Jaishri Abichandani
Before Kali (B.K)Angry Ladies Whip DrawingsSculpturesPaintingsDrawings and small seriesCuratorial ProjectsReconciliations (Photographs)VideosOlder Photographic Works
Current Projects

Outcasts. : Women in the Wilderness
Wave Hill April 8. - July 9 2017
curated by Deborah Frizzell, Jennifer MacGregor, Gabriel de Guzman and Harry Weil
https://www.wavehill.org/arts/exhibits/o

Art On the Front Lines
Ronald Feldman Gallery
May 24- July 2017

Loving Blackness Curated by Jaishri Abichandani
Asian Arts Initiative
Philadelphia PA. Feb 3- April 21 2017
http://asianartsinitiative.org/event/lov

Lucid Dreams and Distant Visions
Asia Society Museum June 27 - Aug 6 2017
Curated by Boon Hui Tan, Lawrence- Minh Bui Davis, Jaishri Abichandani
http://asiasociety.org/media/asia-societ

Fatal Love: Where are We Now?
Queens Museum June 30, July 1 and 2 2017
A national symposium of South Asian artists, academics and curators.
Organized by Jaishri Abichandani
Sponsored by the Smithsonian Asian Pacific American Center

Recent Press

A Salon of One's Own by Chaitali Sen
http://lithub.com/a-salon-of-ones-own/

Loving Blackness by Illana Napoli
http://www.theartblog.org/2017/04/loving

The Skin you are in by Jarreau Freeman
http://www.broadstreetreview.com/wnwncro

Love Your Blackness by Mikala Jamison
http://www.phillyvoice.com/gallery-gamep

Outcasts: Women in the Wilderness
https://artssummary.com/2017/04/12/outca



A combined approach to Studio and Social Practice leads me to create ephemeral and material works. My practice straddles creating objects, actions, writing, curating exhibitions, and collective production- including founding and directing the South Asian Women's Creative Collective www.sawcc.org from 1997 - 2013, with chapters in New York City and London.

My studio practice is rooted in a process of constant discovery. Employing materials such as leather whips, clay, nails, paint, utensils and jewels, I make works across scale and mediums. Returning to the female body as the site of conflict and power, I am informed by feminist art history. Positions of power and themes of nationhood are critiqued, complexities and ambiguities are left unresolved while the formal approach prioritizes crafty and conceptual feminist treatments. Often referencing aesthetic theory and tropes from South Asia, I centralize female desire and agency within my work.