Sunday, February 24, 2013

Shahzia Sikander


Shahzia Sikander (Urdu: شازیه سکندر‎ born 1969, Lahore, Pakistan}; is a Pakistani-American artist who works in drawing, painting, animation, large-scale installation, performance and video. Sikander was traditionally taught the discipline of Indo-Persian miniature painting, where she studied at The National College of Lahore in Pakistan, earning a Bachelors of Fine Arts in 1992. Sikander moved to the United States and attended the Rhode Island School of Art and Design, earning a Masters of Fine Arts in 1995.
Raised as a Muslim in Lahore, Pakistan, Shahzia Sikander explores the integration of Hindu and Muslim culture by combining allegories from both societies and exploring imagery that communicates the hybridity of her experiences including, her personal history, politics and sexuality. Religion is a significant element in her art as well as her personal life, as an artist and practicing Muslim. Sikander explores in particular, the role of Muslim women and challenges the view Westerners have of associating Islam only with terrorism and the oppression of women.
Sikander creates stimulating visual experiences for her audience through the addition of modern and non-traditional elements by forcing the viewer to reconcile conflicting sensibilities hidden within beautifully rendered landscapes as well as offering a wide range of stimuli from the traditional Muslim world to popular Western culture, such as mandalas, airplanes and cowboy boots and soccer balls.[1]
Sikander has held solo exhibitions throughout the United States, the United Kingdom, Germany, Ireland, Australia and Hong Kong. She has had solo exhibitions at the Hirshhorn Museum and Sculpture Garden (1999/2000) and at the Renaissance Society at the University of Chicago (1998). Her work has been shown in group exhibitions at the Whitney Museum (1999/2000 and 1999), at the Third Asia-Pacific Triennial of Contemporary Art, Brisbane, Australia (1999), and at the Ludwig Museum, Cologne, Germany (1999). Sikander currently resides in New York City although her artistic practice continues to move easily between the borders and boundaries, out of which shifting identities and transnational artists are created.[2].

Early Work & Miniatures

“Initially I explored the tension between illustration and fine art when I first encountered miniature painting in my late teens. Championing the formal aspects of the Indo-Persian miniature-painting genre has often been at the core of my practice.” - Shahzia Sikander[3]
As an undergraduate student in Lahore, Shahzia Sikander studied the techniques of Persian and Mughal miniature painting, often integrating traditional forms of Mughal (Islamic) and Rajput (Hindu) styles and culture.[4] The traditional form of miniature painting requires equal measures of discipline, gesture and expression in order to execute a careful layering of color and detail. Compositionally, miniature paintings exhibit an extensive display of colorful imagery including, human forms, animals, patterns, shapes, dots and connecting lines. Miniature paintings often engage in contextual complexities such as, religious narrative, scenes of battles and court life. Sikander has integrated the techniques and forms of traditional miniature painting, relying on the layering of images and metaphor to drive her work. Her forms and figures exhibit a quality of continual morphing as transparent imagery is layered, providing a complexity with endless shifts in perception. Sikander’s complex compositions “dismantle hierarchical assumptions and subverts the very notion of a singular, fixed identity of figures and forms.” [5] The increasing approach of continual morphing explains Sikander’s relationship to an ever-changing world where opposing societies coalescently interact.
The Scroll, 1992, is a semi-autobiographical manuscript painting in which Sikander has included formal elements of manuscript painting and simultaneous views of multiple events. The Scroll portrays the intricacies of domestic Pakistani life including rituals that explore cultural and geographic traditions. Many hues, patterns and incidents appear in The Scroll, identifying Sikander’s attention to small detail, muted colour palette and understanding of architectural elements juxtaposed with the intimacies of domestic culture. The use of perspective is increasingly noticeable, exhibiting a linear movement of composition.[6] Common concerns of economics, imperialism, colonialism, sexualism and identity are also apparent in Sikander's early paintings.[7]
Sikander’s attention to detail and formalism assist in the contextualization of her miniature paintings, stemming from an interest in labor, process and memory. Earlier paintings also include elements of Gopi, or the cowherd female devotees and lovers of the deity Krishna in Hindu mythology, while figures of men are depicted as “turbaned warriors.”[8] The Gopi is portrayed in Sikander’s early miniature paintings to "locate visual and symbolic forms within miniature painting that have the potential to generate multiple meanings." [9] Shahzia Sikander’s most significant use of Gopi can be seen in a series of drawings and digital animation from 2003, titled Spinn. In the animation the characters multiply and their hair separates from their bodies, creating an abstracted form of hair silhouettes. Sikander explores the relationship between the present and the past, including the richness of multicultural identities. Integrated with both personal and social histories, her work invites multiple meanings, operating in a state of constant flux and transition.[10]

Digital Animation

“Drawing is a fundamental element of my process, a basic tool for exploration. I construct most of my work, including patterns of thinking, via drawing. Ideas housed on paper are often put into motion in the video animations, creating a form of disruption as a means to engage. I also stayed true to layering, a concept running throughout my practice. For the making of video animations, I went back to the fundamental use of ink drawings, crafting form out of color and gouache, scanning and threading them via movement. The breakdown of form also gives a stationary drawing the illusion of transformation, which as a topic has given me a lot of space to experiment and imagine throughout my work.” - Shahzia Sikander [11]
Similarly to her miniature paintings, Sikander relies on the process of layering to create digital animation. Formal elements of technique, layering and movement of the digital animations help to unhinge the “absolute of contrasts such as Western/non-Western, past/present, miniature/scale.” Sikander explains her appreciation for the process of layering in digital animation, allowing the narrative to remain suspended and open for reinterpretation. Sikander states; “The purpose is to point out, and not necessarily define. I find this attitude a useful way to navigate the complex and often deeply rooted cultural and sociopolitical stances that envelop us twenty-four hours and day, seven days a week.” [12]

Performance Art & Installations

"I think context, location matters a lot. Because location obviously in my situation, it's the space in which the work is going to be exhibited. And since some of the work I do is created onsite, it requires a different type of space, versus the smaller drawings or more subject-oriented work. So that the context becomes important." -Shahzia Sikander[13]
As a female Muslim artist, Shahzia Sikander often had to endure stereotyping among her community. The veil (a scarf often worn by Muslim women) covers the hair and neck and is symbolic of both religion and womanhood. Sikander's miniature paintings often refer to the veil, exploring her own religious history and cultural identity. In a performance piece, Sikander wore an elaborate lace veil for several weeks while documenting the reaction of her peers. Sikander explains that the veil gave her an ultimate sense of security, stating that, "It was wonderful to not have people see my facial or body language, and at the same time be in control and know that they did not know I was acting, and checking their reaction."[14]
Imagines and histories of the traditional Muslim veil occur throughout Sikander's compositions. Her larger works are reminiscent of a centuries-old Indian practice in which women regularly paint figures all over the walls and floors of their houses, using "whole body" gestural movements. Sikander uses large drawings as the basis for her large-scale installations, often requiring months to complete. "Nemesis" a site-specific installation at the Tang Museum, features a jewel-like paintings as small as six by eight inches and two animations.[15]

Exhibitions & Press

==Solo Exhibitions== [16]
  • 2009- Shahzia Sikander ‘I am also not my own enemy’, Pilar Corrias Gallery, London - UK
  • 2009- Shahzia Sikander Selects: Works from the Permanent Collection,’ Cooper-Hewitt, National Design Museum. New York – USA (Curator)
  • 2009- ‘Stalemate.’ Sikkema Jenkins & Co. New York – USA
  • 2008- Ikon Gallery, Birmingham, UK
  • 2008- ‘Intimate Ambivalence,’ IKON Gallery, Birmingham – UK
  • 2007- Shahzia Sikander, Museum of Contemporary Art, Sydney – AUS
  • 2007- Irish Museum of Modern Art, Dublin – IR
  • 2006- Shahzia Sikander, in collaboration with The Fabric Workshop and Museum, Philadelphia, PA, April 17-June 17
  • 2006- Valentina Bonomo Arte Contemporanea, Rome – IT
  • 2006- Shahzia Sikander, Taipei Biennial
  • 2006- Fabric Workshop & Museum, Philadelphia – USA
  • 2006- "Shahzia Sikander: New Work," Sikkema Jenkins & Co. New York – USA
  • 2005- "51 Ways of Looking," Brent Sikkema New York, NY,
  • 2005- ‘Dissonance to Detour,’ Otis College of Art and Design, Los Angeles – USA
  • 2005- Miami Art Museum, Miami – USA
  • 2004- Shahzia Sikander: Nemesis, The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, New York,
  • 2004- Aldrich Contemporary Art Museum, Ridgefield, Connecticut
  • 2004- Shahzia Sikander: Flip Flop, The San Diego Museum of Art, San Diego, California,
  • 2004- "Contemporary Links: Shahzia Sikander." The San Diego Museum of Art,San Diego,CA
  • 2003- Drawing to Drawing, Hosfelt Gallery, San Francisco
  • 2003- SpiNN, Brent Sikkema, New York
  • 2001- Intimacy, ArtPace, San Antonio, Texas,
  • 2000- Acts of Balance, Whitney Museum of American Art at Philip Morris, New York
  • 1999- Directions: Shahzia Sikander, Hirshhorn Museum and Sculpture Garden, Washington, D.C.
  • 1998- Shahzia Sikander, The Renaissance Society at the University of Chicago, Chicago
  • 1998- Shahzia Sikander: Drawings and Miniatures, The Kemper Museum of Contemporary Art and Design, Kansas City, Missouri
  • 1997- Murals and Miniatures, Deitch Projects, New York
  • 1997- A Kind of Slight and Pleasing Dislocation, Hosfelt Gallery, San Francisco
  • 1996- Knock Knock Who's There? Mithilia, Mithilia Who? Project Row Houses, Houston, Texas, April
  • 1996- Art Celebration 96: Shahzia Sikander, Barbara Davis Gallery, Houston, Texas
  • 1993- Pakistan Embassy, Washington DC
==Group Exhibitions==[17]
==Awards and fellowships==[18]
  • 2009- The Inaugural Rockefeller Foundation Bellagio Center Creative Arts Fellowship
  • 2008- Performing and Visual Arts Achiever of the Year award presented by the South Asian Excellence Awards, 2008
  • 2007 - 2008- Artist-in-residence, Daad program (Berliner Kunstlerprogramm, Deutscher Akademischer Austauschdienst)
  • 2006- Young Global leader, World Economic Forum
  • 2006- John D. and Catherine T. MacArthur Foundation Fellowship, 2006
  • 2005- Tamgha-e-imtiaz, National Medal of Honor, Government of Pakistan
  • 2005- Jennifer Howard Coleman Distinguished Lectureship and Residency
  • 2003- Commendation Award, Mayor's Office, City of New York
  • 1999- South Asian Women's Creative Collective Achievement Award
  • 1998-99- The Joan Mitchell Award
  • 1997- The Louis Comfort Tiffany Foundation Award
  • 1995-97- Core Fellowship, Glassel School of Art, Museum of Fine Arts, Houston
  • 1993-95- Graduate Fellowship Award, Rhode Island School of Design
  • 1992- Shakir Ali Award/Kipling award, (highest merit award) National College of Arts Lahore
  • 1992- Haji Sharif Award, (excellence in Miniature Painting) National College of Arts, Lahore
  • 199- Distinction Award, Thesis Project, National College of Arts, Lahore
== Literature==[19]
  • 2009- Cooper-Hewitt, National Design Museum. Shahzia Sikander Selects: Works from the Permanent Collection. Brochure. New York: 2009
  • 2009- Stiles, Kristine, and Selz, Peter. (Editors) Theories and Documents of Contemporary Art, University of California Press, 2009. ISBN 9780520202535
  • 2008- Shpungin, Diana. “Delicatessen.” (Exhibition Brochure) University Galleries, Florida Atlantic University, Boca Raton, FL: Nov. 9, 2007 – Jan. 26, 2008
  • 2008- CORE: Artists and Critics in Residence, c. The Museum of Fine Arts, Houston 2008 ISBN 978-0-89090-162-5 p. 112
  • 2008- Guglielmino, Giorgio. How to Look at Contemporary Art (…and like it) 66works from 1970 to 2008.” Umberto Allemandi & Co Publishing, 2008, ISBN-978-88-422-1644-5
  • 2008- Heartney, Eleanor. “Art & Today,” Phaidon press 2008 ISBN 9780714845142
  • 2008- Juncosa, Enrique. ‘Order. Desire. Light. : An Exhibition of Contemporary Drawings,’ c. IMMA Dublin 2008 ISBN 9781-903811-90-0 (Exhibition Catalogue)
  • 2008- Sarah Kent, “Demons, Yarns & Tales.” The Dairy, London, UK: Nov. 10-22, 2008; The Loft, Miami, FL: Dec. 3-6, 2008. (Exhibition Catalogue)
  • 2008- Weinberg, Adam. Momin, Shamim M. ‘Whitney Museum of American Art at Altria: 25 Years’ c. Whitney Museum of American Art 2008 ISBN 978-0-300-13933-4
  • 2007- Yanez, Isabel, “Fantasmagoria,” Fundacion ICO, Madrid c. 2007 (Exhibition Catalogue) ISBN 9788493468460
  • 2007- Anderson, Kurt. (Interview) “Spectrum: The Lockwood Thompson Dialogues at the Cleveland Public Library,” c.2007 Cleveland Public Library, Cleveland OH ISBN 0-9778917-1-2
  • 2007- Badia, Montse, “Fantasmagoria,” Fundacion ICO, Madrid c. 2007 (Exhibition Catalogue) ISBN 9788493468460
  • 2007- Bhabha, K. Homi, (Exhibition Catalogue Essay) ‘Beginning Again’, ‘Shahzia Sikander, Irish Museum of Modern Art’, 28 March-7 May 2007, c. Charta Press, ISBN 8881586428 pp. 35–41
  • 2007- Bishop, Janet. “Take 2: Women Revisiting Art History,” (Exhibition Catalogue) c. 2007 Mills College Art Museum, Oakland, CA
  • 2007- “Don’t Look: Contemporary Drawings from an Alumna’s Collection (Martina Yamin, class of 1958)” (Exhibition Catalogue) 2007 Davis Museum and Cultural Center, Wellesley MA
  • 2007- Kissane Sean, (Essay), ‘Shahzia Sikander, Irish Museum of Modern Art’, 28 March-7 May 2007, c. Charta press, ISBN 8881586428 pp. 27–32
  • 2007- Modern & Contemporary Art at the Virginia Museum of Fine Arts, Virginia Museum of Fine Arts, 2007, ISBN-978-0-917046-80-3
  • 2007- MoMA Highlight since 1980, Museum of Modern Art, New York, D.A.P. 2007, ISBN-978-0-87070-713-1
  • 2007- Paparoni, Demetrio and Mercurio, Gianni. “Timer 01/Intimacy,” Triennale Bosvisa, Milan, Italy. (Exhibition Catalogue). C. Fondazione La Triennale di Milano 2007, Skia Editore, Milano 2007
  • 2007- Reilly, Maura and Nochlin, Linda, “Global Feminisms,” c. Merrell Publishers Ltd. 2007 in association with the Brooklyn Museum (Exhibition Catalogue) ISBN 978-1-8589-4390-9
  • 2006- Blum, Kelly, and Annette DiMeo Carlozzi, ed. “Blanton Museum of Art: American Art Since 1900,” (Exhibition Catalogue) The University of Texas at Austin, 2006
  • 2005- Dexter, Emma. “Vitamin D: New Perspectives in Drawing” c. Phaidon Press 2005, ISBN 0714845450
  • 2005- Marquardt, Janet, and Stephen Eskilson. Frames of Reference: Art History and the World. New York: McGraw-Hill, 2005
  • 2005- Linton, Meg. “Stockpiling and Dissemination,” Dissonance to Detour (Exhibition Catalogue) c. 2005 Ben Maltz Gallery at Otis College of Art & Design. ISBN: ISBN 0-930209-10-9 pp. 5–8
  • 2004- Hecker, Judith, Shahzia Sikander, Artists and Prints, Masterworks from The Museum of Modern Art, Published by MOMA, C-2004, ISBN 0-87070-125-8
  • 2004- Hertz, Betti-Sue, "Shahzia Sikander: Flip Flop", (Exhibition Brochure) Contemporary Links 2, San Diego Museum of Art, March 27- June 27, 2004
  • 2004- H.H. Arnason, "History of Modern Art, 5th Edition" c. 2004 Prentice Hall, INC. Upper Saddle River, New Jersey ISBN 0-13-184069-X, pp 750–1
  • 2004- Naef, Silvia, "L'Islam en Debats,” c. Teraedre, Paris, France, ISBN 2-91286820-3 c. 2004
  • 2004- O’Brian, David and Prochaska, David. “Beyond East and West: Seven Transnational Artists” (Exhibition Catalogue) Champaign, Illinois: Krannert Museum of Art, 2004
  • 2004- Szeemann, Harald, "The Joy Of My Dreams" (Exhibition Catalogue) First International Biennial of Contemporary Art, Seville, Spain, Oct 3-Dec5, 2004, ISBN 84-609-2370-3
  • 2004- Wye, Deborah "Artists and Prints in Context", Artists and Prints, Masterworks from The Museum of Modern Art, Published by MOMA, C-2004, ISBN 0-87070-125-8
  • 2004- Weiss, Rachel, (Essay) 'From Place to Place', "As Long As it Lasts" Published by the Renaissance Society, 2004, ISBN 9-41548-47-3
  • 2003- Platform Year Report 2003, "Packaged Paradise" Shahzia Sikander, Biennial Exhibition, Sept 20- Nov 16, 2003. Platform Garanti Contemporary Art Center. Istanbul, Turkey
  • 2003- Heller, Nancy, G. “Women Artists” New York: Abbeville Press, 2003
  • 2003- Kim, Elaine H., Margo Machida and Sharon Mizoto. Fresh Talk/Daring Gazes. Berkeley, California: University of California Press, 2003
  • 2003- Augaitis, Daina. "For the Record. Drawing Contemporary Life" Published by Vancouver Art Gallery. 2003. ISBN 1-895442-45-1
  • 2003- Cameron, Dan. Poetic Justice. (Exhibition Catalogue) Istanbul: Istanbul Biennial, Istanbul Foundation for Culture and Arts, 2003
  • 2003- Kim, Elaine H., Margo Machida and Sharon Mizoto. Fresh Talk/Daring Gazes. Berkeley, California: University of California Press, 2003
  • 2002- Antelo-Suarez, Sandra, et al. Urgent Painting. Paris: ARC, Musée d’Art moderne de la Ville de Paris, 2002. (Exhibition Catalogue)
  • 2002- Brown, Kathan. "Shahzia Sikander: No Parking Anytime", (Exhibition Brochure) Crown Point Press, SanFrancisco, Spring 2002
  • 2002- Contemporary Art Commissions at the Asia Society and Museum, Introduction by Vishaka Desai, Published by the Asia Society, 2002, ISBN 0-87848-091-9
  • 2002- Falguieres, Patricia, 134 Views of the World, Urgent Painting, (Exhibition Catalogue) ARC, Musee d'art Moderne de la Ville de Paris, 2002
  • 2002- Hashmi, Salima, Unveiling the Visible, Lives and Works of Women Artists of Pakistan, Published by Actionaid, Pakistan, 2002, ISBN 969-35-1361-4
  • 2002- Hoptman, Laura. Drawing Now: Eight Propositions. (Exhibition Catalogue) New York: Museum of Modern Art, 2002
  • 2001- Herbert, Lynn, (Essay) section on spirituality, "Sikander, Turrell, Hamilton, Feodorov", Art: 21, Art in the 21st Century, Harry N. Abrams, Inc. 2001
  • 2001- Goankar, Dilip Parameshwar, (editor) "Alternative Modernities", Duke University Press, Durham and London, 2001, ISBN 0-8223-2714-7
  • 2001- Daftari, Fereshteh, "Projects 70", Exhibition Brochure, MOMA, NYC, Nov. 22, 2002- Mar. 13, 2001
  • 2001- Desai, Vishakha N. (Interview) “Conversations with Traditions: Nilima Sheikh and Shahzia Sikander,” (Exhibition Catalogue) 2001, ISBN 0-87848-090-0
  • 2001- Chambers, Kristin, "Loose Threads", Threads of Vision: Toward a New Feminine Poetics. Cleveland Center for Contemporary Art, Cleveland, 2001, ISBN-1-880353-19-9
  • 2001- Daftari, Fereshteh, "ARS 01", Exhibition Catalogue, Museum of Contemporary Art, Kiasma, Helsinki, 2001
  • 2001- Marcoci, Roxana, (Interview with SS), Threads of Vision: Toward a New Feminine Poetics. Cleveland Center for Contemporary Art, Cleveland, 2001, ISBN-1-880353-19-9
  • 2001- Marino, Melanie, (Essay for Exhibition Brochure) Shahzia Sikander 01.1, ArtPace, San Antonio, TX, Mar 15 – May 13, 2001
  • 2001- Reckit, Helena and Phelan, Peggy "Art and Feminism", Phaidon Press, c 2001 ISBN 0714835293
  • 2001- Nemiroff, Diana. "After Arcadia", (Exhibition Catalogue) Elusive Paradise, The Millenium Prize, National Gallery of Canada, Ottawa, 2001, ISBN 0-88884-720-3
  • 2001- Sollins, Susan, et al. Art: 21, Art in the 21st Century. New York: Harry N. Abrams, 2001. Essay by Lynn M. Herbert. ISBN 0810913976
  • 2000- Singer, Debra. Shahzia Sikander: Acts of Balance. (Exhibition Brochure) New York: Whitney Museum of American Art at Philip Morris, 2000
  • 2000- Kortun, Vasif. "Fresh Cream", Phaidon Press, c 2000 (ISBN 0-7148-3924-8)
  • 2000- Krug, Margaret. “An Artist’s Handbook: Materials and Techniques,” c. Laurence King Publishing 2007. ISBN 1-85669-523-9
  • 2000- Boris, Staci. Drawing on the Figure: Works on paper of the 1990s from the Manilow Collection. (Exhibition Catalogue) Chicago: Museum of Contemporary Art, 2000
  • 2000- Fletcher, Valerie- Art worlds in dialogue, Museum Ludwig, Koln, Dumont Publishers, 2000, ISBN-3-7701-5046-5
  • 1999- Fletcher, Valerie. (Exhibition Brochure) Shahzia Sikander. Washington DC: Hirshhorn Museum and Sculpture Garden, 1999
  • 1999- Friis-Hansen, Dana. Beyond the Future: the Third Asia-Pacific Triennial. (Exhibition Catalogue) Brisbane, Australia: Queensland Art Gallery, 1999
  • 1999- Gregos, Katerina. Global Vision: New Art from the 90s, Part II. (Exhibition Catalogue) Athens: Deste Foundation, Center for Contemporary Art, 1999
  • 1999- Bhabha, Homi. “Chillava Klatch: Shahzia Sikander interviewed by Homi Bhabha.” (Exhibition Catalogue) c. 1999 The Renaissance Society at the University of Chicago, ISBN 0-941548-42-2
  • 1999- Carlozzi, Annette DiMeo. Negotiating Small Truths. (Exhibition Catalogue) Austin, Texas: Jack S. Blanton Museum of Art, The University of Texas, 1999
  • 1999- Devji, Faisal. “Translated Pleasures.” Shahzia Sikander (Exhibition Catalogue) 1999 The Renaissance Society at the University of Chicago, ISBN 0-941548-42-2
  • 1999- Farris Phoebe, "Women Artists of Color", A Bio-Critical Sourcebook to 20th Century Artists in the Americas, Greenwood Press, 1999. ISBN-0-313-30374-6
  • 1999- Phillips, Lisa. The American Century: Art and Culture, 1950-2000. (Exhibition Catalogue) New York: Whitney Museum of American Art, 1999
  • 1999- Yeon Kim, Yu, "Fragmented Stories", Five Continents and One City-International Salon of Painting, (Exhibition Catalogue) Mexico City, Mexico, 1999
  • 1998- Farver, Jane. "Inside and out of India: Contemporary art of the South Asian Diaspora" 1998. Published by the Queens Museum, NY
  • 1998- Self, Dana. “Shahzia Sikander: Drawings and Miniatures” (Exhibition Brochure) Kansas City, Missouri: Kemper Museum of Contemporary Art, 1998
  • 1998- Watkin, Mel, On the Wall: Selections from The Drawing Center. (Exhibition Catalogue) St. Louis: Forum for Contemporary Art, 1998
  • 1997- Schaffner, Ingrid. Project Painting. (Exhibition Catalogue) Lehman Maupin Gallery, 1997
  • 1997- Farver, Jane. Out of India: Contemporary Art of the South Asian Diaspora. (Exhibition Catalogue) New York: Queens Museum of Art, 1997
  • 1997- Colpit, Frances, Core Fellows Exhibition 1997, (Exhibition Catalogue) Houston, Texas: Glassell School of Art, Museum of Fine Arts, 1997
  • 1997- Phillips, Lisa and Louise Neri, 1997 Biennial. (Exhibition Catalogue) New York: Whitney Museum of American Art, 1997
  • 1996- Pagel, David. Core Fellows Exhibition 1996, (Exhibition Catalogue) Houston, Texas: Glassell School of Art, Museum of Fine Arts, 1996
  • 1994- Hashmi, Salima and Niva Poovaya-Smith, An Intelligent Rebellion: Women Artists of Pakistan. (Exhibition Catalogue) Bradford, England: City of Bradford Metropolitan Council, 1994
  • 1994- Sirhandi, Marcella, A Selection of Contemporary Paintings from Pakistan. (Exhibition Catalogue) Pasadena, California: Pacific Asia Museum, 1994

External Links & References


  1. ^ Rogers, Mike (12/2005-02/2006). "Shahzia Sikander". ArtUS (11): 12-12. ISSN 15467082. Retrieved 10/15/12.
  2. ^ Chadwick, Whitney (2007). Women, Art and Society. 500 Fifth Avenue, New York, New York 10110: Thames & Hudson Inc.. pp. 445. ISBN 978-0-500-20393-4.
  3. ^ Gupta, Anjali. "A Conversation with Shahzia Sikander". Interview. Linda Pace Foundation. Retrieved 10/14/12.
  4. ^ "Shahzia Sikander". About the Artist. Crown Point Press. Retrieved 10/14/12.
  5. ^ Stich, Sidra (06/01/11). "Shahzia Sikander @SFAI". Review. Square Retrieved 10/14/12.
  6. ^ Kunitz, Daniel (February 2002). "Shahzia Sikander in Conversations with Traditions". New Criterion 20 (6): 40.
  7. ^ Chadwick, Whitney (2007). Women, Art and Society. 500 Fifth Avenue, New York, New York 10110: Thames & Hudson Inc.. pp. 446. ISBN 978-0-500-20393-4.
  8. ^ Leffingwell, Edward (10/14/12). "Shahzia Sikander at Brent Sikkema". Art in America 94 (1): 119–120.
  9. ^ Vartanian, Ivan (2011). Justine Parker. ed. Art Work: Seeing Inside the Creative Process. 680 Second Street, San Francisco, CA, 94107: Goliga Books, Inc.. pp. 53. ISBN 978-0-8118-7128-0.
  10. ^ "Shahzia Sikander". Biography/ Press. Hostfelt Gallery. Retrieved 10/14/12.
  11. ^ Gupta, Anjali. "A Conversation with Shahzia Sikander". Interview. Linda Pace Foundation. Retrieved 10/14/12.
  12. ^ Vartanian, Ivan (2011). Justine Parker. ed. Art Work: Seeing Inside the Creative Process. 680 Second Street, San Francisco, CA 94107: Goliga Books, Inc.,. pp. 59. ISBN 978-0-8118-7128-0.
  13. ^ "Shahzia Sikander: Gods, Griffins and Cowboy Boots". Interview. MOMA: Red Studio. Retrieved 10/14/12.
  14. ^ Jepsen, Cara. "On Exhibit: Shahzia Sikander Makes Herself Clear". The Chicago Reader. Retrieved 10/15/12.
  15. ^ "Opener 6: Shahzia Sikander- Nemesis". Tang Museum. Retrieved 10/14/12.
  16. ^ "Shahzia Sikander".
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