Jaishri Abichandani
Born in Bombay, India, Jaishri Abichandani immigrated to New York City in 1984. She received her Master of Visual Arts Degree from Goldsmiths College, University of London and has continued to intertwine art and activism in her career, founding the South Asian Women’s Creative Collective, (http://www.sawcc.org), in New York and London. She has exhibited her work internationally at various venues including P.S.1/MOMA, the Queens Museum of Art, and Exit Art in New York, the Guangzhou Triennial in China, Nature Morte, & Gallery Chemould in India, and the House of World Cultures in Berlin. Jaishri served as the Founding Director of Public Events and Projects from 2003-6 at the Queens Museum of Art where she co- curated Fatal Love: South Asian American Art Now and Queens International 2006 Everything All at Once. Her work is included in various international collections including Momenta Art’s Video Library, the Florian Peters Messers Collection (http://www.fpmcollection.com) and the Saatchi Collection.
Categories: Installation art Sculpture Objects
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Jaishri Abichandani
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Jaishri Abichandani
Based on research in Tantra (an aspect of Hinduism) Jaishri has created a series of 4 X 4 feet hand painted photographic prints improvising on the archetypal South Asian forms of Chakras, Yantras and Mandalas. Abichandani uses photographs and self portraits to address contemporary socio-political and existential issues. ăMindâs Desireä was exhibit earlier this year in Mumbai at Gallery Chemould, one of Indiaâs leading contemporary art galleries to international acclaim…
Jaishri Abichandani
The South Asian Women’s Creative Collective (SAWCC) has served South Asian women since 1997 and has earned a reputation for showcasing cutting-edge work that deals intelligently with issues of gender and cultural representation. Currently, our programs include monthly meetings presenting the work of South Asian women artists, a writing workshop called Brown Eyed Girls, a studio circle of visual artists, a listserv for South Asian women, and annual exhibitions and festivals open to the public…
Jaishri Abichandani
Appropriation seems to be the goal of many artists in this Zeitgeist; as the world archive increases so it seems to dwindle in other aspects. Hidden truths, maligned narratives and phobias abound. In allowing access to and mining within this excess of the visual, artists can contribute to a better understanding of our contemporary condition. Battered, withered and enslaved as we remain in our prejudice, Abichandani challenges our perception of lives and realities that seemingly remain across the threshold, as if bounded by their fate to geographical and political hinterlands…
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Documents of Contemporary Art. Utopias: Throughout its diverse manifestations, the utopian entails two related but contradictory elements: the aspiration to a better world, and the acknowledgment that its form may only ever live in our imaginations. Furthermore, we are as haunted by the failures of utopian enterprise as we are inspired by the desire to repair the failed and build the new... |
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South African Art Now. South African Art Now documents, through in-depth essays and stunning full-color photographs, the remarkable work of nearly one hundred South African artists working in every medium from painting, sculpture, and video to cutting-edge performance art. This lush volume includes the impressive work of art world stars such as William Kentridge and Marlene Dumas; newly prominent artists such as Berni Searle, Robin Rhode, and Mustafa Maluka; and exciting newcomers still unknown outside their own country, but clearly marked for success... |
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James Rosenquist. Painting Below Zero: Notes on a Life in Art. “Frank, funny, truthful, ironic and in every way an entertaining account of one major American artist’s involvement in an art movement that interests everyone–and, more than that, of his own character. Jim Rosenquist is a true American original and his book ought to be read by anyone who wants to understand the last half-century of his country’s visual culture, high, low, and in between.” –Robert Hughes, amazon |
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