In Focus
Dante Gabriel Rossetti, Lady Lilith. 1866-68. Oil on canvas. Image courtesy of Delaware Art Museum

Dotting the i’s and crossing...

by Dua Abbas Rizvi

Artists, by popular definition, are loose cannons, black sheep, oddly shaped parts incompatible with the …

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The Individual Artist: Carving...

by Ambereen Karamat

A priori, if a man is really interested in himself he must formulate his answer …

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After a Revolution: Authentic...

by Adnan Madani

Like many deeply conservative entities, Pakistan these days is full of talk of revolution. The …

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After a Revolution:  Authenti...

by Adnan Madani  

  Like many deeply conservative entities, Pakistan these days is full of talk of revolution. …

Francis Alys, When Faith Moves Mountains

On the Political Potential of ...

by Madyha Leghari

  The intersection of art and political change is a contested territory. A simplified historical …

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Contemporaries in the Corridor...

by Gemma Sharpe

Held across the Asia Society, the Grey Art Gallery and the Queens Museum in New …

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NOTES ON CURATING: THE CURATOR...

by Zarmeene Shah

The meaning of the word ‘curator’ – and thus the role assigned to the individual …

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Fake Paintings...

by Sibtain Naqvi

In 2004, Domenico De Sole, the Chairman of Sotheby’s auction house sued Knoedler & Co, …

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Copy It Right...

by Ambereen Karamat

Instead of understanding what copyrights are, let’s look at it from a different perspective:  It comes …

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The Curious Cases of Copyright...

by Hurmat Ul Ain

  Art is interesting to us because it makes us think about ordinary things differently …

Rashid Rana in Conversation with Glenn D. Lowry 
The Museum of Modern Art

There is no End | In conversat...

by Natasha Jozi

The greatest challenge in art today is not novelty rather contextualizing of expression. Defying the …

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Conversation | About and Aroun...

by Mina Arham

  “Conversation” is one of the three key components of the inaugural Lahore Biennale, the …

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The Artist Statement...

by Madyha Leghari

The necessity of the artist statement is agreed upon by all but those involved. In …

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Excerpts from Statements by an...

by Omer Wasim

In his artist’s statement, “Traces of Ecstasy,” Rotimi Fani-Kayode starts off by talking about destiny, …

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The Art of Keeping Alive...

by Natasha Jozi

It is subject to debate on the accuracy of its completion, however we know that …

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‘We are such stuff / As drea...

by Dua Abbas Rizvi

Long before John Keats wrote of the immortality of a Grecian urn, its fossilised occupants, …

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His Master’s Brush...

by Aasim Akhtar

It may seem strange that so much doubt is possible about the oeuvre of so …

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The Art of Forging Art...

by Rashid Arshed

Back in early 70’s, when I was Principal of the Central institute of Arts and …

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Consorting with the Four-Legge...

by Dua Abbas Rizvi

I recently chanced upon a new addition to my mother’s vast, personal library – a …

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Depictions of the Dragon in an...

by Zahra Khan

Similar to today’s contemporary culture, pictorial representations in early Islamic manuscripts and literature were highly …

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Hermann Nitsch: Sacrifice and ...

by Julius John Alam

Animals have been depicted in art for some 40,000 years. Starting with Paleolithic cave paintings …

Fountain 1917, replica 1964 Marcel Duchamp 1887-1968 Purchased with assistance from the Friends of the Tate Gallery 1999 http://www.tate.org.uk/art/work/T07573

The (Un)Making of Meaning (or...

by Zarmeene Shah

  In a time when ideas of definitions, boundaries, representations and interpretations have gained an …

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The Imperishable Construct...

by Natasha Jozi

No offense to the physicists and science enthusiasts who might question the authenticity of this …

Artist residency 'Outlandia' in Glen Nevis, designed by Malcolm Fraser Architects. Courtesy of London Fieldworks.

The Residency; as Retreat, Rel...

by Madyha Leghari

The cropping up of artist residencies in past two or so decades, seems almost be …

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1...

by Saira Shiekh & Omer Wasim

Deadlines:   June 01 – Project01 started; June 15 – filed; June 17 – Project02 …

Mihrab of Sultan Ibrahim Mosque in the Fortezza of Rethymno, Crete

From the ‘Silence of Languag...

by Julius John Alam

In the Republic (514a – 520a), Plato has Socrates describe, in what is known as …

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The Beautiful Excuse of ‘...

by Sehr Jalil

“Finding your self – yes it’s this huge park in San Diego where we live …

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The Mythology of Monuments...

by Shahana Rajani

Driving towards Nishan-e-Pakistan ­­–a newly inaugurated “national solidarity monument” – a series of new adverts …

SYRIA - 2001/01/01: Syria, Palmyra, Ancient Roman City, Triumphal Arch And Colonnaded Street. (Photo by Wolfgang Kaehler/LightRocket via Getty Images)

Monuments to the Mind...

by Dua Abbas Rizvi

Making monuments is as much a mental act as it is a physical one. The …

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This is Not Made by Quddus Mir...

by Adnan Madani

John Baldessari, Commissioned Paintings, 1969   From  Marshall McLuhan and Quentin Fiore, The Medium is …

Fountain 1917, replica 1964 Marcel Duchamp 1887-1968 Purchased with assistance from the Friends of the Tate Gallery 1999 http://www.tate.org.uk/art/work/T07573

Monologue/ Soliloquy...

by Saira Shiekh

  Monologue/Soliloquy:   I am an artist, and an occasional writer. In fact, mostly an …

Rirkrit Tiravanija, Pad Thai, 1990

Art Activism – Morally a...

by Rabeya Jalil

Any art activity that activates, engages, evokes, generates a response and brings about a spectacle …

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Artivism...

by Amina Ejaz

In the most simplistic terms, according to Tate Modern’s online glossary, activist art ‘is a …

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A Strange and Sublime Address:...

by Aasim Akhtar

Initially, the word studio was used to describe the work itself rather than the workplace. …

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Notes from My Journal: A Visit...

by Yaminay Chaudhri

Feb 4th to 9th, 2016. I prepare for my first visit to Bangladesh to attend …

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From Another Perspective...

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In its third edition, the Dhaka Art Summit challenged itself by producing a four day …

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The Body is Present...

by Natasha Jozi

The body is in the eye, the body is in the sound, the body is …

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Performance Art...

by Sara Pagganwala

In the discovery of the self, you adhere to commonsense social semantics of the self …

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On Performing: Re-telling of t...

by Saira Ansari

Many years ago in Lahore, in an unassuming backwater spread of the city a little …

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Questions of Scale...

by Zarmeené Shah

With artworks getting bigger and new, huge spaces for the showing of works becoming more …

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Does Scale Matter?...

by Natasha Jozi

Let’s talk about scale. One hundred and seventy-five pounds of candy in Untitled (Portrait of …

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On the Need for a Public Art C...

by Aziz Sohail

A 2013 visit to the National Museum of Pakistan in Karachi revealed an uncomfortable sight. …

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Collecting, Destroying,Acceler...

by Adnan Madani

Collecting, Destroying, Accelerating 1. In a famous early work, the Chinese artist and dissident Ai …

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Is It Art?...

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“For, while the authority of the doctor or plumber is never questioned, everyone deems himself …

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Conversations about Public Art...

by Yaminay Chaudhri

A few weeks ago I was asked to write about public art, possibly because of …

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Believing is Seeing...

by Aasim Akhtar

“Photography cannot record abstract ideas.” – Encyclopaedia Britannica The use of a photograph determines its …

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Shafqat, Shama, Shahzad and Br...

by Madyha Leghari

On 4th August, 2015, at 4:30 am, Shafqat Hussain was quietly led to the gallows …

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Broken Integrity – Khat-e Ma...

by Musharraf Ali Farooqi

history of Nastaliq and its inventor, the fourteenth century calligrapher Mir Ali Tabrizi, I realized …

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Politics of Language, Colonisa...

by Shahana Rajani

THE COMMAND OF LANGUAGE AND THE LANGUAGE OF COMMAND Johannes Fabian, in Language and Colonial …

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Art and Text: A Cursory Overvi...

by Madyha Leghari

In contrast to the Enlightenment, during which ideas were coalescing and crystallizing into relative clarity …

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The Voice of the Artist...

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If someday you have a few months to spare, come to Barbary…you will feel the …

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A Portrait of the Artist as a ...

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There are many things that can prompt an artist to put aside the usual apparatus …

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Women and Recent Art: Some Tho...

by Amra Ali

The contribution of women artists or the nature of women’s art, in a broad discussion, …

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Guerrilla Girls: Feminist Art,...

by Salima Hashmi

It seems like a hundred years ago that the question “Why have there been no …

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Art Market Trends: Art Affairs...

by Ambereen Karamat

It’s simple: artworks needs to engender in the receptive viewer an aesthetic experience. The art …

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Art Crossing Borders...

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“But what has this to do with me?” gasped a middle-aged financial advisor, struggling hard …

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The Functions of Form...

by Quddus Mirza

A character in one of the books by Mushtaq Ahmed Yusufi observes that in Pakistan, …

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Territorial Re-Arrangements: A...

by Zahra Hussain

This essay is an attempt to reflect upon the territorial challenges that are faced by …

faridabatoolinfocusmar2015_1

City as Art – Art in a C...

by Farida Batool

When I was asked to write about ‘the city as art’, I thought of the …

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Two Paradoxes of Origin and Or...

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The question of origins seems to have receded into the background over the last decade …

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The Critique of Institutions: ...

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The discussion often arises, particularly at this time of the year where colleges and universities …

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On Art and Labour: Dilemmas of...

by Shahana Rajani

From the very beginning, artists are trained and expected to sacrifice everything for their art, …

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History of the History of Art...

by Quddus Mirza

The standard book of art history used in many art institutions across Pakistan is Art …

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First Europe, Then Elsewhere?...

by Gemma Sharpe

[I]nsofar as the academic discourse of history—that is, “history” as a discourse produced at the …

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Inspiration: A Means to an End...

by Dua Abbas Rizvi

In the contemporary context, inspiration or the phenomenon of being inspired has become linked with …

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Inspiration...

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The following essay takes form in small short linked vignettes that trace this rather muddled …

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The Collector Calling...

by Madyha Leghari

Collecting is perhaps an inherently normative process. Often cited within the discourse on taste, the …

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The Lens of An Assured Eye...

by Aasim Akhtar

“Money creates taste.” – Jenny Holzer “What you really collect is always yourself.” – Jean …

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Encounters with the Miniature ...

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It was 2009 when I was first introduced to the Neo-Miniature in Pakistan. I was …

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No Exit from Pakistan...

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In May 2013, The Roof Garden Commission: Imran Qureshi, opened on The Iris and B. …

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It Would Rain Anyway: A Case f...

by Adnan Madani

In plain usage, ‘myth’ used to refer to a mistaken belief held as fact, especially …

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The Nation and the Modern Myth...

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When one reflects on the concept of the modern mythology in itself, one must turn …

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Disparate Strokes...

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Artistry, in many ways, is akin to wizardry. It is exclusive to those naturally blessed …

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Double Entendre...

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For centuries, visual artists (painters, printmakers, sculptors, draughtsmen, architects) have been known to hold a …

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The Cloak of Culture...

by Ambereen Karamat

In this age information is accessible with just a few clicks, experiencing virtual 3-dimensional walks …

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Art Seminars and Conferences...

by Dua Abbas Rizvi

A question I am a little too frequently asked by my students is ‘Does art …

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The Return of the Diaspora: So...

by Adnan Madani

“Diasporist art is contradictory at its heart, being both internationalist and particularist. It can be …

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Lights, Camera, Smile!...

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it is a familiar scene. An exhibition is opening. Another in the turnover of exhibition …

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Parde Mein Rehne Do, Parda Na ...

by Zahra Malkani

opacity for everyone.” Edouard Glissant, Poetics of Relation “The veil was worn because tradition demanded …

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New Voices in Art...

by Saira Sheikh

[N.B. The following essay contains some assumptions, and many generalizations; it is based on my …

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Praise, Price and Prizes...

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Turner Prize 2013 Winner: Laure Prouvost. Installation view of Farfromwords: car mirrors eat raspberries when swimming through …

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On Awards and Prizes in Art...

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In 1993 during a trip to Sudan, Kevin Carter, a South African photojournalist, photographed a …

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Global Villagers: Three Commen...

by Adnan Madani

Is it possible to extricate contemporary art from the contemporary city? I do not mean, …

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Pondering the Problems and Pot...

by Dr. Razia I. Sadik

Pakistan has a powerful tradition of fine arts education that began more than a hundred …

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The Contemporary Practices of ...

by Imrana Tanveer

Since the beginning of the mankind on this world, his unusual and discontent nature was …

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Is Pakistani Art Secular?...

by Adnan Madani

Some years ago, as an art student and then a practicing artist, I felt attracted …

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The Writer on Art...

by Quddus Mirza

Just before my last visit to Karachi I was planning to do an interview of …

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Learning to See...

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Lahore, 2007. I had recently returned to Pakistan, after I passed over a PhD degree …

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Prague: The City As Art Space...

by Nazia Akram

True to its Bohemian antecedents, the city of Prague in the Czech Republic continues to …

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Shadows of The Box...

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In a contemporary art world, it is virtually impossible to hold a dialogue focusing on …

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From Palazzo to Piazza...

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Shelter, centre of social activity, gathering place for friends, spatial adventure, and status symbol: the …

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But It Looks Like Art!...

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A prominent British contemporary artist gave a seminar to my small Masters’ group at Goldsmiths …

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Imagine This...

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-An essay on art in the age of mechanical reproduction… imagine that. What can be …

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Rethinking Art Schools...

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Writing about art schools at the time when the national budget for the year 2013-14 …

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Nationalist Discourse on Tradi...

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Pahari painting—sometimes referred to as Hill painting (Pahārī, “of the hills”)—were made during 17th-19th century in …

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The Critique of Art as Commodi...

by Saira Sheikh

“Given two things that resemble one another to any chosen degree, but one of them …

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How the West was Won: Pakistan...

by Atteqa Ali

Some artists working now in Pakistan challenge the global art world. Theirs is a critique …

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National and Global...

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N. Rajyalakshmi, Chief Reporter of Ideal Times, Bangalore, interviews the artist Pushpamala N. about her …

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Standing, Sitting, Lying Down...

by Adnan Madani

Daniel Buren’s 1971 essay, The Function of the Studio, makes a series of bold declarations …

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A Strange and Sublime Address:...

by By Aasim Akhtar

Initially, the word studio was used to describe the work itself rather than the workplace. …

Nancy Adajania...

by

The Critical Importance of Pedagogy for Biennales in the Global South Nancy Adajania Having just …

'All the world going to see the Great Exhibition of 1851', George Cruikshank.1851

The Exhibitionary Complex, [re...

by Gemma Sharpe

In all their spectacular glory, art fairs and biennials are often cited interchangeably as the …

In Focus - Durriya - Greek fight_scene

Durriya...

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Curious to discover if there was a tradition of healing the human spirit in our …

In Focus Asma - 9-11 fire

The Role of the Artis...

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The Role of the Artist in Times of Terror As terror and violence have become …

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Globalism in the Wake of Conce...

by by Adnan Madani

The art history and art theory of the 20th century was dominated by a methodology that …

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Peeling the Proverbial Onion...

by by Samina Choonara

To address the relationship between art and language one must revisit the circular history of …

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Hamra Abbas...

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“As an artist I feel a sense of responsibility” says Hamra Abbas and she goes …

The Kitsch Factor...

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Defying easy categorization kitsch, prized or loathed, entertained or rejected, reflects mass-cultural values in a …

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Decorated Trucks of Pakistan...

by Durriya Kazi

Meaning is always in process, what has been called “a momentary stop in a continuing …

Art, Globalisation and Politic...

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With the globalisation of the art world, national differences among artists have grown increasingly marginal. …