Nasreen Mohamedi’s works from the late 1970s—intricate monochrome lattices previously on fine display at the Met Breuer’s landmark solo in 2016—operate so powerfully in the realm of “pure” abstraction that the critic Geeta Kapur has placed her “within a great lineage of metaphysical abstraction in a way that no other [Indian] artist is.”
“Pull With a Direction,” a lovely and engrossing show at Talwar Gallery, presents a compressed, in-a-nutshell version of the development of Nasreen Mohamedi (1937-1990), one of the most original modernist artists of post-World War II India. While following the trajectory of the much larger retrospective at the Met Breuer in 2016...
"One creates dimensions out of solitude." - Nasreen Mohamedi's diary entry, Sept. 1968
In 1968 the Indian artist Nasreen Mohamedi noted in her diary, ‘One creates dimensions out of solitude.’ An apt expression when most of the world finds itself in isolation, reminding me of her Untitled (circa 1970), a quiet and elusive work in which a realm of patterned, ruled lines appears to be subtly and effortlessly emerging from a gray wash...
The Kiran Nadar Museum of Art turns ten this year. We celebrate the past decade, bringing back vignettes that will highlight the museum’s multi-focal vision, its evolving mission, directions and journeys undertaken, mapping intersecting histories of the subcontinent.
It feels like the right time to reassert global consciousness in the universe of art. Even some of New York’s large and conservative museums have been thinking this.
The work of Nasreen Mohamedi (1937–1990) seems both a textbook example of the complex fusion of intellectual, cultural and personal experience that constitutes international Modernism, and an ideal opportunity, particularly as one of the inaugural offerings at the newly opened Met Breuer, for the Metropolitan Museum of Art to demonstrate how it might expand both the museum’s and the public’s understanding of the ‘global’, the ‘local’ and the ‘individual’.
These immaculate, quiet, and perfectly disciplined drawings are exercises at one level, and at another, they constitute the very proof that lines drawn with the aid of a set square, a ruler and a pair of compasses can create the premises and conditions of art.
Nasreen Mohamedi used the grid as a scaffolding to order her thoughts, feels Meera Menezes, as she moves through a major retrospective in New York
"One of the inaugural exhibitions at The Met Breuer is a retrospective of Indian artist Nasreen Mohamedi (1937–1990). Organized by the Department of Modern and Contemporary Art, the exhibition spans Mohamedi's entire career, bringing together works on paper, photographs, and little-seen diaries."
Mohamedi’s retrospective feels like a private enclave, suiting a woman who wrote of creating art from solitude. The curators, Sheena Wagstaff with Roobina Karode of the Kiran Nadar Museum of Art in New Delhi and Manuel J. Borja-Villel of the Reina Sofia in Madrid, aim for spaces suitable to works on paper.
This traveling career survey of the Indian artist Nasreen Mohamedi (1937-1990) is in every way exquisite.
Stop the Presses.
In her art, she seems to have been released from the burden of comprehension and yielded herself up to that terrible void — which was also, say the mystics, the divine, the infinite.
The galleries on the second floor of The Metropolitan Museum of Art’s brand new enterprise, The Met Breuer on Madison Avenue, devoted specifically to modern and contemporary art opened with a retrospective of the Indian artist Nasreen Mohamedi, indicating a commitment to non-Western art for the museum, and conversely securing the artist’s prominence within a global narrative of modernism.
Pianist Vijay Iyer has an unlikely backstory for a musician who’s been voted jazz artist of the year in Downbeat magazine’s critics’ poll, received a MacArthur Foundation genius grant, and is a professor in Harvard’s music department.
In her landmark essay on the grid, Rosalind Krauss outlined the form’s reductive modernist ontology, and its exemplary capacity to align the work of art with its material support.
“We are proud to present Nasreen Mohamedi in our first wave of exhibitions at The Met Breuer,” said Thomas P. Campbell, Director and CEO of The Met. “Mohamedi’s work calls on us to expand our understanding of graphic minimalism in a transnational context. It is a project that speaks to our interest in introducing a broad range of audiences to the innovative work created by artists across borders.”
This traveling career survey of the Indian artist Nasreen Mohamedi is the smaller of the two Metropolitan Museum's two debut exhibitions in the Breuer Building, once occupied by the Whitney Museum, and it is in every way exquisite.
When a beloved building goes dark, a hole opens in the urban fabric: so it was when the Whitney Museum left its old home on New York’s Upper East Side, constructed by Marcel Breuer in blunt granite and concrete in 1966.
This week, thousands of miles away from the country she called home, one of our most important but relatively less remembered artists is having a retrospective in New York City.
A new exhibition at the Met Breuer gallery in New York pays tribute to Mohamedi, a pioneering artist who quietly redefined South Asian modernism.
A retiring presence in Indian art during her life, Nasreen Mohamedi is now at the center of global issues of contemporary art.
The opening of the Met Breuer signals opportunity and responsibility in equal measure
When the Metropolitan Museum of Art announced that it would be taking an eight-year lease on the Marcel Breuer building left vacant by the Whitney Museum’s move downtown, the first question everyone asked was: Why?
My whole life, I’ve entered the Metropolitan Museum the same way: up the majestic stairs, through the vaulted lobby, then right towards Ancient Egypt, left towards Greece and Rome, or straight ahead, down a hallway of ancient bric-a-brac leading back to the Middle Ages.
FT writers select some of the artists, performers or events that will make their hearts beat faster
“I first encountered Mohamedi’s work at the Walker Art Center, when my colleague [curator] Douglas Fogle included several of her photographs in an exhibition [“The Last Picture Show: Artists Using Photography, 1960-1982,” 2003-04]. I found them extraordinary.
This epic show takes Kazimir Malevich’s radical painting of a black square – first shown in Russia 100 years ago – as the emblem of a new art and a new society. The exhibition features over 100 artists who took up its legacy, from Buenos Aires to Tehran, London to Berlin, New York to Tel Aviv. Their paintings, photographs and sculptures symbolise Modernism’s utopian aspirations and breakdowns.
Nasreen Mohamedi reveals the artist’s significant contribution to modernism that expands the boundaries of Western art history and offers an opportunity to reconsider the meaning of abstract art. Featuring more than 50 of her works, Nasreen Mohamedi charts the evolution of Mohamedi’s work, exploring how she, like Mondrian, moved away from a figurative style and developed her own unique approach to abstraction.
This exhibition brings together a group of international artists active between the 1950s and today, all of whom explore new frontiers for abstraction. The line functions in a variety of ways, including: writing, weaving, notating, diary-keeping, nature, the body, the environment, and the everyday; each resulting in expanded, eroded, and perverted grids generated by a liberating line.
Abstract Drawing is Drawing Room’s fourth artist-curated exhibition, a strand of the programme that aims to provide insight into the ideas that inform the work of key contemporary artists.
In her last journal entry, she writes: “Vibrations multiply. Intensity of sweep. Undulative. Curve slowly comes to a ...,” and the writing falters, jumps, drifts off like a thread unspooling, but finally forms a closed circle. I can’t imagine seeing a more beautiful and tender gallery solo this winter.
I first wrote about Mohamedi’s meticulous line drawings and abstract photographs in the Brooklyn Rail (December 2008–January 2009) and now, five years later, I found that the work has grown more powerful over time.
The South African artist William Kentridge is best known for creating low-tech animated films, often based on charcoal drawings, that explore the painful effects of apartheid.
The installation will juxtapose historical objects and architecture with works by contemporary artists that employ traditional Islamic styles, materials and subject matter as their source. Framed beneath the Museum’s stunning 17th century Persian mosaic arch, visitors will see how contemporary artists are drawing upon their cultural and visual past to explore personal, political, and aesthetic concerns.
Unlike much contemporary Indian art, Mohamedi’s works feature an austere, mostly black-and-white palette and stark geometric compositions, mostly constructed through lines traced in graphite or pen and ink on paper, though at times she also captured the geometry of real-life through photography.
The show shimmers with the artist’s formidable black-and-white prints that flash insights into the world around her
It is not often that museums furnish us with spaces for meditative contemplation—especially when they are located in bustling shopping malls.
The exhibition Lines of Thought explores the work of 15 contemporary artists, whose practice has focused in particular on using line in creatively challenging ways. With works representing different generations, it is remarkable to observe how the meaning and use of line varies from one artist to another.
RANJANI SHETTAR in
On Line: Drawing Through the Twentieth Century
Housed in the airy precincts of a light-filled gallery, "Nasreen Mohamedi: Notes-Reflections on Indian Modernism" was an invitation to look and linger.
Since her “discovery” at Documenta 12 in 2007, Nasreen Mohamedi, who passed away prematurely from Parkinson’s Disease in 1990, has swiftly become a favorite “unknown” among certain art elites.
The only dated works in the exhibition ‘Nasreen Mohamedi: Notes’ at Milton Keynes Gallery are the four pages cut from the artist’s diaries.
MK Gallery presented a major solo exhibition of work by important Indian artist Nasreen Mohamedi.
Nasreen Mohamedi was a major, late-20th-century Indian artist who remains surprisingly under-recognised in the west.
Milton Keynes Gallery is delighted to announce a major solo exhibition of work by important Indian artist Nasreen Mohamedi. Her diary pages, drawings and photographs combine Western influences such as Paul Klee and Kasimir Malevich with Islamic architectural forms and a South Asian sensibility, resulting in an intensely personal body of work.
It is, I feel, appropriate to enlist Emily Dickinson’s poetry for my attempt to read and understand Nasreen Mohamedi’s images.
Commercial galleries’ group shows often have the unpalatable taste of stockroom leftovers thrown together at random, less exhibitions than showroom displays, replete with sample works by all the represented artists.
With extreme discipline, Nasreen Mohamedi’s drawn lines seek to chart the rhythms of wind across desert sands, ocean tides, the play of shadows on outdoor stairways, or across the facades of the Islamic architecture she so admired.
A traceable evolution of tempered restraint is apparent in this multigenerational group exhibition: The oldest works are drawings that share a sense of moderation with several recent sculptures, despite the distinct physicality of the latter
The drawings and photographs of Nasreen Mohamedi (1937-1990) are slowly but surely becoming better known to a wider American audience.
This show of large abstract drawings is the third New York solo of work by the Indian artist Nasreen Mohamedi (1937-90) and the most beautiful yet, which means it’s about as beautiful as gallery shows get.
Using lines like the rhyme scheme of poetry, Nasreen Mohamedi created an inventive repertoire that is evocatively poignant. A representative collection of her works will be on display at the Talwar Gallery, New York, till November 15.
Atsuko Tanaka, Agnes Martin, and Nasreen Mohamedi (Documenta 12, Kassel)
Mohamedi's Modernistic Idealism
If one leaves Venice annoyed, if not indignant, one goes on to find oneself disoriented in Kassel.
Museum of Contemporary Art, San Diego | March 4 - July 16, 2007
Vancouver Art Gallery | October 4, 2008 - January 11, 2009
The first comprehensive exhibition to examine the international foundations and legacy of feminist art, Wack! focuses on 1965 to 1980, during which the majority of feminist activism and art-marking occurred in North America. Comprising work in a broad range of media, the exhibition considers geography, formal concerns, and collective aesthetic and political impulses. Curated by Connie Butler.
The Asia Pacific Triennial of Contemporary Art (APT) is Queensland Art Gallery's flagship international contemporary art event. The fifth APT (APT5) is the opening exhibition at the new Gallery of Modern Art-the largest gallery of modern art in Australia. APT5 is directed by Doug Hall, and curated by the Queensland Art Gallery team: Lyne Seear, Andrew Clark, Suhanya Raffel, Julie Ewington.
In the most intimate moment of the Drawing Center's graceful exhibition of the late East Indian artist, Nasreen Mohamedi (1937-1990), a diary page smudged with black ink, Untitled, (1978) speaks volumes about the artist's profound sensibility.
In conjunction with its exhibition of visionary abstractions by Agnes Martin, Emma Kunz, and Hilma af Klint, the Drawing Center’s annex presents photographs and works on paper by Mohamedi (1937-90), an Indian artist rarely shown in this country.
Nasreen Mohamedi (1944-90) is still little known outside of India, though she is a much-admired figure there. In New York, a few of her abstract drawings have turned up in group exhibitions, and Talwar Gallery has surveyed her photographs. Now samples from both are united in this hushed but magnetic show in the Drawing Room, across the street from the Drawing Center.
How does one write about the ineffable?
To anyone who has witnessed the growth of the contemporary Indian art scene in the last twenty years, the name Nasreen Mohamedi is legend.
Since one is used to seeing Asian art that is either rooted in a specific cultural context or has a strong imprint of the artist's own culture on it, Nasreen Mohamedi's black and white photographs come as a surprise because of their pure, minimalist beauty that is not tied to any particular context.
The photographs of Nasreen Mohamedi are a recent supplement to the drawings of this underknown Indian artist/ photographer/ writer. Fascinating in and of themselves, these 25 silver gelatin prints are being exhibited for the first time at Talwar Gallery.
Walker Art Center, Minneapolis, MN | October 11, 2003 - January 11, 2004
Hammer Museum, University of California, Los Angeles, CA | February 8 - May 9, 2004
Museo de Arte Contemporanea de Vigo, Spain | May 28 - September 19, 2004
Fotomuseum Winterthur, Switzerland | November 19, 2004 - February 20, 2005
Miami Art Center, Miami, FL | March 11 - June 12, 2005
The work of Nasreen Mohamedi (1937-1990) made an unforgettable impression in ''Out of India: Contemporary Art of the South Asian Diaspora'' at the Queens Museum of Art in 1997.