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Lot 52

 

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a) Rasheed Arareen, The other story : Afro-Asian artists in post-war Britain, London: Hayward Gallery, Southbank Centre, 1989

158 pages; softcover with French flaps
11 x 9.75 in (28 x 25 cm)

A very nice copy of this seminal exhibition at Hayward Gallery, London, 29 November 1989 to 4 February 1990; Wolverhampton Art Gallery, 10 March to 22 April 1990; and Manchester City Art Gallery and Cornerhouse, 5 May to 10 June 1990—devised and selected by artist, writer, editor, and curator Rasheed Araeen—celebrated the contribution of artists from Africa, Asia, and the Caribbean to art in post-war Britain and to modernism.

A pioneering curatorial and scholarly effort The Other Story stands as a foundational text in the history of postcolonial art discourse in Britain. The catalogue documents the groundbreaking exhibition that for the first time brought together the works of 24 Afro-Asian artists active in post-war Britain—including F N Souza, Avinash Chandra, Anwar Jalal Shemza, Rasheed Araeen, Frank Bowling, and others—who had been marginalized by the dominant Euro-American modernist narrative. Despite some success of the so-called ‘Commonwealth‘ generation of artists in the 1960s, by the end of the 1980s they were still denied their place in the mainstream historical narrative – “they remained the Other, in the sense that their Otherness was constantly evoked as part of the discussion of their work”. The exhibition was regarded as a significant milestone in the revision of the Western-oriented history of Modernism, despite the fact that it was attacked by certain art critics at the time.

The volume features A substantial curatorial essay by Rasheed Araeen. Artist biographies and statements. Full-colour and monochrome reproductions of works. Archival photographs and installation views. Chronologies and exhibition history

A seminal and highly sought-after catalogue, now long out of print, that continues to inform contemporary debates on race, migration, and visibility in British art history. An essential addition to any library focused on postcolonial modernism, diasporic art practices, or British cultural studies.

b) Gayatri Sinha, Expressions & Evocations: Contemporary Women Artists of India, Mumbai: Marg Publications on behalf of the National Centre for the Performing Arts, 1996

175 pages profusely illustrated with color illustrations; hardcover. Blue cloth with yellow lettering on the spine. Color pictorial dust jacket, black lettering.
13 x 9.75 in (33 x 25 cm)

"This volume comes in the aftermath of women's art being widely exhibited as a separate category in India and abroad. Written by some of India's best-known critics and scholars of contemporary art, the articles trace the presence of women on the Indian art scene from the early initiative of Amrita Sher-Gil in the 1930s to the artists of the 1990s." (Foreword on the dust jacket flap)

Curated and edited by art critic Gayatri Sinha, this landmark publication brings together critical essays and rich visual documentation to examine the evolving practices of contemporary women artists in India. Exploring a wide range of mediums—from painting and sculpture to installation and photography—the book highlights the contributions of prominent artists such as Nalini Malani, Arpita Singh, Anjolie Ela Menon, Madhvi Parekh, Navjot Altaf, and Rekha Rodwittiya, among others.

The publication is divided into thematic sections addressing identity, myth, body politics, and regional idioms, supported by scholarly analysis and extensive visual material.

This volume marks a pivotal moment in Indian feminist art historiography, offering a rare and comprehensive insight into the artistic agency of women in the post-independence period. It remains an essential reference for collectors, curators, and scholars of gender and contemporary art in South Asia.

(Set of two)