(At Least) 150 Words: Shamsia Hassani

So before the word count lets have a quote shall we?

“I am from Afghanistan , the country which is famous by War-Bomb – …lets change the topic of news about Afghanistan . lets bring PEACE with art , lets make it famous by ART not by WAR.”— Shamsia Hassani

Ok the count starts below*:

Shamsia Hassani is a graffiti artist working in Kabul. She is afghan, but grew up in Iran where freedoms were limited because of her nationality. Shamisa was not allowed to study art until 2006 when her family moved to Kabul. As a girl Shamisa practiced art on her own, but gravitated towards graffiti after attending a work shop by a UK artist. Today she teaches at Faculty of Fine Arts, Kabul University and is a founder of Berang Arts Organization,.

Shamsia has four main reasons for making street art:

  • Create positive and empowering imagery to “cover up bad memories” left after years of war.
  • Introduce art to a community of people who have no other means accessible.
  • Use meaningful images to express her messages because “the picture is more expressive than words.
  • Create awareness of the plight of afghan women.

Standard subjects include women in Burqas, fish, and symbols representing ambient atmosphere. Her street art generats positivity in communities damaged by war. Of course she cannot freely express herself in this country because of censorship and the dangerous associated with voicing opposition. As a result one of her most well known projects is a collection of her preliminary sketches drawn over prints of pictures taken from different parts of Kabul she calls “Dream of Graffiti.”

Shamsia’s continued effort’s to exchange her street arts experiences with her students and present more artists to the community. She was selected as one of Top10 for the 2nd Afghan Contemporary Art Prize in 2009, and since then has been part of solo and group exhibitions inside and outside of Afghanistan (e.g. Germany, Australia, India, Vietnam).  

Links:

http://www.streetartbio.com/#!shamsia-hassani-interview/c19pn

https://www.facebook.com/pages/Shamsia-Hassani/252100761577381

http://artradarjournal.com/tag/shamsia-hassani/

http://www.theguardian.com/world/2012/feb/24/graffiti-street-art-kabul

*I didn’t really do a word count. I might be over 150.

Maud Lewis

Maud Lewis, Three Black Cats, 1960

Folk art has an undeserved reputation of being plain, uninspired, dull, or the worst of these “crafty.”  “Folk” is confused with “unskilled” which is not accurate. Folk means the art was produced for utilitarian purposes by an uneducated, in fine arts, creator. It also encompasses art by an indigenous culture. Because the artist did not receive a form art education, the images may lack traditional (Western) rules of proportion and perspective, but that does not make these works any less valuable, significant, skilled, or enjoyable.

Take for instance the art from Maud Lewis. I just can not get enough her her vivid color pallet and simple but emotive style. Born Maud Dowley in South Ohio, Nova Scotia on March 7, 1903, this artist began painting small Christmas cards to for her husband to sell in an effort to overcome their poverty. Together they lived in a small one room house with sleeping loft, without benefit of electricity or plumbing. Her husband Everett made a living selling fish from door to door, and her Christmas cards became popular with his customers who eagerly bought them as gifts. Eventually Maud began to paint on small canvas, none of her paintings are larger than 5 ft x 1 ft.6 inches, and expanded her subjects to include birds, insects, flowers, landscapes, oxen, and other animals. All of her paintings are bright and feature  a unique, flat stylization of her own invention. She never mixed colors; her technique was to first draw an outline and then apply pure paint straight from the tube. She also painted birds, flowers and butterflies on various parts of the tiny house in which they lived, and many articles within the house.

Maud Lewis’s house

As a child, Maud suffered from juvenile rheumatoid arthritis resulting in physical deformities of her hands and face. Despite discomfort and sometimes pain, Maud painted through it, and eventually her work gained a localized following, and between 1945-1950 people began to come to her home seeking her paintings. She sold them for a modest two or three dollar, and only in the last three or four years of her life did they begin to sell for seven to ten dollars. She achieved national attention as a result of an article in the “Star Weekly” in 1964 and in 1965 she was featured on CBC-TV’s Telescope. Unfortunately, her arthritis prevented her from completing many of the orders she was inundated with. In recent years, her paintings have sold at auction for ever increasing prices. Two of her paintings have sold for more than $16,000, and her highest seller was “A Family Outing” going for $22,200.00. The painting was sold at a Bonham’s auction in Toronto Nov 30, 2009.

In the last year of her life, Maud Lewis stayed in one corner of her house, painting as often as she could while traveling back and forth to the hospital. She died in Digby, Nova Scotia on July 30, 1970. A large collection of Maud’s work can be found in the Art Gallery of Nova Scotia, which has restored her original house and installed it in the gallery as part of a permanent Maud Lewis exhibit. Most of the Maud Lewis paintings on display are on loan to the AGNS. A steel memorial sculpture based on her house has been erected at the original site of her house in Marshalltown, Nova Scotia. An imitation Maud Lewis house has been built a private museum in Liverpool, Nova Scotia.

There are several books about this incredible artist, a particularly good one is The Illuminated Life of Maud Lewis, and three National Film Board of Canada documentaries: Maud Lewis – A World Without Shadows(1997), The Illuminated Life of Maud Lewis (1998) and I Can Make Art … Like Maud Lewis (2005), a short film in which a group of sixth graders are inspired by Lewis’ work to create their own folk art. In 2009, the Art Gallery of Nova Scotia in conjunction with Greg Thompson Productions presented a play on Maud Lewis at the AGNS. A Happy Heart: The Maud Lewis Story was written and produced by Greg Thompson, the same writer and producer who brought Marilyn: Forever Blonde to the AGNS in 2008. Thompson wrote the one woman play on Maud while in Nova Scotia in 2008 after being inspired by this incredible woman.

SO now do you think “folk” means “bad” art? Its just like assuming a BA means you’ll make great art! Theres a great quote from Picasso that I can not recall off the top of my head, but in it he claims that after his formal art education he realized that in order to make great art advances he would need to “spend the rest of my life learning how to paint like a child.” There is some wisdom in that thought.

Baroness Elsa von Freytag-Loringhoven

So where do I start with this outrageous character of Dada legend and lore? Baroness Elsa von Freytag-Loringhoven is pretty much the founder of Dada in New York during the 1913-20’s. (Dada came about as a reaction against the academy’s stuffy rules regulating, defining, organizing, and otherwise controlling an understanding/definition of art; the anti-art scene then escalated into anti-culutre movement in part as a search for meaning and consolation in the catastrophic aftermath of WWI.) Marcel DuChamp, her contemporary and friend, credits her as being the original dadaist stating that, “she is not a futurist, she is the future.”

It is right that DuChamp should be so admirable of The Baroness. She brought Dada to the fore front of culture in at the start of the new century in New York by pushing the boundaries of elite culture. Dada’s darling went to war with the bourgeois, attacking decency with her explicit dadaist poetry, constructed ready-mades that upset traditional art making practices, crafted dangerously anti-religous sculptures, and designed her own elaborate costumes from found and stolen items. The Baroness did not just cause a riot, she was a riot, making scene with her outlandish, ridiculous behavior everywhere she went. In short, the woman was a hot mess. Today we’d call her a ratchet, with the singular gift of provoking everyone around her into a hissy fit.

The Baroness was born July 12,1874 in Germany, she studied art in Dachau, near Munich before marrying her first husband in 1901, Berlin-based architect August Endell, at which time she became Else Endell. Ever one for a good scandal, she lived an avant-garde bohemian lifestyle, having an open relationship with her husband while working as an actress and vaudeville performer. She had numerous affairs with artists in Berlin, Munich and Italy, and in 1902 she became involved romantically with a friend of Endell’s, the minor poet and translator Felix Paul Greve (later the Canadian author Frederick Philip Grove), and all three went to Palermo in late January 1903. They then lead a faery nomadic lifestyle, traveling to various places, including Wollerau, Switzerland and Paris-Plage, France.  She found work modeling for artists in Cincinnati, and made her way east via West Virginia and Philadelphia.

Elsa became a baroness by marrying Baron von Freytag-Loringhoven in 1913 and maintained that title the rest of her life, despite numerous affairs. She exploited her aristocratic status as a weapon to assault bourgeois taste. One of my favorite Baroness antics was her single-handed effort to present futuristic fashion to the bohemians of Greenwich Village, by scandalizing her neighbors parading about semi-nude along 14th Street, barely covered with feathers. It is evident that her preferred method for undermining the avant-garde was to always be as naked as she could get, even wearing nothing but tea-balls on her breasts while reciting poetry on street corners.

Until recently, The Baroness was best known for her  provocative poetry, which was finally published in a 2011 posthumous compilation of her writings Body Sweats: The Uncensored Writings of Elsa von Freytag-Loringhoven, Irene Gammel. (The New York Times praised the book as one of the notable art books of 2011.) She liked to experiment with punctuation and grammar to challenge the structure of langue. She made good use of dashes to set unique tempos and almost actual motion within her sentences, and created portmanteau compositions that made a mockery of coherency with non-sensical phrases.  As the poem “Loss” states:  “She is mad— / I am lost— / Utter.” (Loss, 234)

When reading her poems you often have to pause to rethink her meaning. I find I have to recompose the poems, decide which statements are spoken by which voice/persona, in what order lines are meant to be read, and in what combination with the lines surrounding it.  Take a second look at the tercet cited above—here the two-syllable word line “Utter” may be a command “to utter” and if so who is to speak?  Is the command directed to her, us, or is it the owl in the poem? Or is “utter” not a verb at all but a displaced adjective, one which should be read as if it precedes the word “lost” in the penultimate line? And if so does The Baroness ask the reader if this refers to utter loss? And who utterly lost and what was it? Or is the speaker utterly lost? Or is she talking about a random cow’s utters?! By being evasive with layers of meaning, The Baroness wrote very polarizing poetry, causing some people to either find their meanings very personal to each reader or very isolating and shallow. Ezra Pound was not always her biggest fan, but what does he know?

Another one of her stylistic elements is her laudable exploration of the thin line—made up of one to three syllables and streaking down the pages like a stripe, an arrow’s shadowtrail. At times these tiny lines create a clipped, staccato pacing, at others they embody speed and slippage; are aquatic in their rush. This is especially true in poems where sound seems beyond control, tumbling and falling

And of course she is never shy about discussing sex. A lot of her portmanteaus are highly explicit, such as “Kissambushed” and “Phalluspistol.”  The Little Review put her on the map in 1918 by publishing 20 of her poems and more than a dozen of her essays and notes. The magazine thereupon gave the baroness a forum for the next four years, establishing her among Dada luminaries. One of the Baroness’ poems, reproduced by Gammel, reads:

No spinsterlollypop for me!
Yes! We have no bananas
I got lusting palate
I always eat them…
There’s the vibrator
Coy flappertoy! …
A dozen cocktails, please!

Yup. Those are blatant phallic references. By today’s standards perhaps these aren’t so shocking, but in the early 1900s worn were still admired for their gentle and modest qualities. And even men could get into trouble for being so open about sex acts.

The Baroness also worked with found object making assemblage sculptures and collage paintings while in New York. Her habit of collecting rubbish and refuse to create sculptures of anti-art greatly offended art critics. But her radical behavior impressed and inspired her contemporaries. She was feared and admired by the likes of Hart Crane, William Carlos Williams, Wallace Stevens, and Djuna Barnes who all, like Ezra Pound, found themselves discussing her work in verse whether they liked it or not. And the very first movie made by Duchamp and Man Ray was about Elsa, titled The Baroness Shaves her Pubic Hair. The film cements her status Queen of Dada, but sadly only a handful of film stills have been salvaged by history. She is featured in many other Dada artists works, adding further testament to the depth of her influence and the admiration held to her by contemporaries.

Being friends with DuChamp, The Baroness was likely also involved in the conception of the famous ready-made, Fountain (1917). As Irene Gammel has documented, the choice of a urinal as art work is more in line with Freytag-Loringhoven’s scatological aesthetics than with Duchamp’s.  Moreover, Duchamp indicates in a letter to his sister written in 1917 that a female friend of his had sent him the urinal for submission at the Independents Exhibition. Rediscovered by the Whitney Museum in New York City in 1996, her Portrait of Marcel Duchamp (no longer extant) is an example of her ready-made pieces. She also contributed to New York Dada by collaborating with Morton Schamberg on the 1917 assemblage sculpture God, which is constructed of plumbing materials.

Unfortunately her death was not a glamorous or scandalous as her lifestyle. Finding herself finically insecure, in 1923, The Baroness went back to Berlin, expecting better opportunities to make money. Instead she came home to an economically devastated post-World War I Germany. Regardless of her difficulties in Weimar Germany, she remained there, penniless and on the verge of insanity. Though she still had several friends in the American expatriate community, in particular Djuna Barnes, Berenice Abbott, and Peggy Guggenheim, who provided emotional and financial support, she continued to deteriorate over the next few months.  She died on December, 14 1927 of gas suffocation after the gas was left on in her flat. She may have forgotten to turn the gas off, or someone else may have turned it on; the circumstances were never clear. She is buried in Paris, France at Père Lachaise Cemetery.

So there you have it. The Baroness is the original socially unacceptable bad girl. Her life reminds us that Miley Cyrus only wishes she could be as naughty as The Baroness, and Madonna and Lady gaga have nothing on her scanty outfits. I leave you with what is my favorite poem, for now, and I’ll also leave a few of images of her art and costumes. I highly recommend you read the Gammel book and check out this link to her digital library hosted by the University of Maryland digital library: http://www.lib.umd.edu/dcr/collections/EvFL-class/index.html

Ah Me!

Trust me
I do agree
Madam—I firmly stand that ground
Coitus is paramount
Ab-so-lu-te-ly!

Nay—Mr. Twitch do me allow
To cool define: when you know how!
As poetry—coitus urges
Driven courses rhythmic surges
Energy—
Executive ability.
Fancy’s wing composed complex
Genius sex’
Bagpipe spell
Sunsirens’ crimsoncruising yell
It is—

Else:
Hell!
Well?
Saucerorbs agog enorm
Smirks he
Ah me!
I don’t perform. (43)

“God” Baroness Elsa von Freytag-Loringhoven

Baroness Elsa von Freytag-Loringhoven, Limbswish, sculpture 1917-1919

Elsa von Freytag-Loringhoven 1874, Swinemunde, Germany – 1927, Paris Portrait of Marcel Duchamp 1919 Collage, pastel, and ink on board 31 x 46 cm

The Baroness Elsa von Freytag-Loringhoven in her Greenwich Village apartment, December, 1915

Elsa von Freytag-Loringhoven Wheels are Growing on Rose Bushes, 1921-22 Ink on paper, 5 3/4 x 8 3/4 inches

Maria Lassnig: Body Awareness

I realized that I have done y’all, dear readers, a huge disservice. I have failed to post anything on one of my FAVORITE artists in any genre EVER. Her name is Maria Lassnig, she hails from Austria, born September 8, 1919 in Kappel am Krappfeld, Carinthia. Lassnig built her artistic career by bravely exploring the insecurities associated with the internal sensations of the body by shamelessly exhibiting, for our viewing pleasure, her own body in paintings and drawings.

Since the 1940s, her self-portraits boldly explore “body awareness,” her term for these paintings, to reveal insights into Lassnig’s own feelings of sensations within her body. The viewer is invited to share with Lassnig, the senses felt within her own skin and we don’t just observe, we experience her fright, or timidness, or violence, or confusion. Her paintings are meant to make the viewer feel uncomfortable and the powerful effect of her images ironically comes from their vulnerability. Her naked, bald, and wide-eyed self-portraits brazenly posit her bare body for examination. Looking at them we see exposed, fragile, fleshy, soft fgures, naked with enlarged eyes full of feeling., and we empathize with these exposed figures.

Lassnig’s approach to painting is rooted in rendering only the parts of her body that she can feel while painting. Through this approach she has created an oeuvre originating with the recognition of the human body’s potential as a medium for generating images,  constituting a sort of autobiographical attempt to render her inner states on canvas. A lot of her portraits and later figures are shown without limbs, clothes, or hair because these are parts of herself she cannot sense while painting. In her large-format works Lassnig investigates themes like gender-roles, with figurative elements presented against monochromatic backgrounds in a colour-palette that  prominently features a neon-ish sea green, characteristic of her work. The spectrum of motifs ranges from a double-portrait (“Adam und Eva,” 2010) and the presentation of a couple making love, an amorphous green creature seeming to float above them (“Die Inspiration,” 2010), to a half-portrait of a young man who literally reveals his innermost, insofar as he opens up his chest with his own hands (“Der Jüngling,” 2011). Being completely unafraid of taking on unpleasant topics, Lassnig produced a series of paintings that places the violence of rape uncomfortably before the viewer, with the intention of allowing us to experience the victims’ terror and helplessness while simultaneously relating to the dominance and pleasure felt by the rapist. A lot of her self-portraits in later life are such dualities that comment on youth and age.  She exposes similar feelings of helplessness felt by the very young and the very old by juxtaposing a childhood companion, the teddybear, with her frail and aged body (“The teddy is More Real than Me,” 2002).

“The teddy is more real than me”

Following her graduation from the Vienna Academy of Fine Arts in 1944, Lassnig contributed greatly to the emergence of art informal in Austrian in the early 1950s. She met and befriended Arnulf Rainer and Josef Mikl and the three abstract painters exhibited in Vienna around this time. During this time she was part Hundsgruppe, which also included Arnulf Rainer, Ernst Fuchs, Anton Lehmden, Arik Brauer,  and Wolfgang Hollegha . The works of the group were influenced by Abstract Expressionism and action painting. Later, in the 50’s, she joined with Surrealist Andre Breton and Benjamin Peret. Lassnig’s early exposure to Art Informal, Surrealism, and Gutal left apparent influences in her softened graphic, but still brutally honest style. She remained singular from her contemporaries for the linguistic interests she pursued in her portraits. She also left her mark on the development of feminist art in the 60s, 70s, and 80s. In 1980, after living for several years between Paris and New York, Lassnig returned to Vienna for a position at the Academy of Art, becoming the first female Professor of painting in a german-speaking country. She was also the first woman artist to win the Grand Austrian State Prize in 1988, and in 2005 she was awarded the Austrian Decoration for Science and Art.

Lassnig has also exhibited extensively through the world.  She represented Austria, with Valie Export, at the Venice Biennale in 1980, and has twice exhibited at documenta. In 1996 a retrospective of her work was held at the Centre Georges Pompidou. For the  2005-2006 year she she designed the large scale picture (176 m2) “Breakfast with Ear” as part of the exhibition series “Safety curtain” the Vienna State Opera. In 2008 an exhibition of her recent paintings was shown at the Serpentine Gallery which also travelled to the Contemporary Arts Center in the Lois & Richard Rosenthal Center for Contemporary Art in Cincinnati, (2009). The exhibition was curated by Julia Peyton-Jones and Hans Ulrich Obrist in association with Rebecca Morrill and featured thirty canvases and seven films. Lassnig’s recent solo exhibitions include, It’s art that keeps one ever young, Städtische Galerie im Lenbachhaus, Munich, Germany, (2010), ‘Maria Lassnig. Films’, Friedrich Petzel Gallery, New York NY, (2011), and THE LOCATION OF PICTURES, Deichtorhallen; Hamburg (2013).

Finally, Lassnig received the 55th Venice Biennale’s Golden Lion for Lifetime Achievement, awarded at the Biennale’s June 1 opening, with the Italian artist Marisa Merz. Lassnig is now 93 and it is a great honor to be awarded this in honor of her long and prolific career. In old age, many artists are criticized for becoming soft, conventional, “losing their style/vision/fire/<insertcritique> but Maria Lassnig has proven that age cannot be held up as a barrier to art making, to impact-full art making, and she continues to produce art that pushes boundaries to expose dualities to reveal insights into ourselves, bodily and conceptually.

Freya Jobbins

Ohhhhhh my gosh just look at these dolls sculpture portraits! In this latest series, Freya Jobbins, born in Johannesburg, South Africa and raised in West Sydney, uses dismembered plastic parts from old dolls and  toys to create these unsettling portraits of people and pop culture icons. The result is polarizing to be sure,— you either loved the sculptures or hated them— but regardless they are the byproducts of an  incredible amount of labor and time. Each anatomical amalgamation requires an intense observation of form and color.

But seriously, TOYS. How can you not appreciate the whimsy of toy sculpture? Oh the nostalgia…

For this series, Jobbins drew influence from Guiseppe Archimboldo’s fruit and vegetable paintings as well as Ron Mueck’s oversized humans. The immaculate execution of her work belies Jobbins first love, printmaking; which she prefers and considers to be her true “voice.” She majored in printmaking, receiving her diploma in Fine Arts from South West Sydney Institute of TAFE. Currently she is continuing her studies in printmaking at NAS and Wollongong TAFE while balancing her work with plastic toy sculptures.

You can see more freaky faces in her online gallery and on Facebook.

 

Short Bit: Jenny Holzer

Jenny Holzer is a conceptual artist living and working in New York. The main objective of her oeuvre is to make narrative or commentary an implicit part of visual objects. Essentially, her medium are words. Belonging to a generation of feminist artists from the 80’s, though her work began in the 1970s with the New York City posters. Her first experiments with projecting anonymous messages resulted in her Truisms (1977–9), which she printed onto broadsheets in black italic script on white paper and wheat-pasted to buildings, walls, and fences in and around Manhattan. These one-liners are extractions from a scholarly reading list from the Whitney Independent Study Program, where Holzer was a student. Recently, Holzer’s light projections on architecture and landscape challenge ignorance and violence with humor, kindness, satire, and moral courage.

Projections (1996-2011)

In 1981, Holzer began printing on aluminum and bronze plaques, the presentation format used by medical and government buildings, and dubbed the series  “Living.” The following year, Holzer installed the first large electronic sign on the Spectacolor board at Times Square, New York thanks to a sponsorship from the Public Art Fund program.  Using L.E.D. (light emitting diode) allowed Holzer to communicate to a much larger audience. The texts in her subsequent Survival series (1983-85) comment on the great pain, delight, and ridiculousness of living in contemporary society. In her 1986 exhibition at Barbara Gladstone Gallery in New York, Holzer revealed the maturity of her concept when she introduced her first total environment, where viewers were confronted with the relentless visual buzz of a horizontal LED sign and stone benches leading up to an electronic altar. This practice culminated in the installation at the Guggenheim Museum in 1989 of a 163 meter-long sign, forming a continuous circle spiraling up the parapet wall.

The third phase of Holzer’s For the City, projected on the Fifth Avenue side of the New York Public Library, October 6–9, 2005

For more than thirty years, Holzer boldly displayed her astringent ideas, arguments, pleasures, and sorrows in public places and international exhibitions; including 7 World Trade Center, the Reichstag, the Venice Biennale, the Guggenheim Museums in New York and Bilbao, and the Whitney Museum of American Art. Whether formulated as a T-shirt, as a plaque, or as an LED sign, public display and reception are integral to the concept of her work. Holzer received the Leone d’Oro at the Venice Biennale in 1990 and the Crystal Award from the World Economic Forum in 1996. She holds honorary degrees from Ohio University, Williams College, the Rhode Island School of Design, The New School, and Smith College. She received the Barnard Medal of Distinction in 2011.

Installation in lobby at 7 WTC

NASREEN MOHAMEDI: Becoming One

Open and inquisitive, Nasreen Mohamedi embarked on an intimate, personal artistic practice without precedent in Indiana art dominant during her career.  Her simple works are quiet, reflective, and sensitive but absolutely resolute; and this focused quality is what characterizes her oeuvre. Mohamedi’s centered vision allowed her to develop a distinctive art practice, which would later mark a pinnacle for modernism in Indian art, becoming essential for progression.

Her body of work possesses a totality of perspective, unity of thought and fluid merging of action. The purpose is absolute, surrendering extravagance, conflict, and contrast for order, direction, and cohesion. No matter what media Mohamedi chose, ink on paper or through lens on film, her controlled gaze perceived all connections and cemented what seemed separate into a singular, co-dependent whole. She did this by breaking down structures to establish order with the essence of form. This process is constant and continuous; with time losing its meaning and space becoming infinite.

The Photographs series are not abstract but neither are they representational, citing instead encounters of tangible-ness. Stripped of color leaving only dark and light, they seem to transcend into something greater than the apparent structures on the surface. They reach out to the viewer, perceiving you as the artist once perceived their convergence of nature and individual. This series reminds me of Agnes Martin and other minimalists, but though Mohamedi knew of the techniques of her contemporaries, grouping her work within the context of a European movement, such as minimalism, would be a mistake for omitting an understanding of her vision of order, direction, and unity to the art evolution in India.

The Series drawings, rendered simply on graph paper, defy their diminutive size with a monumental presence. Their simplicity, differing only slightly by stroke of the line, connects them all, implying tangible, embryonic systems, that posses a delicate and continuos life of their own. The most personal of all her works is her Diaries (1968- 1988). Again, they are small, palm-sized, but by encapsulating the experience of two decades they underscore the intensity and strength of Mohamedi’s commitment to her cynosure. Words and forms, inspirations and struggles life and art, all co-exist on the pages as a singular unite, one unable to exist without the other.

Nasreen Mohamedi was born in 1937 in Karachi, India and moved with her family to Bombay in 1944. She studied at St. Martins School of Art in London from 1954 to 57 and later in Paris from 1961-63 under a French Government scholarship. On her return to India she joined the Bhulabhai Desai Institute where she came into close contact with artists Tyeb Mehta, M.F. Husain and V.S. Gaitonde. And in 1964 she accompanied M.F. Husain to Rajasthan as a photographer while he worked on his film ‘Through the eyes of the painter’. Mohamedi joined the M.S. University, Faculty of Fine Arts, in Baroda in 1972 and continued to teach and work there until 1988.  Sadly, Nasreen Mohamedi passed away in 1990 in Kihim, India.

To honor her oeuvre the Talwar Gallery in New York is hosting an exhibition titled Becoming One of her photographs, drawings, and diaries from September 13, 2013 through January 25, 2014, offering a chance for viewers to observe Mohamedi’s focused vision. This exhibit will also include her never before seen works.