The first solo museum exhibition of the work of revered Indian artist Nilima Sheikh features eight banners painted by the artist between 2003 and 2010 for a series focusing on both the magical history and contentious present of Kashmir. Currently owned by collectors throughout India and Southeast Asia, these scroll paintings come together at the Art Institute for the first time since their original display, alongside two additional works that Sheikh is creating especially for this Chicago installation.
The title of the series and exhibition is derived from a line in the poem, “I See Kashmir from New Delhi at Midnight” by the Kashmiri American poet Agha Shahid Ali. Ali’s work initially inspired Sheikh’s interest in Kashmir, a region she has visited since childhood. Sheikh’s scrolls combine Ali’s poems with excerpts from myriad sources, ranging from medieval poetry to Salman Rushdie’s books, along with equally widespread image references—miniatures, wall paintings, and magical Kashmiri folktales.
The resultant multifaceted works, at once masterful and haunting, recall the complex culture of the Kashmir Valley, once described as paradise on earth. Today the region has a much different reputation, fissured by the Line of Control (LOC) between India and Pakistan. While the paintings focus on the cosmopolitanism of the ancient Silk Road that linked Kashmir to Central Asia and China, they are also imbued with a contemporary perspective which encourages viewers to reflect and think afresh about this contested territory.
Nilima Sheikh (born 1945) is one of India’s most renowned artists. She studied history at Delhi University and painting at the Maharaja Sayajirao University of Baroda. Sheikh was the Roman J. Witt Resident Artist and Penny W. Stamp Lecturer at the University of Michigan in 2004 and artist in residence at the Montalvo Artists Studios, California, in 2005. She is married to the artist Gulammohammed Sheikh and lives in Vadodara and New Delhi, India. Her art practice of more than five decades includes works on paper, installations, large scrolls and screens, paintings, illustrations for children’s books, and theater set designs.
5 hours 45 min ago The Art Institute of Chicago Just like the museum's collection comes from artists around the world, so does the Museum Shop’s assortment of products. We source exclusive products from artisans that are inspired by the cultures, mediums, and techniques represented in our museum collection. View our assortment of unique items from India.
14 hours 53 min ago The Art Institute of Chicago NOW ON VIEW—Provoke: Photography in Japan between Protest and Performance, 1960–1975
Provoke was the English-language title for a Japanese photo magazine of the late 1960s; the name also designates the group of photographers and writers who put that formative publication together. Their influence has grown so great that the “Provoke era” is now international shorthand for sixties counterculture in Japan. This generational uprising swelled from the massive unrest, and sheer cultural disorientation, that accompanied the country’s transformation from ruined empire to superpower after World War II.
This exhibition places the achievements of Provoke alongside those of protesters and protest collectives, who made riveting photobooks, films, and photographs throughout the same era, as well as artists and art collectives keenly interested in live performance and its relation to the mechanical image.
18 hours 26 min ago The Art Institute of Chicago NEW ACQUISITION—In the early decades of the sixteenth century, Antwerp was a great center of commerce, finance, and luxury trade. The Flemish city attracted innovative painters like Quentin Massys, Jan Gossart, and Joos van Cleve working in a style that combined northern traditions with Italianate forms. Numerous other painters, whose work is only known under names of convenience, like the Master of the Lille Adoration, swelled the ranks of the Antwerp guild.
Saint Jerome in Penitence (by the Master of the Lille Adoration) is an ideal addition to our collection and can be seen alongside other exemplary paintings from Renaissance Antwerp—on view in Gallery 207.