Canonical studies of modern art continue to assume “Western” art as the “universal” modern. But modernism has always been a global enterprise, happening for different reasons at different times. In the mid-twentieth century, artists experimented with a range of artistic modes of art-making to reflect on shifts in economic, political, and social structures. As scholars today retrace the story of modernism – one that is more diverse and complex – how does this change the way we understand the history of art, and what it means to be modern?
Join Vishakha Desai, (Senior Advisor for Global Affairs at Columbia University), Fereshteh Daftari, (scholar and curator), and Sarah-Neel Smith (Assistant Professor in the Department of Art History, Theory, and Criticism at the Maryland Institute College of Art) in conversation with Lynn Gumpert (Director of Grey Art Gallery at NYU in New York) on modernisms in India, Iran, and Turkey respectively.
*Title taken in part from Andreas Huyssen’s essay “Geographies of Modernism in a Globalized World.”
This panel discussion is part of the program for The NYUAD Art Gallery’s presentation of Modernisms: Iranian, Turkish, and Indian Highlights from NYU’s Abby Weed Grey Collection organized by the Grey Art Gallery and curated by Lynn Gumpert. Organized by The NYUAD Art Gallery in partnership with the Institute at NYU Abu Dhabi.