Posts Tagged ‘Nasreen Mohamedi’

Art | Nasreen Mohamedi Meets Taca Sui in New York

Friday, March 18th, 2016

Nasreen Mohamedi, Untitled, c 1975
Ink and graphite on paper
Sikander and Hydari Collection

Nasreen Mohamedi
The Met Breuer
18 March > 5 June 2016


Taca Sui: Steles – Huang Yi Project
Chambers Fine Art
31 March > 28 May 2016

Taca Sui, Tomb of Prince Lu #2, 2015
Archival pigment print on baryta paper

One relatively young and having established his reputation fairly recently, the other being afforded posthumous, retrospective acclaim, parallels, contrasts and coincidences exist between their respective work and the life stories of two Asian artists of different generations, who almost certainly never met, but have shows opening in New York.

Indian modernist Nasreen Mohamedi (1937–1990) was brought up in Mumbai, often, like New York, described with the epithet ‘the city that never sleeps’. Fine art photographer, Taca Sui was born in Qingdao, like New York, albeit smaller, a port city of skyscrapers. In the mid-1950s, Mohamedi would travel to London to study at Central Saint Martin’s School of Art, while having attended the Central Academy of Fine Arts in Beijing in 2003, Taca went to the United States to continue his studies in 2005.

Taca Sui, Pagoda of Six Harmonies, 2015
Archival pigment print on baryta paper

Nasreen Mohamedi, Untitled, c 1975
Ink and graphite on paper
Sikander and Hydari Collection

The work of both artists is essentially monochrome, but whereas painter, photographer and draughtswoman Mohamedi, influenced by Russian suprematist Kazimir Malevich – a founding father of abstract art – among others, made non-representational paintings, semi-abstract photographs and drawings that bear no relation to Indian traditional art, Taca, who left college to assist American abstract expressionist painter Ronnie Landfield – well-known for his use of vibrant colour –produces work that is strongly rooted in China’s landscape, his images relate to geographic locations suggested in classical Chinese literature and are tied to the history, myths and religious traditions of ancient Han culture.

The calmness of mood in Taca’s work, and the reduction of the elements that make up each image, brings to mind Japanese minimalist Hiroshi Sugimoto’s photography, but the artists’ approach to and treatment of respective subject matter is entirely dissimilar. More redolent of the Italian futurist architect Antonio Sant’Elia’s drawings, Mohamedi’s graphic work has drawn comparisons with that of minimalist sculptor Carl Andre. It would be a mistake to label either Mohamedi or Taca as minimalist.

Nasreen Mohamedi, Untitled, c 1972
Gelatin silver print
Kiran Nadar Museum of Art, New Delhi

Taca Sui, Feilai Peak, 2015
Archival pigment print on baryta paper

On the road to success: their work transformed by their experiences abroad, neither artist completely abandoned their own country for life in the west. Nasreen Mohamedi, having worked for a time in Europe and after spending time in Bahrain, travelled extensively through India, Iran and Turkey, visiting Japan and the USA, before returning to India in the early 1970s to teach in the Faculty of Fine Arts at MS University in Baroda (now Vadodara), while Taca Sui is now based in both Beijing and New York.

Joined in spirit, located in disparate areas of New York, Nasreen Mohamedi opens today at Madison Avenue’s The Met Breuer on the Upper East Side of Manhattan, while Taca Sui: Steles – Huang Yi Project starts in two weeks’ time at Chambers Fine Art in Chelsea, afterwards the shows run concurrently.

All Nasreen Mohamedi images courtesy The Met Breuer
All Taca Sui images courtesy Chambers Fine Art

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