Okamoto Tarō recollects his experiences in Paris between 1929 and 1940, discusses the Abstraction-Création movement and reflects on his time at the Sorbonne and Musée de l’Homme.
This source is an English translation by Stephanie M. Hohlios of a compelling 1971 memoir-essay by Japanese artist Okamoto Tarō—“Watashi to jinruigaku: pari daigaku minzoku gakka no koro (Anthropology and I: My Time at the University of Paris Department of Ethnology)”. Okamoto’s essay “Anthropology and I” sheds light on a widely recognized but little understood…
Song Dong’s 1996 Breathing—a work that zeroes in on the act of breathing in two charged public spaces in Beijing—speaks to art as intertwined with the practice of living, resistance as well as futility.
In Xu Bing’s Cropland, part of the Series of Five Repetitions (1987-88), Chinese characters double as landscape depiction, creating a liminal work that resonates between word and image, representation and abstraction.
Hamaya Hiroshi’s Composition of December 1953 becomes a marker of US occupation and the climate of post-war Japan.
A look at the history of the modern house suggests that domestic living takes shape in the intermediate, and sometimes contentious, space between the aspirations of the dweller and architect.
Mrinalini Mukherjee’s work does not easily fit any neat categories, whether “Post-Minimalism,” “Fiber art” or “craft.” Considering Yakshi (1984) in MoMA’s reinstalled galleries, the essay highlights the influence of her cultural background on her methods and materials.
Following the opening event in which Xiao Lu’s shot at her own installation, Dialogue (1989), which caused the exhibition at the National Art Gallery in Beijing to close, the work has paradoxically become both iconic and obscured. Initially conceived to address gendered violence, the piece was later absorbed into the history of violence of Tiananmen…
The Indian artist Sudhir Patwardhan is chiefly a painter in the realist tradition moving between images of the city, inhabitants, and milieu.
This text is a reimagined transcription of a series of conversations between Prabha Sahasrabudhe and Indira Gandhi that took place in 1960 at the Westbury Hotel in New York City.The reason for their meetings was to discuss bringing an adaptation of MoMA’s Children’s Art Carnival to India.
Branislav Jakovljević, Claire Tancons, and Anoma Pieris consider how concepts related to self-representation and performativity not only generate sites of resistance, but also recast our perspective on established discourses of the national, ethnic, diasporic, and racial.
Mulk Raj Anand is perhaps best remembered as a cultural critic, writer, philosopher, and patron of the arts. But Rashmi Viswanathan turns her attention to his lesser known initiative to establish India’s First Triennale of Contemporary World Art in 1968. This essay explores Anand’s optimistic use of the triennale to shift international cultural relations and…