Featuring: Jamini Roy, F. N. Souza, S. H. Raza, M. F. Husain.

As compared to the previous year, 2021 allowed art to stage a comeback with shows and exhibitions.

Featuring: Faiza Butt, Adeela Suleman, Sadequain, Seher Naveed, Khadim Ali, Waqas Khan, Aisha Khalid, Salman Toor

The lobby [of the Kimpton Banneker in Washington DC] also features an abstract mural by Nigerian-American artist Victor Ekpuk in addition to work from Aziza Claudia Gibson-Hunter, a co-founding member of Black Artists of DC.

Kavi Gupta showed A mended heart, a lightened soul and A murmer of a prayer, both 2021 by Guyanese artist Suchitra Mattai who has used every day wearable objects tied to her cultural heritage – cut, woven, and tied vintage saris with mounts of ghungroo bells – to create new landscapes, or maps.

One such site is Zarzis in southeastern Tunisia, where last June Rachid Koraichi, an Algerian artist, decided to build a cemetery, scented by jasmine blossoms and flowering orange trees, that he calls the Jardin d’Afrique, or Garden of Africa. I have not been to see this garden-cemetery, but I was struck by a beautiful description in the newspaper Le Monde, in which a reporter noted the presence of “yellow and green cups, meant to attract rainwater and birds,” set into the white graves. Mr. Koraichi offers this paradisiacal beauty to — in his words — those “damned by the sea,” as compensation for the suffering they endure on the way to their deaths. The Garden is already nearly full to capacity, bearing witness to the scale of this horrific modern hecatomb.

“Olivia Walton, who recently took over as chairperson of the Crystal Bridges Museum of American Art from billionaire founder Alice Walton, bought a work by Suchitra Mattai made of saris from the artist’s mother and grandmother, priced around $30,000.”

The Washington, D.C.-based lawyer, philanthropist, and art collector Schwanda Rountree has long recognized the importance of assembling a collection carefully, with intention, and over time. “I first fell in love with art when I was a kid,” Rountree said. “Whenever I got a chance to be surrounded by art, I was in a joyful space.”

As the UAE celebrates its Golden Jubilee, Kazem reflects on how rapidly the art scene has evolved – from once-in-a-year shows in the 1980s to an amalgamation of galleries, institutions, collectives and increasingly global events today.

Seeing how the idol makers brought the Goddess Durga to life, a seven-year-old child from a remote village in Midnapore’s Tamluk area tried his tender hands in clay molding and even managed to sell a few pieces at the local fairs for as little as 10-15 paise in the early 70s. Who would have thought back then that some 48 odd years later that very child’s artwork would sell at a premium all over the country and beyond? That’s Paresh Maity for you.

We recently sat down with Nigerian-born artist and architect Peju Alatise at her new Glasgow studio to find out more about her back-to-back Venice Biennales, how she juxtaposes being a contemporary architect and fine artist, and how Yoruba culture has helped her work stand out in today’s global art world.

The works of Youdhi Maharjan and Monika Bravo are as different as the artists’ personalities yet exemplify these ideas, and the two share strong connections in their approaches to creativity and the meaning of art. Together with the other artists featured in the exhibition The Power of Intention: Reinventing the (Prayer) Wheel, which brings together select examples of traditional and contemporary art, they take the Tibetan prayer wheel on a conceptual spin.

For Algerian artist Rachid Koraïchi, art has the power to enact change, and his paradisical cemetery for migrants who drowned while crossing the Mediterranean is a shining beacon of hope.

The Phillips Collection presents bold, contemporary site-specific commissions by DC-based artists Wesley Clark, Nekisha Durrett, and Victor Ekpuk.

2021-22 Sherman Fairchild Fellow Shiloah Coley speaks with Victor Ekpuk about the sociopolitical signs and symbols in his centennial commission.

Ekpuk, a Nigerian American artist, painted a mural for a new gallery, Arts of Global Africa, in March 2017. His art is inspired by nsibidi, a sacred means of communication among male secret societies in southeastern Nigeria. Evolving out of the graphic and writing systems of nsibidi, Ekpuk’s art embraces a wider spectrum of meaning to communicate universal themes.

The exhibition juxtaposes precious old manuscripts, grouped together in three display cases, and works by contemporary artists and writers, most of which are from the Cabinet d’Art Graphique at the Centre Pompidou, in which writing is combined with imagery, sometimes even disappearing completely. This journey through inscriptions bears witness to a primordial interweaving of writing and drawing and reveals a universal vital energy. This energy circulates through gestures and lines, fragile crucibles of history, human beliefs and emotions.

A contemporary American painter of African American and South Asian descent who lives in Weston, Connecticut, Mequitta Ahuja casts herself as mythic warriors, epic heroes, and power figures descending from traditions across cultures. She synthesizes her multicultural heritage into works that evoke the process of identity construction.

"The difficulty of having a show during this time is that the atrocities in the world today make it difficult to have any kind of celebration while so many around the world find themselves in mourning, but I suppose that revelation is a continuous need. I wish that people could come and enjoy it with me but I understand that that's not possible at the moment."

Aicon Gallery New York is proud to announce Geometry and Symmetry | New Works by Rasheed Araeen, a major new exhibition by the London-based, Pakistani-born artist. A pioneering artist and voice for alternative and Non-Western interpretations of Minimalist and Conceptual art in the 1960s and 70s, Araeen’s work in this exhibition spans his oeuvre from his beginnings in Pakistan and London to the present day.