Chitra Ganesh’s appropriations of traditional Hindu and Buddhist artworks are part homage to the past, part alternate realities and part badass feminist interventions.
Far from serving as an excuse for self-pity or left melancholy, the Occupy Museums event was an effective counter-inaugural: a ceremony marking a wider commitment to shared struggle.
In artist Chitra Ganesh’s latest exhibition, Protest Fantasies at Gallery Wendi Norris in San Francisco, protest becomes something more than rebellion — it becomes internal.
Seeking revelation in the ways that war is curtailed, hidden, biased, and unfinished, Frames of War, a rigorous group show at the small but dauntlessly ambitious Bushwick nonprofit Momenta Art, approaches state violence through the edges of recognition.
As long as I can remember, I’ve organized and been involved in artist groups and collectives.
The 2015 Armory Show delivers pretty much what you’d expect of the 2015 Armory Show: some quite good art, some pretty bad art, and a lot of completely harmless stuff in between.
The centerpiece of Chitra Ganesh’s new Brooklyn Museum exhibition, a mural that depicts the Hindu goddess Kali, has provoked the ire of the president of the Universal Society of Hinduism.
Radical Archives is a two-day conference organized by the artists Chitra Ganesh and Mariam Ghani running today and tomorrow at New York University (NYU). Collaborators since 2004 on the project “Index of the Disappeared,” Ganesh and Ghani organized Radical Archives as part of their 2013–14 residency at the Asian/Pacific/American Institute at NYU.