David Sandlin’s new paintings of waterfalls, swamps, and frozen wastelands depict an unnerving commentary on the state of the world and America’s current political and social climate. Inspired by the elegiac depictions of Japanese history, legend, and pop culture in the 19th-century artwork 100 Aspects of the Moon by Tsukioka Yoshitoshi, Sandlin’s works riff off of yokai, the spectral creatures of Japanese myth, to depict the very real grotesques of today. In Sandlin’s paintings, demons and demagogues float, crawl, and flail amid the sublime beauty of nature; a juxtaposition that highlights both their monstrosity and their cartoonish ridiculousness.
 
On view through October 13th
 

Best known for her lush and deeply expressive compositions, Judith Murray has created new abstract oil paintings.This new body of work continues Murray’s artistic trajectory from the stark and incisive forms that defined her early career in the 1970’s to the intensely expressive impasto that has become a hallmark of her work today.
 
On view through October 6th.
 

An immersive video installation inviting audiences to lay down on metal bunk beds and watch videos shot by Syrian asylum seekers in Munich, Germany. The videos on view derived from El Khoury’s engagement with a group of Syrian refugees who had recently arrived in Munich. She collaborated with them by providing discreet cameras for a day, the only instructions being to film their lives and favorite sports in the city. El Khoury’s work generally focuses on audience interactivity and is concerned with the ethical and political potential of such encounters. She creates installations and performances in which the audience is an active collaborator.
 
Presented in partnership with FringeArts and Bryn Mawr College (The Pew Center for Arts & Heritage) as part of ear-whispered: works by Tania El Khoury, an extensive survey of the artist’s work. On view through September 26.
 

La Mia Mappa features several recent works exhibited for the first time in the USA including Notes for a Cannon (2016) a multi-part installation which constellates histories of Palestine and Ireland in a magnetic field of correspondence and convergence. Also on view, La mia Roma (omaggio ai sampietrini) (2016), is an ode to walking, to labour, and to what Jacir describes as one of the great architectural wonders of Rome—the sampietrini.
 

As a cap off from his three-month-long New York residency at Eli Klein Gallery, the Hong Kong-based artist presents 19 new works that are derived from his well-known Painting on Movies series. The collection recreates arresting scenes from notable international films with English translation subtitles. Each piece has a unique Hong Kong identity-driven viewpoint, revealing the many continued dilemmas faced by citizens of the Chinese city. Fai’s works in general comments on local Hong Kong culture and more specifically spotlights the heightened social tensions in the region dating back to 1997.
 
On view through November 17th.
 

As a part of his ongoing series of installations Spaceless Space, Kunitani will realize a full-room installation of the two most fundamental neon colors: red (neon) and blue (argon). These neon works form an expansive apparatus designed to activate the tension between viewer and artwork, reflecting Kunitani’s idea of society as a board game. Decisions made by visitors as they move through the space individualize their experience by creating unique moments.
 
On view through October 14th.
 

ACAW 2018 kicks off with a keynote lecture by the acclaimed artist, activist, and 2018 Kochi-Muziris Biennale Curator, Anita Dube. Celebrated for her inclusive and unconventional approach to art and exhibition making, she discusses her vision for organizing the fourth artist-led edition of India’s only international art biennale and her take on the state of the arts at large. In conjunction with Christie’s annual South Asian Modern and Contemporary exhibition & auction viewing. Followed by a reception.
 

 
Anita Dube’s participation in ACAW 2018 is made possible by the generous support of Arani and Shumita Bose of +91 Foundation and Christie’s Auction House.
 

Renowned Seoul-based media artist, film director, and writer Park Chan-Kyong, examines Korean society by framing the rapid socioeconomic developments of the past century. He particularly chronicles the often reckless pursuit of Western modernization and economic growth through subjects including the Cold War and traditional Korean religions.
 
At 5pm the artist will be in conversation with Lauren Cornell, Director of the Graduate Program and Chief Curator of the Center for Curatorial Studies at the Bard Hessel Museum of Art.
 
On view through October 13th.
 

Known for his relentless socio-political critiques that combine formal elegance with ironic humor, Manit Sriwanichpoom’s first solo exhibition in the United States surveys his twenty-year-long series: Pink Man. A portly man dressed in a hot pink suit and pushing a similarly colored shopping cart inserts himself into various aspects of Thai life, mutely lampooning consumer culture. The catastrophic financial crisis that hit Thailand in 1998 brought greater urgency and more pointed critique to the series which chronicles an increasingly jarring sequence of social tensions, political unrest, and coups d’état. Manit explains that Pink Man “has become a reflection of current events in our society. I see the character as reflecting an entire era.”
 
On view through October 27th.
 

Rounding out his DOOSAN New York Residency, Yoon Hwan Bae draws images of imagination and fantasy based on fables, art history and mythology. His works range from small drawings to massive roll canvases with narratives that frequently reference his own identity but also represent human life, desire, and relationship from multiple angles. Rather than delineating anecdotes from beginning to end, Bae segments and arranges images in a non-linear and incomplete structure, hence allowing for open interpretation.
 
On view through October 6th.
 

A series of works emitting Yang’s deep concern with the deterioration of the physical environment, accompanied by his restless approach to innovative forms of art-making.
 
On view through November 10, 2018. Also on view at ArtFarm, Salt Point, New York.
 

Indian-American artist Vandana Jain and Korean artist Taeim Ha’s abstract paintings capture their divergence from traditional cultures in the face of modern consumerism. Drawing on her immediate environment in New York, Jain undertakes nothing less than a critique of global capitalism, while Ha’s exuberant paintings are expressive, filled with color, and reflect the current westernization mindsets within Korea.
 
This program is held in collaboration with Lakeeren Gallery with special thanks to the curator Arshiya Lokhandwala.
 

Ganesh continues her exploration of gender and power by her new set of works inspired by the Bengali author and social reformer Begum Rokeya Sakhawat Hossain’s 1905 utopian, feminist, sci-fi novella, Sultana’s Dream. These recently developed artworks engage art historical and literary sources to further reimagine the roles of the individual and the collective during periods of societal turbulence.
 

4-5:30pm | Writing the Indian Modern
This panel brings together a group of eminent writers and critics including Yashodhara Dalmia, Gayatri Sinha, and guest curator Zehra Jumabhoy. Through their writings, each has built frameworks for interpreting the aesthetics and narrative of Indian art development as well as its place in the global narrative of art in the 20th century. Together the panelists entertain questions like: “What is ‘original’ about modern Indian art?”, “Is questioning modern Indian art’s originality even a valid question?”, and “How do we approach the modern Indian art?” Moderated by Abhay Sardesai, editor of ART India.
 
6-9pm | Collecting the Indian Modern: A Collectors’ Panel
Moderated by Asia Society Museum Director Boon Hui Tan, the panel brings together major collectors of works by the Progressive Artists’ Group from India, London, and New York for a conversation about the art, their reasons for collecting, and the future of India’s art scene. In conjunction with The Progressive Revolution: Modern Art for a New India. Exhibition
 
As part of The Progressive Revolution: Modern Art for a New India.
 
Registration required for both programs. For full details see Asia Society website.
 

A series of works emitting Yang’s deep concern with the deterioration of the physical environment, accompanied by his restless approach to innovative forms of art-making.
 
On view through November 10, 2018. Also on view at ArtFarm, Salt Point, New York.
 

Eminent art historians and curators discuss their current research in conjunction with India’s French Connection: Indian Artists in France opening at the gallery. This historic exhibition explores the influence of French artistic movements on Indian artists from the 1920s onwards to map twenty-seven Indian artists relationships with institutions, museums and art movements in Paris. It showcases significant Indian modernists such as Amrita Sher-Gil, S.H. Raza, Jehangir Sabavala and Ram Kumar, who studied in Paris or made it their home. The exhibition examines their individual and collective journeys, the significance of the city to them, the artists they met there, and shifts in their artistic repertoires. On view through December 1st.
 
Based on extensive research by DAG with texts written by Dr. Devika Singh (Centre of South Asian Studies, University of Cambridge) and Kishore Singh (DAG, Head – Exhibitions & Publications) is designed by scenographer Adrien Gadére.
 

Firebrands from different castes and creeds, Bombay’s Progressive Artists’ Group came together in the immediate aftermath of Indian independence to provide modern art for a secular India. As part of the exhibition opening, Zehra Jumabhoy—a U.K.-based writer, speaker, and art historian specializing in modern and contemporary South Asian art—will trace the founding ideology of India’s “quintessential Moderns” and discuss how relevant their message is today. On view through January 20th.
 
Complimentary admission; Docent-led tours at 6, 6:45, and 7:45 p.m.
 
Works on view by the Group’s core founders—K.H. Ara, S.K. Bakre, H.A. Gade, M.F. Husain, S.H. Raza, and F.N. Souza—as well as later members and those closely affiliated with the movement: V.S. Gaitonde, Krishen Khanna, Ram Kumar, Tyeb Mehta, Akbar Padamsee, and Mohan Samant. Organized by Zehra Jumabhoy, guest curator, and Boon Hui Tan, Director of Asia Society Museum.
 

A special walkthrough with Pakistani born New York-based artist Huma Bhabha & The Met curator Shanay Jhaveri, discussing We come in Peace— a breathtaking site-specific installation at The Met’s Roof Garden addressing themes of colonialism, war, displacement, and memories of place. Using found materials and the detritus of everyday life, Bhabha creates haunting human figures that hover between abstraction and figuration, monumentality and entropy.
 
On view through October 28th.
 
Space is limited, RSVP is Required. To register please click here.
 

Chinese artist Xu Bing—who grew up surrounded by books in an intellectual family and later studied printmaking—demonstrated an early interest in language, calligraphy, and typography. Since the 1980s, he has created works that challenge the meaning of language and what we see. His groundbreaking installation Book from the Sky (1987–91) is made up of scrolls and thread-bound books filled with what appears to be Chinese text, but upon close examination turns out to be fake characters. His later work further expanded his investigation of the relationship between images/objects and what they mean to us. Background Story (2004–ongoing), a light-and-shadow box that appears as a landscape painting display is in fact an installation of found materials. His first feature film, Dragonfly Eyes (2017), uses Internet-sourced surveillance footage to construct a fictional tale set in modern China. Xu joins us for an illustrated talk about his universe of language, meaning, material, fiction, and truth.
 
To register for screening, click here.
To register for artist talk click here.
 

Artist Vandana Jain recontextualizes her works featured in “Quid Pro Quo” to expand upon the rich symbolic language that surrounds us and to comment on capitalism, globalization, and consumerism at large. The exhibition also features Korean artist Taeim Ha to unpack larger discussions surrounding divergence from traditional cultural practices.
 
RSVP required. Please confirm your attendance at rsvp@crossingart.com
 

Dragonfly Eyes. 2017. China. Directed by Xu Bing. DCP. In Mandarin; English subtitles. 81 min.
 
Few images come closer to reality than those recorded by surveillance cameras. In China, a country with strict film censorship, an estimated 200 million such cameras have been installed to capture life unfiltered; mundane daily activities are mixed with dramatic events beyond the realm of imagination. Visual artist Xu Bing’s first feature film stitches together surveillance footage collected from the Internet to create a fictional tale about a young woman traversing life in modern China. The result is a provocative tale as mundane, surreal, and outlandish as reality itself. Known for works that consistently disrupt our understanding of what we see—from Book from the Sky, an installation of books and scrolls with printed “fake” Chinese characters, to Phoenix, giant phoenix sculptures made of salvaged materials—Xu persistently explores the relationship between vision and meaning.
 
To register for screening, click here.
 

A daylong interdisciplinary program of short talks, performances, and films by a range of artists, scholars, and musicians with a keynote by Berlin-based philosopher Yuk Hui. The symposium culminates the entire Robert H. N. Ho Family Foundation Chinese Art Initiative at the museum, exploring the dualistic tension between technology and history. Co-organized by Xiaoyu Weng and founding editor of e-flux journal Brian Kuan Wood.
 
Followed by a reception and viewing of One Hand Clapping exhibition.
 
One Hand Clapping is an exhibition of newly commissioned works that explores ways in which globalization affects our understanding of the future through a range of traditional and new mediums, from oil on canvas to virtual-reality software. Participating Artists: Cao Fei, Duan Jianyu, Lin Yilin, Wong Ping, and Samson Young. Co-curated by Xiaoyu Weng and Hou Hanru.
 
Admission: $15, $10 members, free for students with RSVP. Full details on the Guggenheim website
 

Taking its title from the 1983 Talking Heads song This Must Be the Place (Naïve Melody), this exhibition includes a collection of epic-scale paintings and intimate works spanning multiple generations and decades. It begins with the cohort painters who, in the 1950’s, married the energy of Abstract Expressionism with a rediscovery of figuration and mythological and literary allusions. The show considers how painters create visions of lost (or maybe promised) paradises as settings for painterly dramas and comedies that oscillate between the closely observed and the purely allegorical and always hold nature and human nature in an uneasy balance. Speaking to a deeply imbedded human need for hope and harmony, there are, however, often darker intimations haunting these images of Arcadia.
 
Curated by Raphael Rubinstein. Featuring: Susan Bee, Katherine Bradford, JooYoung Choi, Rafael Ferrer, Roy de Forest, Paul Georges, Chris Johanson, Po Kim, Fay Lansner, Judith Linhares, Donna Moylan, Jan Müller, Archie Rand, and Purvis Young.
 

In conjunction with Chitra Ganesh’s exhibition Her garden, a mirror, The Kitchen is pleased to present the recently completed documentary film Yeh Freedom Life / This Freedom Life by Priya Sen. Filmed over the course of a year in Ambedkar Nagar, a dense, largely working-class area in South Delhi, Yeh Freedom Life moves between the two very different worlds of its protagonists, Sachi and Parveen, and tries to keep up with the currents and swings of their respective loves.
 
Priya Sen is a filmmaker and artist working across film, video, sound, and installation. Her work has largely centered around questions of form, urban ethnographies, music, and migration–mainly in New Delhi, a city in which she chooses to situate her practice. Priya Sen will be present for this screening.
 

Lebanese filmmaker and photographer Akram Zaatari presents his video Her + Him (2001–12), which was recently acquired by the Guggenheim Museum, and discusses his practice. A founding member of the Arab Image Foundation in Beirut, Zaatari assumes the roles of researcher, collector, archivist, and curator in his work, investigating the sites, documents, and memories of the Middle East’s history through the filter of subjective experience. Funding for this event is provided by members of the Solomon R. Guggenheim Museum’s Middle Eastern Circle.
 
$15, $10 members, free for students with RSVP. Clike here for more info.
 

Director, Screenwriter & Producer Tamer El Said, debuts a fictional story of a filmmaker from downtown Cairo played by Khalid Abdalla (The Kite Runner, United 93, Green Zone, The Square) as he struggles to capture the soul of a city on edge while facing loss in his own life. Shot in Cairo, Beirut, Baghdad and Berlin during the two years before the outbreak of revolution in Egypt, the film’s multi-layered stories are a visually rich exploration of friendship, loneliness and life in cities shaped by the shadows of war and adversity.
 
The screening will be followed by a conversation between the filmmaker Tamer El Said and writer and critic, Kaelen Wilson-Goldie.
 
General admission $10, tickets available in advance. Click here for more information.
 

As his first institutional solo exhibition in New York, Ego Obscura features the artist’s most iconic and monumental photographic works from the 1980’s to today, alongside the U.S. premiere of his feature-length video work Ego Symposium (2016) and his latest cinematic installation Nippon Cha Cha Cha! (2018). In conjunction with a live performance (Oct. 13, 2018), the exhibition depicts Morimura as he transforms himself into iconic figures of the past— from Vincent van Gogh and Frida Kahlo to Marilyn Monroe and Yukio Mishima— as a way of excavating the intermingled layers of art history, Japanese postwar history and personal history, and deconstructing notions of “the self.”
 
$12 Regular Admission ,$10 Students & seniors, Free for Japan Society Members.
 

A recipient of the 2016 Presidential Medal of Freedom for her outstanding contributions as an artist, architect, and environmental activist, Maya Lin sees the world unlike any other artist. Presented in seven sections of the museum, this powerful exhibition will assert the perpetual importance of dialogue between artists past and present, environmental awareness, education, and public participation to reimagine our relationship with the natural world; it will activate the Museum both inside and out in new and exciting ways. Curated by Miwako Tezuka.
 
Admission fee required. See full details on the Hudson River Museum website.
 

In this one-night-only multimedia work combining performance, video and artist’s talk, Morimura metamorphosis into choice figures from modern times in front of a live audience. He delves into the intermingled paths of his personal story, the history of Japan, and the history of art in Japan after World War II. The performance questions the variety of interpretations that arise from the notion of “self,” developed in his artistic practice over the past 30 years.
 
Tickets required. See full details on Japan Society website.
 

Focus Kazakhstan– Thinking Collections: Telling Tales explores the concept of “artists as the first collectors” with an unprecedented survey exhibition of Kazakhstan’s most celebrated art collective, Kyzyl Tractor. Noted for their feverish experimentations in the mid-1990’s and early 2000’s, their work continues to chronicle Kazakhstan’s seismic socio-economic, ecological and political shifts in juxtaposition with their signature conceptual and aesthetic appropriations of the region’s nomadic, Sufi, and Shamanistic philosophical traditions. The exhibition will highlight founding member Moldakul Narymbetov, in addition to staging a monumental new work and live performances by collective members: Said Atabekov, Smail Bayaliyev, Vitaliy Simakov, and Arystanbek Shalbayev.
 
For full press-release, artists profiles and details click here.
 
Shuttle service will depart every half hour from Milk Studios (450 West 15th Street, New York, NY 10011) starting at 12:30 and ending 5PM. Returning shuttles from Mana will run every half hour from 2–7:30PM.
 

In this evening of film and conversation, organized as part of the MISK Art Institute’s citywide Arab Art and Education Initiative, Monira Al Qadiri presents a program of moving-image works centered on transnational narratives emanating from the Persian Gulf. A Kuwaiti artist born in Senegal and educated in Japan, Al Qadiri adopts a range of imaginative strategies to explore histories both personal and political. Arab soap operas, Gulf War–era images of burning Kuwaiti oil fields, traditional elegiac songs, and science fiction all figure in her astutely shape-shifting work, which foregrounds networks of capital and labor. Dark humor and melancholy alternatively drive the artist’s speculative, uncanny scenarios, which simultaneously look back at and probe possible futures for petrocultures and global political networks.
 
This evening brings together works made over the last five years, including Al Qadiri’s most recent video The Craft (2017), in which malaise and fantasy animate the artist’s recasting of childhood memories in Kuwait as an alien invasion operating out of an American diner. The Craft’s sister work, the lecture-performance American Century: The End, will be performed in its US premiere. This live multimedia piece contemplates the convergence of international diplomacy, global consumerism, and cultural production through an ultimate emblem: American junk food.
 

A panel discussion produced in association with the exhibition Cairo Stories by artist Judith Barry, presenting oral histories from more than 215 interviews conducted with women of varying social and economic classes in Cairo between 2003 and 2011. Including Lina Attalah, Judith Barry, Mona El-Naggar and Omnia Khalil.
 
Presented by ArteEast and the Hagop Kevorkian Center for Near Eastern Studies
 

The exhibition consists of works on paper, a kinetic sculpture, and a multi-chapter animation.
 
Through state and familial archives, Majeed speculates on a feminist re-historicization of Pakistan as the first “Muslim nuclear state”. The exhibition outlines the artist’s inquiry into nuclear nationalism and its implications on the citizen-body. Through a multitude of sources ranging from familial archival material and South Asian digital kitsch, there is an unpacking of a dispersed, porous homeland. Remnants of the female body and flora within the sculpture and works on paper outline women as the vessels used to perpetuate state ideological notions of love, science, and nature. The intention is to make the subjectivities visible outside of the patriarchal imaginary of the Islamic Republic.
 

In her photographs, Seulki Ki captures the concept of space, which expands from her inner world to her surroundings and nearby objects to the invisible metaphysical universe. Ki’s work often challenges the process of perception where experience plays into one’s cognition of the subject matter. Her study of the invisible—i.e. human psyche, conflict and belief—is visualized in artform of various types, such as photography, installation, and performance, that hold one theme in common: blurring of the subject and object.
 
On view through November 17th.
 

New paintings accompanied with video projections by Iranian artists and twin sisters Bahareh and Farzaneh Safarani. The body of work is made of representational figurative paintings that follows the classical aesthetics of pleasure with a more integrated contemporary approach. The sisters add subtle, glamorous and sensual movements onto their paintings by means of video projection which allow the viewer to imagine, and assume a dual presence. The auras conveyed through the projections simulate collections and recollections of memories and remembrances with the artists’ beings, intelligence and exposed identities.
 
Curated by Roya Khadjavi. On view through October 31st.
 

Ease into the fall with a special party for art enthusiasts and seeYasumasa Morimura: Ego Obscura exhibition on view. Complimentary admission, snacks, drink specials and music!
 

ACAW spotlights a collection of 15+ artists with roots and practices directly or indirectly related to Asia, housed at the Elizabeth Foundation for the Arts as part of their annual EFA OPEN STUDIOS–an event that invites the public to come explore and interact with EFA’s member artists in the intimate setting of their studios. The Program is a vibrant and diverse community of over 70 artists working in a wide range of media and artistic sensibilities. All are professional artists with an established studio practice and recognized career. Rarely can curators, collectors, dealers, artists, and art lovers see so many internationally recognized artists working under one roof in Midtown Manhattan.
 
Especially facilitated on behalf of ACAW & EFA by artist and curator, Sharmistha Ray.
 
EFA Open Studios on view from October 18th – October 20th.
For full bios & studio visits time/location, click here.
 

Video documentations of performances by the late Japanese artist and Gutai Art Collective member Minoru Yoshida made while living in downtown New York from 1970 through 1977. Yoshida moved to New York in 1970 with his practice shifting to become more performance-centric. The exhibition focuses on the time the artist spent in New York and the particular view that he developed as an immigrant.
 
On view through November 25th.
 

As part of the Elaine Terner Cooper Education Fund: Conversations with Contemporary Artists series, abstract painter and influential scholar of Palestinian art Samia Halaby (b. 1936, Jerusalem) will describe her creative process, followed by a conversation between the artist and Sasha Kalter-Wasserman, Associate Curator, Abu Dhabi Project, Solomon R. Guggenheim Foundation. Recognized as a pioneer of contemporary abstraction, Halaby has paintings in the collections of the Solomon R. Guggenheim Museum and the Guggenheim Abu Dhabi. Her practice is rooted in the conviction that abstract painting reflects the principles of motion in nature and has the power to inspire technology with new visual insights.
 
Admission: $15, $10 members, free for students with RSVP. Full details on the Guggenheim website

A bold view into Thailand’s burgeoning, reinvigorated contemporary art scene. Shown together for the first time are four of the country’s most admired abstract painters: Thaiwijit Puengkasemsomboon, Mit Jai Inn, Somluk Pafntiboon and Angkrit Ajchariyasophon.
 
Curated by Keith Schweitzer. On view through December 8th.
 

Acclaimed author and professor Homi K. Bhabha and other visionary figures — artists, art historians, postcolonial theorists, anthropologists, and political scientists present lectures over a daylong program reflecting on the idea of the “progressive” in art, visual culture, science, and industry in early independent India.
 
An interdisciplinary collaboration between Asia Society and Columbia University. Co-organized by Zehra Jumabhoy and Boon Hui Tan, Asia Society Museum, New York; and Vishakha Desai and Gauri Viswanathan, Columbia University, New York.
 
Made possible by the generous support of Aashish and Dinyar S. Devitre
Admission Registration Required. See Asia Society website for full details
 

A selection of works exploring the artist’s fascination with paper — a medium that has been the mainspring of her long-standing career as a printmaker and sculptor. Her elegant compositions are characterized by an affinity towards minimalism and geometric abstraction, shaped in part by an early interest in mathematics and architecture. The exhibition brings together collages from the past decade in which Zarina considers the formal qualities of her chosen medium, such as texture, color, and surface.
 

Pich presents a solo exhibition centering on his monumental sculpture, “Ordeal,” which debuted earlier this year at Singapore’s Asian Civilisations Museum. It was inspired by the seed pods of the Ordeal tree (Erythrophleum guineense). Powder made from its bark can be used as medicine but is poisonous in high doses, and it once played a role in “trials by ordeal” in which only those who survived ingesting it were considered innocent. With this work, Pich explores the fluidity of line and the free expansion of volume, all delimited by the basic form of the natural structure.
 
On view through December 21st.
 

An imagined and meandering return to Hong Kong, this solo exhibition by the artist grapples with reverse diasporic aspirations and the shift from being an ethnic minor in the United States to rejoining the Han majority. Comprising of a 35-foot tall banner, artifacts from a defunct family hotel in Hawaii, and signage from the museum, the exhibition inquires what happens when an artist disconnects psychically and ideologically from the margins. Can those in the majority responsibly self-acknowledge and harness their status toward progressive art in the U.S. and elsewhere, and how?
 

Eminent art historians and curators discuss their current research in conjunction with India’s French Connection: Indian Artists in France opening at the gallery. This historic exhibition explores the influence of French artistic movements on Indian artists from the 1920s onwards to map twenty-seven Indian artists relationships with institutions, museums and art movements in Paris. It showcases significant Indian modernists such as Amrita Sher-Gil, S.H. Raza, Jehangir Sabavala and Ram Kumar, who studied in Paris or made it their home. The exhibition examines their individual and collective journeys, the significance of the city to them, the artists they met there, and shifts in their artistic repertoires. On view through December 1st.
 
Based on extensive research by DAG with texts written by Dr. Devika Singh (Centre of South Asian Studies, University of Cambridge) and Kishore Singh (DAG, Head – Exhibitions & Publications) is designed by scenographer Adrien Gadére.
 

Join curators Leeza Ahmady and Vlad Sludisky for a walkthrough of ACAW 2018’s survey exhibition Focus Kazakhstan – Thinking Collections: Telling Tales, which focuses on Kyzyl Tractor, one of Central Asia’s most celebrated art collectives noted for their feverish experimentations and legendary performances in the 1990’s and early 2000’s. The walkthrough is followed by an Open Forum with a group of esteemed Respondents/arts professionals from various contemporary art arenas who will discuss the exhibition’s significance and timely presentation in Jersey City in relationship to larger discourses taking place across Asia and the world.