Nageen Shaikh is an art historian and critic. She is most interested in production over ideation in South Asian art, early modern and contemporary art, artist studios, languages, and collaborations between art materials, design, and science.
Book Review
Historian Atreyee Gupta unravels the threads of catchall terms like “Global South” to trace the connections between Indian painters and anticolonial figures like Frantz Fanon.
Book Review
Art history has struggled to address a contradictory artistic output that engaged with Japan’s modernization and occupation, a new book argues.
Book Review
The cover of a new book draws you in for Kahlo, but you will stay for Mary Reynolds, the innovative bookbinder and partner of Marcel Duchamp.
Book Review
Time Machines reveals entanglements between the largely forgotten optical telegraph and artistic movements in 19th-century France.
Book Review
Like an art history detective, Mei Mei Rado mines textiles and techniques to reveal cross-cultural Chinese-European liaisons driven by nationalism and a keen interest in design.
Book Review
No Man’s Land, Pakistani artist Amin Gulgee’s first comprehensive monograph, maps his interest in exploring ritual, science, grief, and healing in a visual language all his own.
Art
An exhibition hints that Jean-Léon Gérôme and his contemporaries deserve a second look for the virtuosity of their photorealism. I don’t take the bait.
Art
An exhibition hints that Jean-Léon Gérôme and his contemporaries deserve a second look for the virtuosity of their photorealism. I don’t take the bait.
Books
Rosina Buckland’s book dispels the whitewashed argument that Meiji-era art resulted from foreign influences that watered down local forms.
Books
A new book on Andreas Vesalius humanizes the 16th-century scientist by focusing on his creative approaches and small frustrations.
Books
From Mesoamerican rituals to royal Asian courts, Holy Smoke explores incense vessels and their rich network of makers, biotic substances, and knowledge.
Books
Myth and Menagerie urges us to view lions as sentient beings and not as timeless, passive objects of representation for 19th-century French artists.