Essays

There is no question that for contemporary artists of non-Western origin, the doors to international art scenes, barely ajar in the late 1980s, have opened wider, with increasing access to an inter-continental art market and blockbuster exhibitions. What is more,

Wifredo Lam (1902-1982) was a Cuban artist of mixed race. In the 1980s, his painting Jungle (1943) hung near the coatroom in the first floor lobby of New York’s Museum of Modern Art, prompting the poet and critic John Yau

Ulrich Middeldorf was a historian of Renaissance art. A student of the legendary Heinrich Wölfflin, he headed the Art Department of the University of Chicago. On 16 May 1950, he wrote a letter to his contact at Uganda’s Makerere University

In the 21st century, the question of any new contributions from abstract art is a complicated matter, for the Modernist baggage it carries can hardly be justified any more. And because of the curious mix of utopia and reason that

ubhadarshini Singh’s art is deeply involved with the subject of medicine, both modern and ancient, Indian and Western. A legacy of her experience as a medical journalist, it is unambiguously central to her creative enterprise. What interests me, however, is

What made me decide to contribute to this volume of essays was a feeling of exclusion, so to speak. While the literature on the scholarship of pedagogy and the NECIT seminars indeed resonate with many of my concerns as a

Of all the genres invented in the history of modern art, “protest art” is one of the broadest and most open-ended, not least because it encompasses a wide variety of forms, materials, processes and aesthetics. If Picasso’s Guernica shares this