The Museum of Fine Arts, Houston Presents “Shahzia Sikander: Extraordinary Realities” in Spring 2022
Houston is the final venue for this exhibition, which examines how the artist has transformed and subverted South and Central Asian illustrated manuscript painting to explore contemporary issues
HOUSTON—December 17, 2021—This spring, the Museum of Fine Arts, Houston, will be the final stop for Shahzia Sikander: Extraordinary Realities, some 60 paintings, drawings, and video animations examining the prolific first 15 years of the artist’s career. Organized by the Rhode Island School of Design Museum, the exhibition will be on view at the MFAH from March 20 to June 5, 2022.
Born in Lahore in 1969, Pakistani American artist Shahzia Sikander is internationally celebrated for bringing manuscript painting traditions from South and Central Asia into dialogue with contemporary art practice. This exhibition includes nearly 60 works borrowed from public and private collections and tracks the first 15 years of her artistic journey: her groundbreaking deconstruction of manuscript painting in Pakistan; development of a new personal vocabulary in her graduate years at the Rhode Island School of Design; expanded explorations around identity as a Core Fellow at the Glassell School of Art at the Museum of Fine Arts, Houston; and her global approach during her first years in New York, when Sikander richly interrogated gender, sexuality, race, class, and history, creating open-ended narratives that have sustained her as one of the most significant artists working today.
“We are delighted to bring this exhibition focusing on Shahzia Sikander’s early development as an artist, which includes her time in Houston as a Core Fellow at the Glassell School of Art,” said Gary Tinterow, Director and Margaret Alkek Williams Chair, the Museum of Fine Arts, Houston. “Her vibrant synthesis of illustrated manuscript painting with contemporary art practice has played a critical role in recognizing a wider range of perspectives, including those of women, people of color, Muslims, and artists working outside the US and Europe. We are pleased to bring back Sikander’s richly vibrant and varied work to the MFAH.”
The exhibition begins with work Sikander made while studying miniature, or manuscript, painting at the National College of Arts (NCA) in Lahore (1987–91). Her decision to major in this tradition was met with skepticism at the school, where many viewed the practice as lacking in creativity. Manuscript painting had a tireless advocate at the NCA in Professor Bashir Ahmad, whose passion intimated the potential of this territory. Working under his mentorship, Sikander ruptured all expectations with her thesis, The Scroll (1989–1990), which was striking for the originality of its subject, format, scale, and execution. With this work, she demonstrated the tradition’s potential for experimentation and relevance to contemporary art, beginning what would become a neo-miniature movement in Pakistan.
Also featured is work from Sikander’s graduate studies at the Rhode Island School of Design where she embarked on a renewed journey of investigation from 1993 to 1995. She took up new materials as she confronted the “cultural dislocation” of coming to America. Working with gouache and ink on tracing paper and clay-coated paper, she continued an interrogation of gender and power begun in Lahore, developing new archetypes and applying materials and techniques with new abandon to continue a deeper investigation of feminism and sexuality through her drawings to create a personal lexicon and strategies for layering her new imagery within traditional paintings.
During her residency at the Glassell School of Art from 1995 to 1997, Sikander began creating narratives that referenced multiple time periods, geographies, and traditions. Her work became more expansive in its interpretation, and at the same time began to increase in scale as she combined and layered her tracing-paper drawings. Her focus on women continued with new imagery and themes inspired by the region’s culture as well as her engagement with Project Row Houses, in Houston, through which she gained a deeper understanding of American race relations as she explored racial and other underrepresented narratives and scaled up her work. Sikander created imagery that quickly brought her to the fore of the American art world with shows in a number of prestigious venues.
The final section of the exhibition includes work following Sikander’s 1997 move to New York, where she still lives. She has continued to make work grounded in manuscript painting traditions while expanding her ambitious wall drawings and floor-to-ceiling installations, layering works on tracing paper. The terrorist attacks of 9/11 and their aftermath opened up new engagement around economics, global trade, and news cycles, and Sikander’s work became more overtly political. The dynamism of her drawings led Sikander in the early 2000s to video animations, which today comprise a major part of her practice. The MFAH presentation of Extraordinary Realities will showcase the animation Parallax, a shared acquisition between the MFAH and the Whitney Museum of American Art, which exploits the manuscript painting’s capacity for transformation to maximum effect: by combining digital technologies to that add movement and sound, and by magnifying the tiniest, indiscernible details, Sikander reflects on past and present to tell the story of colonialism and capitalism.
Shahzia Sikander: Extraordinary Realities will be accompanied by a publication of the same title, edited by Sadia Abbas and Jan Howard, which includes contributions from Bashir Ahmad, Dennis Congdon, Faisal Devji, Gayatri Gopinath, Vasif Kortun, Rick Lowe, Julie Mehretu, Kishwar Rizvi, Shahzia Sikander, and John W. Smith. Comprising new archival material, fresh scholarly essays, and conversations with artists, curators, and Sikander’s teachers, the book presents a bold, in-depth examination of the artist’s early work.
Organization & Funding
Shahzia Sikander: Extraordinary Realities is organized by the RISD Museum and presented in collaboration with the Museum of Fine Arts, Houston. This exhibition originated at the RISD Museum thanks to generous federal, private, and endowment support.
Generous funding provided by:
E. Rhodes and Leona B. Carpenter Foundation
The Margaret Cooke Skidmore Exhibition Endowment
Alice Kleberg Reynolds Foundation
About the Museum of Fine Arts, Houston
Established in 1900, the Museum of Fine Arts, Houston, is among the 10 largest art museums in the United States, with an encyclopedic collection of nearly 70,000 works dating from antiquity to the present. The Museum’s Susan and Fayez S. Sarofim main campus comprises the Audrey Jones Beck Building, designed by Rafael Moneo and opened in 2000; the Caroline Wiess Law Building, originally designed by William Ward Watkin, with extensions by Ludwig Mies van der Rohe completed in 1958 and 1974; the Lillie and Hugh Roy Cullen Sculpture Garden, designed by Isamu Noguchi and opened in 1986; the Glassell School of Art, designed by Steven Holl Architects and opened in 2018; The Brown Foundation, Inc. Plaza, designed by Deborah Nevins & Associates and opened in 2018; and the Nancy and Rich Kinder Building, also by Steven Holl Architects, opened in 2020 Additional spaces include a repertory cinema, two libraries, public archives, and facilities for conservation and storage. Nearby, two house museums—Bayou Bend Collection and Gardens, and Rienzi—present American and European decorative arts. The MFAH is also home to the International Center for the Arts of the Americas (ICAA), a leading research institute for 20th-century Latin American and Latino art. mfah.org
Melanie Fahey, senior publicist
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