#Nilima Sheikh

[mimiminimal]

Nilima Sheikh -  Summer Tryst, 2004.   Mixed tempera on vasli paper / 28.5 x 34 cm.  

#Nilima Sheikh #Summer Tryst

[motifcollector]

Nilima Sheikh, We Must Bear, 2014

“We Must Bear, which Sheikh painted specifically for a solo exhibition at the Art Institute, comments not only on the troubles that have beset the Kashmir Valley since 1989, but also on the ongoing hardships its residents have borne over the centuries. The work is based on a quotation from a sixteenth-century verse by Nund Rishi (Sheikh Nuruddin Nurani), which can be seen at upper left. Kashmiris’ struggles are reflected by the weight of the body that the central figure is carrying across a field strewn with images of loss and war.” (from the Art Institute of Chicago)

#nilima sheikh #art #contemporary art

[desi-art-blog]

Nilima Sheikh

#Nilima Sheikh #Akka Mahadevi #Nativity #Ritualised Mourning #Champa on the Swing

[cranktheartanddesignstudio]

Terrain: Carrying Across, Leaving Behind

Terrain: Carrying Across, Leaving Behind

Artist: NILIMA SHEIKH Nilima Sheikh, a Baroda-based painter, portrays the delicacy of the feminine in her faultless visual compositions by laying gold paint over washes of what many women’s past has been. Both men and women’s forsaken deeds reveal how vulnerability leaves wounds of various kinds for both sexes, portraying themselves as stories that come and go but never change. Her work…

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[thenewgothictwice]

Nilima Sheikh (b.1945) - Ritualised Mourning, Marshia 1984–1985

#nilima sheikh

[lucasartres]

Nilima Sheikh. Ritualised Mourning, Marshia. 1984.  

#Nilima Sheikh #lucas artists program #lucas artists fellows #Montalvo arts center #art #art residency #artist residency #painting #contemporary art #postmodern art #contemporary painting #Indian artist #female artist #feminist art #ritualised morrning #figurative #figure painting

[theegoist]

Nilima Sheikh (Indian, b. 1945) - Dream at Daybreak 3, Tempera on Sanganer vasli, 48.0 x 33.0 cm (2018)

#nilima sheikh

[cupofmeat]

"Journeys 2", Nilima Sheikh, 2018. Tempera on Sanganer vaslil.

#art #nilima sheikh

[jareckiworld]

Nilima Sheikh  -  Dying Ravan   (tempera on Sanganeri paper pasted on board, 2005)

#Nilima Sheikh #indian art #contemporary indian art #women's art

[myartville]

Artist of the Day

Nilima Sheikh

Mother Sequence 2016 Mixed tempera on sanganer paper 24.1 × 34.3 cm

Nilima Sheikh has inspired several generations over her 50 year career as a Baroda based painter. Sheikh has a solid position in the history of Indian Modernity, and was a student of KG Subramanian. Rooted in Eastern painting traditions such as miniature painting, oral tradition found in vernacular folk songs, as well as her own life experience, Sheikh continues to create bodies of work that evoke mystical imaginary landscapes that address feminine experiences. Sheikh has a gift for storytelling. Inspired by reading Rabindranath Tagore, the artist became interested at an early age in the connection between stories and images, an age-old connection from murals to ancient manuscripts. Beyond appropriating traditional techniques in her work, Sheikh works with figure and narration in her practice, which has also beautifully translated into theatre sets such as the 1993 Vivadi theatre production of Umrao, and also children’s books.

One series that earned Sheikh international acclaim and has exhibited extensively internationally was ‘When Champa Grew Up,’ a narrative and delicate 12 work series from 1984-1985 which revealed a tragic and too familiar story of a woman murdered for her dowry money by her husband’s family. Sheikh used traditional tempera painting techniques to question the darker sides of Indian traditions such as arranged marriages, which often subvert women. The artist used text from vernacular folk songs along with the paintings, a motif that has continued in her work decades later. Her painterly treatment of tempera also continues in her practice but in increasingly ambitious scales. In 1996, ‘Shamiana’ was unveiled at the Second Asia-Pacific Triennial, an installation with six hanging tempera on canvas scrolls, covered with a canopy made of synthetic polymer paint on canvas that referenced a marriage tent.

Beyond India, the artist turns to visual references from Kashmir, Turkey, Iran, and even pre-Renaissance Italian painting to create introspective works that question the meaning of the turbulent political landscape around her. Sheikh visited Kashmir often in her childhood, and was fascinated by it, but it was not until the 2002 Gujarat riots, which caused her immense internal turmoil, that she was able to directly address her connection with this state. Trained as a historian before she was trained as a painter, Sheikh delved into the history of Kashmir, and believes that Kashmir’s turmoil “is owing to our lack of understanding (of the place and people there) as Indians…The artist’s role is to bear witness - to both the past and present.” Two shows at Chemould, one in 2003 and one in 2010, address the artist’s deep concern with Kashmir. In the first exhibition, ‘The Country Without a Post Office: Reading Aga Shahid Ali,’ the artist connected with the Kashmiri poet’s words and illustrated the trauma found there and her thoughts with a vibrant and violent palette.  In her 2010 show at Chemould Prescott Road, the artist exhibited a series of 9 painted scrolls reflecting her 8 years of arduous work called ‘Each Night Put Kashmir in Your Dreams.’ Her use of the motif of the scroll, a reference to Kashmir’s forgotten Buddhist past, allowed her to draw viewers into Kashmir outside of existing stereotypes which fuel the conflict that Sheikh hopes will diffuse with her lyrical works.

Anita Dube, the curator of the upcoming KMB that is hosted by the Kochi Biennale Foundation (KBF), announced Sheikh’s name as the First Artist for the fourth edition of Kochi-Muziris Biennale (KMB), which begins December 12, 2018 courtesy of artsy.net, gallerychemould.com

#art #artist #artistoftheday #Nilima Sheikh #artville #Mother Sequence #kmb #kbf #kochimuzirisbiennale2018

[mimiminimal]

Nilima Sheikh  -  Reading Agha Shahid Ali (Set of 38 Images), 2002-2003.

#Nilima Sheikh #Reading Agha Shahid Ali

[standingatthefence]

Nilima Sheikh (L) and Geeta Kapur (R) standing before Hinnerk Scharder's site-specific artwork being installed at Kasauli Art Centre during the Indo-German Artists Workshop, September 1983. Image courtesy of Vivan Sundaram.

#Nilima Sheikh #Geeta Kapur #Hinnerk Scharder #art #artists #installation #India #Vivan Sundaram

[polkadotmotmot]

Nilima Sheikh - Untitled, 1960

#up

[artasnoidea]

POPULATION

Abounaddara Akinbode Akinbiyi Nevin Aladağ Danai Anesiadou Andreas Angelidakis Aristide Antonas Rasheed Araeen Ariuntugs Tserenpil Michel Auder Alexandra Bachzetsis Nairy Baghramian Sammy Baloji Arben Basha Rebecca Belmore Sokol Beqiri Roger Bernat Bili Bidjocka Ross Birrell Llambi Blido Nomin Bold Pavel Brăila Geta Brătescu Miriam Cahn María Magdalena Campos-Pons and Neil Leonard Vija Celmins Banu Cennetoğlu Panos Charalambous Nikhil Chopra Ciudad Abierta Marie Cool Fabio Balducci Anna Daučíková Moyra Davey Yael Davids Agnes Denes Manthia Diawara Beau Dick (1955–2017) Maria Eichhorn Hans Eijkelboom Bonita Ely Theo Eshetu Aboubakar Fofana Peter Friedl Guillermo Galindo Regina José Galindo Israel Galván, Niño de Elche, and Pedro G. Romero Daniel García Andújar Pélagie Gbaguidi Apostolos Georgiou Yervant Gianikian and Angela Ricci Lucchi Gauri Gill Marina Gioti Beatriz González Douglas Gordon Hans Haacke Constantinos Hadzinikolaou Irena Haiduk Ganesh Haloi Anna Halprin Dale Harding David Harding Maria Hassabi Edi Hila Susan Hiller Hiwa K Olaf Holzapfel Gordon Hookey iQhiya Sanja Iveković Amar Kanwar Romuald Karmakar Andreas Ragnar Kassapis Kettly Noël Bouchra Khalili Khvay Samnang Daniel Knorr Katalin Ladik Lala Rukh (1948–2017) David Lamelas Rick Lowe Alvin Lucier Ibrahim Mahama Narimane Mari Mata Aho Collective Mattin Jonas Mekas Angela Melitopoulos Phia Ménard Lala Meredith-Vula Gernot Minke Marta Minujín Naeem Mohaiemen Hasan Nallbani Joar Nango Rosalind Nashashibi and Nashashibi/Skaer Negros Tou Moria Otobong Nkanga Emeka Ogboh Olu Oguibe Rainer Oldendorf Pauline Oliveros (1932–2016) Joaquín Orellana Mejía Christos Papoulias Véréna Paravel and Lucien Castaing-Taylor Benjamin Patterson (1934–2016) Dan Peterman Angelo Plessas Nathan Pohio Pope.L Postcommodity Prinz Gholam R. H. Quaytman Gerhard Richter Abel Rodríguez Tracey Rose Roee Rosen Arin Rungjang Ben Russell Georgia Sagri Máret Ánne Sara Ashley Hans Scheirl Marilou Schultz David Schutter Algirdas Šeškus Nilima Sheikh Ahlam Shibli Zef Shoshi Mounira Al Solh Annie Sprinkle and Beth Stephens Eva Stefani K. G. Subramanyan (1924–2016) Vivian Suter El Hadji Sy Sámi Artist Group (Keviselie/Hans Ragnar Mathisen, Britta Marakatt-Labba, Synnøve Persen) Terre Thaemlitz Piotr Uklański Jakob Ullmann Antonio Vega Macotela Cecilia Vicuña Annie Vigier & Franck Apertet (les gens d’Uterpan) Wang Bing Lois Weinberger Stanley Whitney Elisabeth Wild Ruth Wolf-Rehfeldt Ulrich Wüst Zafos Xagoraris Sergio Zevallos Mary Zygouri Artur Żmijewski

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Documenta14, 2017

[thenewgothictwice]

Nilima Sheikh (B. 1945) - Akka Mahadevi, gum, casein and tempera on paper

#nilima sheikh

[selfportraitsofcolor]

Manisha Gera Bawani, b. 1967 Self Portrait India (c. 2010s) [Source]

Artist, art collector and photographer Manisha Gera Baswani was often struck by the lack of candid portraits of contemporary Indian artists. “It all started with my artist friend Anjum Singh looking for a photograph of her mother Arpita Singh with fellow artist and friend Nilima Sheikh. The two had been friends for years and barely had photographs together,” she says.

Baswani, who describes herself as a happy trigger woman, also began revisiting the photographs she had taken over the years at different shows, and artist studios and homes around the same time. “I realised that there was a lot of history that was potentially getting lost.” It set her on a journey of photographing India’s exquisite art talent, one that led her to review her own art practice as well.

Over the last eight years, Baswani, who is based in Delhi, has been photographing other artists, many of whom are her peers. Some of the works from her portfolio were recently on exhibit at the India Art Summit in New Delhi.

The photographs aren’t those regular posed portraits you often seen in magazines. Much like a proverbial fly on the wall, she has hung around artists — in their studios, at galleries and at art exhibitions to capture candid portraits of the artists at work. Many look pensive; some seem lost in thought; others are caught talking to fellow artists. Her portrait of Mithu Sen has her reflected on a glass surface, appearing meditative. In another portrait, Neelima Sheikh walks across the venue of the India Art Summit, tenderly holding her grandchild.

#Manisha Gera Bawani #india #photography #woman artist #2010s