The exhibition Clapping with Stones is a chilling reminder that the history of art is also the history of power.
In her fiber sculptures, Mrinalini Mukherjee achieved an alchemic relationship between materials and process, fusing abstraction and figuration to indelible effect.
Harmony Hammond’s work can appear bewildering at first, expansive in its diametrical explorations, and sprawling in its material juxtapositions.
Today, more than 100 million copies of Pamela Colman Smith’s Tarot card designs, the Rider-Waite-Smith Deck, are in circulation in over 20 countries, making it the most popular set ever made.
Krishna Reddy was one of the most innovative printmakers at the most innovative atelier in Paris.
The architectonics of Leslie Wayne’s structures exude impermanence and a poetic expression of loss.
The testimonies of Navjot Altaf and Judy Chicago speak to silence, as truth does to power.
The Progressive Artists’ Group represented a microcosm of class, caste, and religion, making them the perfect poster boys for the Nehruvian ideal of secularism.
Zarina’s collages evoke the intense yearnings of a migrant in search of a home.
Raja, who was 49 when he passed away on July 20, charted a singular artistic and personal trajectory between America and India.
For almost 20 years, Gauri Gill has documented the lives of nomads, peasants, tribals, migrants, and other marginalized communities of rural India.
Chitra Ganesh’s appropriations of traditional Hindu and Buddhist artworks are part homage to the past, part alternate realities and part badass feminist interventions.