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Instead of starting with the plain page, I'm starting it with this layer of culture so that when I'm building my imagery, it's really a wrestle between the figure and the ground. In the end, there's this integrated, stitched together element between them. . . I'm interested in mixing those traditions: flatness of space, but also some perspectival space and depth into the surface. I think that's where we are in painting. I think we, as artists, now have free range to take what we want from history."
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The exhibition is the result of a 2013 road trip the museum's curatorial team took to research
American art of the time by visiting over 1000 artists in their studios, conducting interviews and selecting around 100 diverse artists to present their unique American perspectives in the final exhibition.
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to a "space of infinite creative possibilities or generative possibilities." Ahuja believes that
African American hair is often weighted down with "personal and cultural history." By exaggerating the image of African American hair, it shows the value that hair has in the lives of black people and how
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in Towson, MD. The Tiwani
Contemporary exhibition, titled Mythopoeia, brought together four artists from around the world to explore the theme of myth-making in art as a means of understanding our world and elevating culture. For this exhibition, Ahuja unveiled a new series of self-portraits as 'The
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Ahuja often paints over her own work, regarding failed paintings as an opportunity, which "allows for the sort of things you can't plan for." Ahuja is also interested in the process, building surfaces by painting, stamping to create a complex surface. "I'm thinking of the ground as a cultural space.
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with the
Western art canon to explore stories and imagery related to her experience. Western art historical references are also apparent in Ahuja's work, from early Italian Renaissance paintings to impressionism and post-impressionism. Combining those Western art cannons with South Asian art
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in
Maryland. While she did not receive the prize, her participation in the exhibition led to new friendships and acted as a catalyst to continue pursuing arts fellowships. She would become a finalist for the Sondheim Prize again in 2017, and receive the Guggenheim Fellowship in 2018.
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dealt with the varying relationships between black women and their hair, through textured and patterned crayon drawings of black women's hair flowing out from their tilted back heads. The show also included a piece titled
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448:, features the upended head of a black woman with curly hair flowing downward and severed into sections by two thin white lines. The piece was drawn in waxy chalk on paper by Ahuja in 2008, the same year as her
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Wright, Cherilyn (2010). "Summer-Fall 2010 Usable Pasts: 2009-10 Artists in
Residence: Mequitta Ahuja, Lauren Kelley, Valerie Piraino, The Studio Museum in Harlem, July 15 to October 24, 2010".
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roots in her consideration of identity issues. She states that through her art, "I feel I can have relationships to these groups on my own terms". In 2007, Ahuja was included in the exhibition
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to an Indian father and
African-American mother, hailing from New Delhi and Cincinnati respectively. Ahuja grew up in a largely white community in
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1817:"Respect Where It's Due: Four Baltimore-based women artists handily exceed expectations when given an opportunity at the Baltimore Museum of Art"
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401:, in November 2005. As with much of her work, the exhibition dealt with human identity, informed by her own experience as a multiracial woman.
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in Austin, TX. The show ran from
October 24, 2009 through January 2, 2010. Not long after that, Ajuha gained representation in Europe at
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298:'s "biomythography." Ahuja describes "automythography" as a "combination of personal narrative with cultural and personal mythology."
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1060:"Sondheim Finalists 2015: Mequitta Ahuja's allegorical oil paintings reference art history's canon and reclaim the artist's agency"
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background, the pictures turn marginality into a regal condition". Ahuja's art explores the social construction of issues such as
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Ahuja participated in several more exhibitions through 2015 and 2016, including shows at Tiwani
Contemporary in London, England,
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in
Washington, DC, including Ahuja as one of the featured artists. In 2013 Ahuja exhibited at Thierry Goldbery, in New York, NY.
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Of primary concern to me is the agency we have to self-invent and self-represent... creative processes that are necessarily
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205:/painting. Ahuja begins by developing a series of performances involving costumes, props, and poses. With the aid of a
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and lack of cohesiveness beyond having all female artists, though the artwork itself was lauded for its high quality.
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216:." Finally, she incorporates these photographs into her invented material, resulting in her completed self-portraits.
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Journeyman', which used her characteristic "automythography" to explore the artist as both archetype and individual.
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In her projects "Auto cartography I" and "Rhyme Sequence: Wiggle Waggle", the pictorial styles of the paintings are
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Feeling isolated and seeking a way to participate and connect in the art world, Ahuja applied for the 2015
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idea of beauty. Her two central concerns during this period were "self-invention and self-representation."
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in the spring of 2007. In 2009 she brought a new body of work to BravinLee Programs, this one titled
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Ahuja's work continued to show in group exhibitions throughout 2011 and 2012, appearing twice with
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1516:"The Summit at Crystal Bridges - Summit Videos - Panel: Personal Stories Inspiration to Creation"
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1397:"Arthouse at the Jones Center, Austin's Premier Contemporary Art Center, Reopened to the Public"
787:"Usable Pasts: 2009-10 Artists-in-Residence Mequitta Ahuja, Lauren Kelley, and Valerie Piraino"
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traditions, Ahuja is said to "reclaim creative authorship" or agency in her self-portraiture.
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to be one of the emerging artists from across the United States featured in their exhibition
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in Brussels, beginning with the 2011 Armory Show. November 2012 and into the following year
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and ancient works as a way to discuss how they are represented in art. She combines her own
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1645:"'Champagne Life': Saatchi Gallery toasts its 30th year with an all-female exhibition"
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Riffs and Relations: African American Artists and the European Modernist Tradition
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1614:"Mequitta Ahuja, Kapwani Kiwanga, Pamela Phatsimo Sunstrum & Alida Rodrigues"
361:. In 2010, Ahuja was profiled as an "Artist to Watch" in the February edition of
272:. We draw on personal and cultural history as well as our creative imaginations".
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they are constantly evolving the standard of beauty, moving away from a more
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568:, in London, England. The show was criticized by some for its superficial
1678:"Champagne Life review – all-female show doesn't make Saatchi a feminist"
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in New York, which explored work by artists of the South Asian diaspora.
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The exhibition was later shared with other arts institutions, such as
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Ahuja was not new to solo exhibitions in 2008. She had a solo show at
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said of Ahuja's work, "Referring to the artist's African-American and
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in Memphis, Tennessee also featured Ahuja's work in 2017, along with
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In 2017 Ahuja's work was part of a number of exhibitions, including
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Ahuja cites her work as "automythography," an expansion of feminist
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http://www.tiwani.co.uk/artists/mequitta-ahuja-tiwani-contemporary/
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Ahuja's work in this exhibition explore themes of grief and care.
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In 2021, Ahuja was one of four featured artists in the exhibition
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that combine themes of myth and legend with personal identity.
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which ran from July to October. Ahuja's mythic self-portrait,
1719:"What Does It Mean to Make Art in the South Asian Diaspora?"
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African-American Women Artists and the Power of their Gaze
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During this time, Ahuja was ranked a finalist in the 2009
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https://www.theparisreview.org/blog/2018/06/11/notations/
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in 2003, where she was mentored by contemporary artist
1162:"Artist Programs - Supported Artists - Mequitta Ahuja"
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Master Drawings from the Minneapolis Institute of Arts
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in Washington, DC. The portrait she submitted, titled
1195:"Baltimore Artist Awarded 2018 Guggenheim Fellowship"
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War Baby / Love Child: Mixed Race Asian American Art
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Global Feminisms: New Directions in Contemporary Art
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Marks of Genius: One Hundred Extraordinary Drawings.
1263:"UBS 12 x 12: New Artists/New Work: Mequitta Ahuja"
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1233:"Artist At Work: Mequitta Ahuja Wins A Guggenheim"
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391:Myth and Memory: Dancing on the Hide of Shere Khan
239:War Baby/Love Child: Mixed Race Asian American Art
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1550:"State of the Art: Discovering American Art Now"
511:State of the Art: Discovering American Art Now.
333:Ahuja's work has been exhibited throughout the
1094:State of the Art: Discovering American Art Now
952:Kinn, Laura; Dariotis; Wei Ming, eds. (2013).
900:Wolff, Rachel (2010). "The Key to Her Locks".
623:State of the Art: Discovering American Art Now
585:State of the Art: Discovering American Art Now
8:
1582:"Janet & Walter Sondheim Artscape Prize"
1498:International Review of African American Art
919:Reilly, Maura; Nochlin, Linda, eds. (2007).
753:Elizabeth A. Sackler Center for Feminist Art
1751:"The Reflection in the Sword of Holofernes"
219:Ahuja has discussed her paintings as being
404:In 2008 Ahuja opened her solo exhibition,
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1365:The Outwin Boochever Portrait Competition
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713:"'Dream Region' by Mequitta Ahuja (2009)"
389:Early in her career, Ahuja's exhibition,
379:John Simon Guggenheim Memorial Foundation
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1395:Villarreal, Ignacio (3 November 2010).
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526:included Ahuja's work in another show,
317:, with the aim to convert the image of
1796:from the original on 26 September 2023
1524:Crystal Bridges Museum of American Art
1174:from the original on 30 September 2023
1098:Crystal Bridges Museum of American Art
1096:(Card book box set). Bentonville, AR:
507:Crystal Bridges Museum of American Art
282:. Ahuja was compelled to study myths,
189:, and identity through a technique of
1912:University of Illinois Chicago alumni
1782:"Riffs and Relations: Mequitta Ahuja"
1761:from the original on 13 November 2018
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611:Reflection in the Sword of Holofernes
522:Jepson Center. In the same year, the
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442:Smithsonian National Portrait Gallery
438:Outwin Boochever Portrait Competition
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1927:21st-century American women painters
1897:20th-century American women painters
1815:Kirkman, Rebekah (24 January 2022).
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1243:from the original on 17 January 2024
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1135:The Louis Comfort Tiffany Foundation
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748:"Feminist Art Base - Mequitta Ahuja"
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560:Ahuja participated in the 2016 show
496:Portraiture Now: Drawing on the Edge
244:Ahuja appropriates ancient works of
1922:Artists from Grand Rapids, Michigan
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1731:from the original on 4 January 2024
1477:from the original on 14 August 2022
1407:from the original on 4 October 2019
1035:from the original on 4 October 2023
923:(1st ed.). New York: Merrell.
552:in Michigan, and Silber Gallery at
1887:American artists of Indian descent
1698:from the original on 23 March 2023
1676:Searle, Adrian (12 January 2016).
1643:Compton, Nick (13 October 2022) .
1268:Museum of Contemporary Art Chicago
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1780:Ahuja, Mequitta (17 March 2020).
1717:Vartanian, Hrag (4 August 2017).
1275:from the original on 15 June 2023
1207:from the original on 16 June 2023
1193:Evans, Michelle (18 April 2018).
1025:"5 Questions with Mequitta Ahuja"
824:"Tress IV, 2008 - Mequitta Ahuja"
799:from the original on 15 June 2023
764:from the original on 14 July 2023
719:. 17 January 2013. Archived from
149:University of Illinois at Chicago
54:University of Illinois at Chicago
1442:from the original on 27 May 2022
1294:Rhodes, Dusti (1 January 2009).
627:Frist Center for the Visual Arts
577:Lucid Dreams and Distant Visions
459:Ahuja brought a show she called
252:, such as the fifteenth century
1328:"Gallery Exhibitions - Archive"
1057:Callahan, Maura (7 July 2015).
518:, Minneapolis, MN in 2016, and
399:UBS 12X12: New Artists/New Work
1932:21st-century American painters
1917:American contemporary painters
1902:20th-century American painters
958:University of Washington Press
505:In 2014 Ahuja was selected by
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1360:"Exhibition 2009 - Finalists"
1755:Glasstire | Texas Visual Art
1296:"Mequitta Ahuja: 'Flowback'"
1231:Ober, Cara (16 April 2018).
864:Minneapolis Institute of Art
829:Minneapolis Institute of Art
677:Minneapolis Institute of Art
524:Minneapolis Institute of Art
516:Minneapolis Institute of Art
465:Arthouse at The Jones Center
455:Following the exhibition of
373:. In 2018 she was awarded a
477:The Studio Museum in Harlem
128:Mequitta Ahuja was born in
1948:
615:Galveston Artist Residency
163:In 2007, in Ahuja's debut
1435:National Portrait Gallery
629:in Nashville, Tennessee.
589:Dixon Gallery and Gardens
139:Ahuja received her BA at
116:. Ahuja creates works of
1892:Hampshire College alumni
1465:"Mequitta Ahuja - Works"
1167:Joan Mitchell Foundation
1092:Bacigalupi, Don (2014).
993:"Artist: Mequitta Ahuja"
858:McGarry, Rachel (2014).
492:Galerie Nathalie Obadiah
367:Tiffany Foundation Award
309:Colored pencil on paper.
147:in 1998, and her MFA at
1790:The Phillips Collection
1587:Baltimore Museum of Art
1470:Galerie Nathalie Obadia
1370:Smithsonian Institution
683:The Phillips Collection
653:Baltimore Museum of Art
642:The Phillips Collection
550:Grand Rapids Art Museum
546:Baltimore Museum of Art
538:Baltimore Museum of Art
534:Sondheim Artscape Prize
469:Galerie Nathalie Obadia
313:In 2008, Ahuja created
16:African American artist
1907:Artists from Baltimore
1590:. 2015. Archived from
1558:. 2016. Archived from
1372:. 2009. Archived from
1130:"2011 Biennial Awards"
600:University of Maryland
310:
235:Brooklyn Museum of Art
145:Amherst, Massachusetts
130:Grand Rapids, Michigan
35:Grand Rapids, Michigan
1430:"Drawing on the Edge"
717:War Baby / Love Child
636:premiered in 2020 in
375:Guggenheim Fellowship
319:African American hair
308:
108:descent who lives in
1757:. 28 February 2017.
1031:. 29 February 2016.
671:Selected collections
661:Lauren Frances Adams
428:in New York, titled
369:in 2011, and a 2009
153:Kerry James Marshall
1618:Tiwani Contemporary
1562:on 21 February 2016
473:artist in residence
412:in Houston, Texas.
410:Lawndale Art Center
371:Joan Mitchell Grant
264:miniature paintings
1786:Experiment Station
1376:on 4 February 2019
1333:BravinLee programs
956:. Seattle, Wash.:
723:on 16 January 2021
685:, Washington, D.C.
461:Automythography II
457:Automythography I,
434:Automythography I.
426:BravinLee programs
393:, was featured in
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167:in New York city,
1851:MequittaAhuja.com
1271:. November 2005.
1066:The Baltimore Sun
873:978-0-9893718-4-1
679:, Minneapolis, MN
604:David C. Driskell
452:solo exhibition.
288:cultural heritage
141:Hampshire College
89:(born 1976) is a
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78:MequittaAhuja.com
45:Hampshire College
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280:autobiographical
230:Global Feminisms
191:self-portraiture
159:Career and works
118:self-portraiture
102:African American
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68:Contemporary Art
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657:LaToya M. Hobbs
649:All Due Respect
566:Saatchi Gallery
554:Goucher College
520:Telfair Museums
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214:source material
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