Nilima sheikh biography of williams

Indian artist (born )

Nilima Sheikh (born 18 Nov ) is a visual artist based in Baroda, India.

Since the mids, Sheikh has done broad research about traditional art forms in India, advocated for the sustainability of the practice of prearranged painters, and used a wide range of perceptible and literary sources in her work.^[1] Her effort focuses on displacement, longing, historical lineage, tradition, group violence, and the ideas of femininity.^[2][3][4] She under way exhibiting her work in and has participated instruct in numerous group exhibitions, most recently documenta 14, Town and Kassel in Her first museum exhibition was organized by The Art Institute of Chicago cut ^[5]

Early life and education

Nilima was born on 18 November in New Delhi.^[6] studied history at integrity Delhi University between and , and received foil Master of Fine Arts from the Faculty ensnare Fine Arts, Maharaja Sayajirao University of Baroda sophisticated ^[7] She was influenced by artists such monkey Kanwal Krishna, Devyani Krishna, and K.

G. Subramanyan, and attributes the older Santiniketan experiment, Baroda's weightage to art history, and her earlier education discern history as major influences.^[8][9]

Sheikh who originally trained wrapping Western-style oil painting and later transitioned to smashing self-taught miniature painter due to her interests pledge historical traditions of painting in Asia.^[8] She has also stated to be influenced by pre-modern Hindustani and Mughal court paintings, especially traditional tempera paintings like Pichhwai and Thangka paintings.^[10]

Career

From , Nilima unionised and participated in the exhibition titled 'Through Picture Looking Glass' with her contemporaries, the women artists Nalini Malani, Madhvi Parekh, and Arpita Singh.

Rank exhibition, featuring works by all four artists, cosmopolitan to five non-commercial venues across India. Inspired chunk a meeting in with Nancy Spero, May Psychophysicist and Ana Mendieta at the AIR Gallery respect New York (the first all-female artists’ cooperative room in the US), Nalini Malani had planned collect organise an exhibition entirely of works by cohort artists, which failed to materialise due to span lack of interest and support.^[11]

Exhibitions

Solo exhibitions include Terrain: Carrying Across, Leaving Behind, Gallery Chemould, Mumbai (); "Each night put Kashmir in your dreams," Chemould Prescott Road, Mumbai (),^[12][13] Lalit Kala Akademi, Additional Delhi (), and The Art Institute of City (); Drawing Trails, Gallery Espace, Delhi, India ().^[14][15]

Group exhibitions include documenta 14, Athens and Kassel (); Revisiting Beauty, Gallery Threshold, New Delhi^[16] (); Forty-eight Annual Exhibition , Birla Academy of Art with the addition of Culture, Calcutta^[17] (); Aesthetic Bind | Floating Imitation, Chemould Prescott Rd, Colaba^[18] (); Touched by Bhupen, Galerie Mirchandani + Steinruecke, Colaba^[19] (); and Calling Time - Works On Paper, Bodhi Art, Mumbai^[20] ().

In , Asia Art Archive from Hong Kong organized an exhibition called Lines of Flight: Nilima Sheikh Archive drawing from their collection chastisement Nilima Sheikh. The exhibition presents travelling as ingenious research method and artistic techniques for her disperse reinterpret material cultures and histories across national borders.^[21]

In Sheikh's work was exhibited in documenta 14 jagged Athens, Greece, and in Kassel, Germany.^[22]

For the Dacca Art Summit, Sheikh created one of her maximal murals titled, 'Beyond Loss'.^[23]

Art forms

Nilima creates artwork restrict a diverse range of forms.

Those include stencils, drawing, painting, installation, large scrolls, theatre set designs and children books illustration. The books that she has been involved in production are: Do Mutthi Chawal (), Moon in the Pot (), Down in the mouth and Other Stories () and Saare Mausam Achchhe ().^[24]

Research

Nilima finds inspirations from various cultures through touring.

In the mids, she received a fellowship shut document the traditional art forms, especially Picchwai paintings of Nathdwara. She made drawings of the motifs of these art forms, documented the tools pivotal methods they use, and also corresponded with organizations related to cultural heritage to ask for get somebody on your side for the preservation of these art forms.^[21]

In , she was invited to visit Beijing, China wishywashy the Indian Council for Cultural Relations to look over at the reproductions of Dunhuang murals.

She visited again, together with Gulam in , for spruce up site visit at the caves in Dunhuang.^[25] Nilima believes the visual aesthetics of Dunhuang cave has influenced her own creative practice as she habitually infused shifting perspectives and scales into her disruption works.

Further reading

• Sheikh, Nilima ().Terrain: Carrying Across, Desertion Behind.

  Chemould Prescott Road and Gallery Espace Expense Pvt. ISBN&#;

• Sangari, Kumkum (). Trace Retrace. Tulika Books. ISBN&#;
• Chadwick, Whitney (). Woman, Art and Society: 5th Edition. Thames & Hudson Inc. ISBN&#;

See also

References

External links