going conflict in Afghanistan and references the destruction of the Bamian Buddhas as well as the prosecution of local Hazaras by the Taliban.
As they say – the devil is in the detail. To read more on my views on contemporary miniature art from Pakistan, click here.
Ali Adil Khan is a prolific Toronto based collector and expert of South Asian art and antiquities. Khan has organized numerous exhibitions of South Asian Art in North America including “Image and Identity: Being Ethnic” and “Cosmic Energy and Tantric Enlightenment: Art of Youngo Verma” which have received widespread critical acclaim. He has contributed notable articles on South Asian art to leading dailies including The Dawn Online Edition and Newsline of Pakistan. He has also been invited to share his expertise at the Royal Ontario Museum in Toronto, Art Gallery of Mississauga and the 14th Asian Art Biennale in Dhaka, amongst others. Khan is a guest contributor for the Saffronart blog.