Nasreen mohamedi artist biography
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“'Pull With a Direction,' a lovely point of view engrossing strut at Talwar Gallery, presents a closed, in-a-nutshell kind of description development advance Nasreen Mohamedi (1937-1990), combine of picture most machiavellian modernist artists of post-World War II India."
Roberta Mormon, The Pristine York Times
Untitled, ca. 1965 Oil anomaly canvas 36” x 48”
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Kunsthalle Basel
NASREEN MOHAMEDI
Notes. Reflections on Indian Modernism
7 February – 5 April 2010
Kunsthalle Basel is proud to present Nasreen Mohamedi. Notes - Reflections on Indian Modernism. This exhibition is one of the first international solo presentations of Nasreen Mohamedi (1937–1990), an artist who occupies a unique position in the history of art practice in India as well as in the history of Modernist abstraction. She is regarded as one of the most important Indian artists of her generation and her paintings, drawings and photographs produced from the early 1960s to the late 1980s, constitute a key body of work within the modernist canon.
Little known outside of India, Mohamedi’s work has in recent years attracted increasing attention and critical acclaim. This exhibition brings together for the first time a comprehensive collection of works by Mohamedi including a series of major drawings, photographs and studies, as well as an extensive and previously unseen archival display.
Born in Karachi in 1937, Nasreen Mohamedi moved with her family to Mumbai (then Bombay) at the age of seven. In 1954, she travelled abroad to study – in London at Saint Martin’s School of Art (1954–57) and in Paris on a scholarship from the French government. After she returned to I
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Nasreen Mohamedi’s letter to artist, Nilima Sheikh, Image Courtesy: Nilima Sheikh and Asia Art Archive.
Nasreen Mohamedi’s hand-written letter to her close friend, artist Nilima Sheikh exudes a sense of both restraint and tenderness. With her formal handwriting, she composes what appears as a verse of concrete poetry – simultaneously referencing and exploring ideas of space – on a piece of graph paper. Providing a window into the late Modernist’s preoccupations with nature, abstraction, and the limits of perception, this letter, describing the seashore at Kihim, also inspires the title of her latest retrospective at Jehangir Nicholson Art Foundation (JNAF) – Nasreen Mohamedi: The Vastness, Again and Again.
Born in 1937 into a progressive Muslim family in Karachi, and raised in Bombay (present-day Mumbai), Mohamedi is recognised for her minimalist drawings in ink and graphite, calibrating rhythmic lines of different dimensions and weights. Highly controlled and rigorous in her commitment to precision, she laboured over these even through her final decade, while battling a degenerative neuro-muscular condition that she succumbed to in 1990. Her artworks have been exhibited globally since, but this is her first retrospective in her hometown in over three decades. Curated b