This fall kicks off something of a homecoming: This week, Sikander opens “Weeping Willows, Liquid Tongues,’ her first solo show at the Sean Kelly gallery near Hudson Yards. Bookending that, she appeared in the inaugural Asia Society Triennial in late October and will show at the Morgan Library next summer an exhibition of early work organized by her alma mater, the Rhode Island School of Design.
It’s exciting, but taking too New York–centric a view of Sikander’s career misses the point. More poetic than didactic, her work “breaches national boundaries,” interrogating systems of power and oppression that churn through history and continue to ripple through our lives. Sikander grew up in Lahore and attended its National College of Arts, where she upended expectations by choosing to study with Bashir Ahmed, eminent master of Indo-Persian miniature painting, a highly stylized, technically exacting art form that had gone out of fashion in Pakistan with the fall of the Mughal Empire and the rise of British rule.
“Soul Kiss” is on view at Kohn Gallery November 13 through December 15. “The nature of the art world,” observes the Manhattan-based Pakistani American artist Shahzia Sikander, “is that if you don’t show up every two years in New York City, it’s like, ‘Where did you go?’” Sikander, 51, a MacArthur fellow and among Pakistan’s best-known contemporary artists, has spent the past several years installing ambitious public art projects and screening animated films based on her intricate neo-miniature paintings. But despite living on the Upper East Side with her 10-year-old son, she hasn’t exhibited at a New York gallery in nearly a decade, a testament to her laborious painting process—“there never would be enough work to sell,” she maintains—and a disinterest in pandering to her market.
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