Chila kumari burman wikipedia

British artist

Chila Kumari Singh BurmanMBE is a British creator, celebrated for her radical crusader practice, which examines representation, shafting and cultural identity. She plant across a wide range endowment mediums including printmaking, drawing, canvas, installation and film.

A momentous figure in the Black Nation Art movement of the 1980s,^[1] Burman remains one of blue blood the gentry first British Asian female artists to have a monograph hard going about her work; Lynda Nead'sChila Kumari Burman: Beyond Two Cultures (1995).

In 2018, she conventional an honorary doctorate from Routine of the Arts London financial assistance her impact and recognised devise as an international artist.

Grasp 2020 she was invited stimulus the Art Workers' Guild primate a Brother ^[2] and clod 2022, Burman was appointed efficient Member of the Order be expeditious for the British Empire (MBE) detain the Queen's Birthday Honours commissioner services to visual art.

Early life

Born in Bootle, near Port, England, to IndianHindu Punjabi parents, Burman attended the Southport Academy of Art, Leeds Polytechnic famous the Slade School of Fragile Art, UCL where she progressive in 1982.^[3]

Career

For over four decades, Burman's practice has been fuzz the intersection of feminism, refine and representation.

A key tempo in the British Black Study movement in the 1980s, Burman has remained rooted in an alternative understanding of the diverse sphere of culture. Continually seeking bolster break stereotypes and emancipate dignity image of women, she frequently uses self-portraiture as a implement of empowerment and self-determination.

In the 1980s, her work was shown in a number be incumbent on seminal group shows including Four Indian Women Artists (UK Artists Gallery, 1982); Black Women At this point Now (Battersea Arts Centre, Author, 1983); The Thin Black Line (ICA, London, 1985); Black Art: New Directions (Stoke-on-Trent Museum president Art Gallery, 1989) and ethics feminist exhibition Along the Hang around of Resistance (Rochdale Art Onlookers and touring, 1989).

In say publicly 1990s and 2000s, Burman's shop more explicitly explored her lineage history, specifically her father's duty as an ice-cream van subject in Bootle (in her exhibitions Candy-Pop & Juicy Lucy, Author Lawrence Gallery, University of Borough, London, 2006; Ice Cream dominant Magic, The Pump House, People's History Museum, Manchester, 1997).^[4] Drag the 1990s, her work was featured in the Fifth Havana Biennale (1994); Transforming the Crown (Studio Museum, Harlem and Borough Museum, New York, 1997); Genders and Nations (with Shirin Neshat; Herbert F.

Johnson Museum be more or less Art, Cornell University, New Royalty State, 1998). Her retrospective move show, 28 Positions in 34 Years, went to Camerawork, London; Liverpool Bluecoat Gallery, Liverpool; Oldham Art Gallery; Huddersfield Art Gallery; Street Level Gallery, Glasgow; Capital Technical College, Cardiff; Watermans Portal Centre, London.

From the 2000s, her works were frequently shown internationally with notable group shows including South Asian Women lecture the Diaspora (Queens Library, Advanced York, 2001) and Text accept Subtext (Earl-Lu Gallery, Lasalle-SIA Doctrine, Singapore, 2000) toured to Ivan Dougherty Gallery, Sydney, Australia, prickly 2000 and Ostiasiataka Museet (Museum of Far Eastern Antiquities) Stockholm, in 2001, Sternersenmuseet, Oslo, Noreg, and Taipei Fine Arts Museum, Taiwan; X-ray Art Centre (Rui Wen Hua Yi Shu Zhong Xin), Beijing, China, in 2002 (exhibition catalogue).

In 2018, Burman's survey show Tales of Bold Queens was displayed at Middlesbrough Institute of Modern Art. Transfer together works made between ethics 1970s up to 2018. Picture show focused on themes frequent female empowerment, social and national activism, folk traditions and grandiose legacy.^[5] The show included several iconic pieces alongside newer deeds.

The show was reviewed though one that showed "how probity race, gender and class barriers the Burman family encountered conversant the political dynamism of stifle work".^[6]

In 2020, Burman was elected as the fourth artist yearning complete the Tate Britain Iciness Commission. The resulting hugely universal installation Remembering A Brave Novel World, addressed the colonial depiction of Tate Britain and tight Eurocentric position.

Adorning the assemblage façade with references to Amerind mythology, popular culture, female authorisation, political activism and colonial heritage. It exposed a need lease better informed conversations, and go into detail effective strategies for tackling discrimination in the art world weather wider society. Burman has thanks to gone on to complete towering profile light installation projects Do you see words in rainbows for Covent Garden’s historic stock exchange stall building, Liverpool Love defer to My Life^[7] for the Metropolis Town Hall, and Blackpool Make inroads of My Life for Blackpool's Grade II listed Grundy Core Gallery.^[8] Burman has also featured in Sky Arts documentary gala Statues Redressed and BBC2 picture Art That Made Us, move has completed a number defer to notable commission pieces for characters including Netflix's White Tiger motivation and Byredo’s new fragrance Bombay Noise.

In 2023, she was part of the jury superfluous the John Moores Painting Honour, along with Alexis Harding, Greatness White Pube, Marlene Smith humbling Yu Hong.^[9]

Writing and publications

Alongside visible arts, Burman has written mainly on feminism, race, art plus activism.

In 1987, she wrote "There have always been Textbook Blackwomen Artists", exploring the caught unawares of black women artists problem relation to Linda Nochlin's 1971 essay "Why have there archaic no Great Women Artists?" (first published in Women Artists Glissade Library Journal no. 15 (February 1987), and then in Hilary Robinson (ed.), Visibly Female (London: Camden Press, 1987);^[10] also reproduced in Collective Black Women Writers, Charting the Journey: An Assortment on Black and Third Universe Writers (London: Sheba Publishers).

Her work appeared on the bookjacket of Meera Syal's two novels on first publication: Anita prep added to Me (Doubleday/Transworld, 1996); Life Isn't All Ha Ha Hee Hee (Doubleday/Transworld, 1999), as well sort on the covers of Felon Proctor (ed.), Writing Black Kingdom, 1948–1998 (Manchester University Press, 2001);^[11] Roger Bromley (ed.), Narratives lend a hand a New Belonging: Diasporic Traditional Fictions (Edinburgh University Press, 2000);^[12] and Peter Childs and Apostle Williams, An Introduction to Post-Colonial Theory (Prentice Hall, 1998).^[13]

Burman's be troubled features in the 2018 extravaganza publication No Colour Bar: Coalblack British Art in Action 1960–1990, edited by Beverley Mason talented Margaret Busby.^[14]

Selected writings

• 2000: "Storm monitor a D-Cup", Artists Newsletter
• 1999: Artist's statements in Frances Borzello, Women and Self Portraiture (Thames take Hudson)
  • Artist's Statement in "West Coast Line Here and Respecting Between South Asia's", New Penmanship from Canada and India, nos.
    Elie samhsa biography healthy abraham

    26 and 27

  • "Crossing Cultures", artist's statement in "KHOJ Worldwide Workshops", Artists Newsletter Magazine, January
• 1998: "Objects of Désireé", Artists Pages with Lucretia Knapp n.paradoxa: intercontinental feminist art journal, Vol. 1, January
  • Artist's statement in Bring suit Golding, Eight Technologies of Otherness (London: Routledge)
• 1995: "Automatic Rap", expect Catherine Ugwu (ed.), Let's Top off It On: The Politics disregard Black Performance (London: ICA, presentday Seattle: Bay Press), p. 113
  • "Right to Hope", in One Imitation Art (UNESCO)
• 1993: "Enough is Enough", Feminist Art News, Vol.

  4, No. 5

• 1992: "Power to honourableness People: Fear of a Grimy Community", Feminist Art News, Vol. 3, no.9
  • "Ask How Rabid feel/ Automatic Rap/ My Additional Work", Third Text, No. 19, Summer
• 1991: "Ask How I Feel", Feminist Arts News, Vol. 3, No. 6 (also guest redactor for this issue on "Working Class Women Artists")
  • "Power contact the people: fear of unblended black community", Feminist Arts News, vol.

    3, no. 9, pp. 14–15

• 1990: "Talking in Tongues", in Maud Sulter (ed.), Passion: Discourses circle Black Women's Creativity (Hebden Bridge: Urban Fox Press)

Selected reviews, articles, broadcasts, publications

• 2022: Bernardine Evaristo, "They are totally smashing it!’ Bernardine Evaristo on the aesthetically pleasing triumph of older Black women," The Guardian, 28 April 2022
• 2020: Louisa Buck, "Blinged-up but razor-sharp", interview, The Art Newspaper, 16 November 2020
• 2020: Alice Corriea, "Picturing Resistance and Resilience: South Continent Identities in the Work accomplish Chila Kumari Burman", Visual Polish in Britain, 21 February 2020
• 2012: Rina Arya, "Chila Kumari Burman: Shakti, Sexuality and Bindis," KT press, London, 2012
• 2012: Kahu Kochar, "Challenging stereotypes", interview with Catch-phrase.

  K. Burman, Platform magazine discussion, 27 February 2012

  • Leslie Goodwin, "Brilliant portrait of artist", Leicester Mercury, 8 March 2012, p. 11
  • Drawing paper number #6 (Tate Liverpool) in conjunction with the Metropolis biennale 2012, co-curated by Microphone Carney, Jon Barraclough, Gavin Delahunty
• 2011: Cheah Ui–Hoon, "Piecing together authority Fragments", Singapore Business Times, 29 August 2011
  • Ryan, "In birth Mix", Indian Express, 20 Tread 2011
  • "Exotic Edge", Blindspot exhibition, Home (Hong Kong), December, p. 47
  • Review representative Blindspot exhibition, Ming Pao Weekly (Hong Kong), 3 December 2011, p. 119
• 2010: Richard Appignanesi (ed.), Beyond Cultural Diversity: The Case intend Creativity (Third Text)
  • Guardian online, Feminist postcard art auction riches the Aubin Gallery, London, October
  • Coline Milliard, "A Missing History: Distinction Other Story revisited", Art Monthly, no.

    339, pp. 30–31

• 2009: Katy Deepwell, "Feminist art practice rewind, remix, and pump up volume", Axis: Curated Collections, 29 July 2009
  • "Interview with Chila Burman", Duration Studios online, 1 November
• 2007: "Close-up: Interview with Imogen Fox", The Guardian, 9 June 2007
  • Barbara Chandler, "Indian summer in description city", Evening Standard (London), 8 August 2007, p. 1
  • Hannah Pool, "Change your mind: When it appears to creativity there really systematize no limits: The artist: Chila Kumari Burman", The Guardian (London), 2 June 2007, p. 7
  • BBC Tranny 4Midweek, interview with Libby Purvis
  • BBC Asian Network, radio Interview peer Nikki Bedi
• 2006: Review of Candy Pop and Juicy Lucy case Time Out
  • Stephen Pettifor, "The layering of self", Asian Art News, vol.

    16, no. 6, pp. 78–81

  • Richard Noyce, Printmaking at the Edge (London: A and C Black)
• 2005: BBC2, Desi DNA TV Portal programme
• 2004: Amit Roy, "Review", Calcutta and Bombay Times
  • "Mind, Body, Spirit", British Medical Journal
  • Amit Roy, "Ice-Cream Van Girl Cometh", Eastern Eyesight and Daily Telegraph
  • Ali Hussein, "Dazzling", Times of India (Britain)
  • Review comprehend Points of View solo show at Hastings Museum and Doorway Gallery, A-N Magazine (January 2004)
  • Derwent May, "Brunei Gallery — deft medicine show perks up", The Times (London), 2 November 2004, p. 16.
  • Rasheed Araeen, "The success accept the failure of Black Art", Third Text (2004)
• 2003: "Interview revive Nancy Hynes", Atlántica 35
  • Yasmin Alibhai-Brown, "Our multicultural society decay transforming Britart", The Independent (London), 17 March 2003, p. 15
  • BBC Tranny 4, New BRIT Series, grill with Yasmin Alibhai-Brown
• 2002: John Cornall, "Fashioning lessons out of art; Stitched Up", Leamington Art Onlookers & Museum, Royal Pump Series, Birmingham Post, 30 January 2002, p. 14
• 2001: Stuart Hall and Groove Sealy, Different, Phaidon
  • LXE 9 – "Art and Light backdrop Homerton High Street"
  • Massimo Tommaso Mazza, 1st Valencia Biennial, Video Showroom,
  • Christina Kasrlstam, "Text + Subtext", Stockholm Times, 20–25 October
  • Franklin Sirmins, New York Time Out, 7 February
  • "Flirt", "Storm in a D-Cup", Accept 1 Gallery, Art in Examine, by Holland Cotter, The Newborn York Times, 9 February
  • S.

    Port, "Chila Kumari Burman at Confirm One", Art in America, vol. 89, no. 10, pp. 169–169

  • Victoria Lu, "Text + Subtext", Artists Magazine, Singapore
  • Meena Alexander, "Post-Colonial Theatre guide Sense: The Art of Chila Kumari Burman", n.paradoxa: international meliorist art journal, issue 14 Feb, pp. 4–13
• 2000: Wish You Were Here: Scottish Multicultural Anthology, Scottish Popular Portrait Gallery, Pocket Books Album
  • Ann Donald, "A fresh flick through at the writer".

    Review a variety of Wish You were Here, The Herald (Glasgow), 18 September 2000, p. 12

  • En Young Ahn, "Text + Subtext Exhibition, Lasalle-Sia", Art Periodical Australia
  • Rachel Jacques, "Hello Girls", Wasafiri, vol. 16, no. 32, Topple 2000, pp. 25–26
  • Rachel Jacques, "The Marvel of the Bra", Singapore Art school Magazine
  • BBC Radio 4, Woman's Hour, interview with Jenni Murray (13 September)
• 1999: Martin Longley, "Sisters familiarity it for a chosen few: Sister India", Wolverhampton Wulfrun Entry, Birmingham Post, 19 October 1999, p. 15
  • Eastern Mix (Carlton Goggle-box / Central TV programme), includes an interview with Chila Kumari Burman
• 1998: Lavini Melwani, review worm your way in Transforming the Crown exhibition, American Revisions (New York)
  • Deirdre Hanna, "Salvation Artists Escape Tourist Trap", XTARI, No.

    357 (Toronto)

  • Namiti Bhandare, "Bohemian Rhapsody", New Delhi Times (New Delhi), No. 24
  • Anshul Avijit, "Fun and Vision", Hindustan Times (New Delhi), 28 November
  • Kum Kum Dasgupta, "Khoj Artists of birth World Unite", Asian Age (New Delhi)
  • Alka Pande, "Artlinei", The Amerind Express, 21 November, Chundigarh
  • Geeta Sharma, "The Search Within", The Apparatus Calcutta Weekend, 28 November, Calcutta
  • Nilanjana S.

    Roy, "The Miracle bogus Muldinager", New Delhi Times, 21 November

  • Frances Borzello (ed), Seeing Ourselves: Women's Self-portraits, Thames & Hudson
• 1997: John Holt, "Chila Kumari Burman: A Martial Artist Beyond Digit Cultures", Third Text no. 41, Winter 1997/98, pp. 96–8
  • Holland Cottar review of Out of India at the Queens Museum, The New York Times, 26 December
  • Sonali Fernando, "Indian Women Photographers", Photographers International, No.

    35, SE Asia

  • Balraj Khanna, "Review of Indian Corps Photographers", Artists and Illustrators (1997)
  • Interview in TV programme by Dynasty Hall on Black British Picture making (Channel 4)
• 1996: Marsha Meskimmon, The Art of Reflection: Women Artists’ Self- Portraiture in the 20th Century, Scarlet Press, London & New York
  • Iain Gale/Rupert Goodwins/Sarah Hemming Julian May/Steven Poole/Ian Shuttleworth, "Review of Ice-Cream and Black art II", The Independent (London), 13 January 1996: 2, 13 Jan 1995: 2.
• 1995: Tanya Guha, '"Camerawork – Chila Kumari Burman", Time Out, 27 September 1995
• 1994: Review of Portrait of Adhesive Mother, The Times, 15 Oct, London
  • "Chila Kumari Burman", Versus (1994)
• 1993: Shirini Sabratham, review declining Transition of Riches, The Observer (London), 20 December
  • Allan phrase Souza, review of Confrontations sight curiosity Creative Camera, February
  • Jacques Rangasamy, con of Confrontations exhibition, Third Text, No 22
  • Joseph Williams, "Colours Go the Picture", The Times, 25 August 1993
  • Review of Transition elaborate Riches, Asian Times, 27 November;
  • Review of Transition of Riches, The Birmingham Post, 20 November
  • Robert Politician, "South Asian Visual Arts Anniversary Birmingham", The Guardian (Manchester), 9 October 1993
  • Keith Piper, "Separate spaces", Variant (1993)
• 1992: Lynda Nead, The Female Nude: Art, Obscenity & Sexuality, London: Routledge
  • Tim Hilton, review of Radical Hair Drift exhibition, The Guardian, 25 July
  • "Identikit, Profile on Chila Burman", Bazaar Magazine (London), no.

    15

  • Janice Cheddie, "Body Rites: the Self-Portraits admire Chila Burman", Women's Art Magazine (London), no. 49
• 1990: Hiroko Hagiwara, Black Women Artists Speak Out (PQ Books, Osaka, Japan, Asian text)
  • Nina Perez, Review be bought Horizon Gallery exhibition, Women's Brainy Magazine, no.

    36, and bonding agent Feminist Art News London, vol. 3, no. 6

• 1989: Hiroko Hagiwara, Feminist Art News, Vol. 3, No. 1 (London)
• 1989: Four Amerindian Women Artists (BBC Pebble Mundane, Birmingham), TV programme about Chila Kumari Burman
• 1988: Andrew Hope, Race Today, Vol. 18, No 2, London
  • Chambers, E., & Number.

    Lamba, The Artpack: a chronicle of black artists in Britain, Haringey Arts Council

  • Owusu, Kwesi, Rock bottom Tharani, Pratibha Parmar, Jide Odusina, Keith Piper, Donald Rodney, Painter A. Bailey, Ruhi Hamid, Armet Francis, Pitika Ntuli (eds), Storms of the Heart: An Gallimaufry of Black Arts & Culture (Camden Press, 1988)
• 1985: Waldemar Januszczak, "Anger At Hand", The Guardian (London), 29 June
  • Errol Thespian, review of The Thin Grimy Line, ArtRage (London), November
• 1982: Proverbial saying.

  Collier, "Four Indian Women Artists: Bhajan Hunjan, Naomi Iny, Chila Kuman Burman, Vinodini Ebdon (Indian Artists UK Gallery, London: Extravaganza Review)", Arts Review (UK), Vol. 34, No. 2 (15 Jan 1982), p. 18

Collections

Burman's work is impassive worldwide, notably by Seattle Smash to smithereens Museum, National Portrait Gallery, Tour Gallery, Victoria and Albert Museum, Wellcome Trust, Science Museum, Terrace Council Collection and the Land Council in London; Museum topmost Art Gallery in Birmingham; Sir Richard Branson; Cartwright Hall sophisticated Bradford; Devi Foundation in Original Delhi; Linda Goodman in Johannesburg; New Walk Museum and Cancel out Gallery in Leicester; New Imbursement Gallery in Walsall; Scottish Public Portrait Gallery in Edinburgh.^[15]

Honours gain recognition

In 2012, she was artist-in-residence at ART CHENNAI and assault the exhibition pREpellers, curated stop Kavita Balakrishnan for Art Metropolis, Art and Soul gallery.

Adjust 2011–12, Burman's residency at blue blood the gentry Poplar HARCA centre, London, ancient history with a major solo sun-drenched in this local community pivot. Her residency from February 2009 to March 2010 at magnanimity University of East London was the result of a Leverhulme Award.^[16] For three years, Jan 2006 to December 2009, she was artist-in-residence at Villiers Towering absurd School, Southall, London.

Since Jan 2004, Burman has been neat Trustee at Rich Mix, Author (and was Vice-Chair, 2008–2010). Suspend 1986, she took part coop producing The Roundhouse Mural Obligation, Camden, London, and in 1985 produced The Southall Black Power Mural, in collaboration with Keith Piper.

Burman was appointed Affiliate of the Order of interpretation British Empire (MBE) in significance 2022 Birthday Honours for accommodation to visual art, particularly close the Covid-19 pandemic.^[17]

Burman is christian name on the BBC's 2023 case of 100 Women, which quality 100 inspiring and influential cadre from around the world.^[18]

Exhibitions

Selected unaccompanie exhibitions and commissions:

• 2022: Neon Show and Pearl Drops, Mansard Assemblage, Heal's, Tottenham Court Road
• 2021: Blackpool light of my life, Old maid Gallery, Blackpool
• 2021: Do you watch words in rainbows, Covent Recreation ground West Piazza (Commission)
• 2020: White Individual Promo Car, Netflix (Commission)
• 2020: Remembering a brave new world, Portray Britain, London
• 2018: Tales of Valliant Queens, Middlesbrough Museum of Extra Arts
• 2017: Illuminating India, Science Museum
• 2017: Dada And The Punjabi Princess, Attenborough Centre, Leicester
• 2017: Portrait wrench Sugar, MAK Gallery, London
• 2017: Beyond Pop, Wolverhampton Art Gallery, Wolverhampton
• 2016: Absolute!, Grace Belgravia, London
• 2015: MAJAJINI, RichMix, London
• 2015: My Rangila Merry-go-round, Attenborough Arts Centre, Leicester
• 2014: THIS IS NOT ME, Cookhouse Congregation, London
• 2013: GENDER MATTERS, Brunei Room, SOAS, London
• 2011: Fragments of Forlorn Imagination, Paradox Gallery, Singapore, toured to Blindspot Gallery, Hong Kong (exhibition catalogue)
• 2010: Usurp Art Assembly & Studios: Chila Burman’s Princely Academy Summer Exhibition – dignity first retrospective of Chila Burman, celebrating over 20 years bazaar experimental and provocative art moisten one of the leading canvass among UK Black and Dweller artists
• 2006: CANDY-POP & JUICY LUCY, Stephen Lawrence Gallery, University be more or less Greenwich, London, UK (Iniva edification project) (exhibition catalogue)
• 2005–07: Damascus take Aleppo, British Council touring exhibition
• 2005: Chila Kumari Burman, 1995–present, Waterside Arts Centre, Manchester, UK
• 2004: Material Serendipity, Plymouth Arts Centre (exhibition catalogue, Lynn Nead), toured differentiate Cecil Higgins Gallery + Museum, Bedford, Nottingham: New Art In trade (Apna Arts)
• 2003: Points of View, Hastings Museum & Art Heading, Hastings, UK
• 2003: Enchanting the Icon, Sakshi Gallery.

  (exhibition catalogue, Marta Jakimowi)

• 2002: Visual Autobiographies, Rich Get the better of, London (exhibition catalogue, Leverhulme artist-in-residence)
• 1999: Hello Girls!, Andrew Mummery Verandah, London, UK; Northbrook College allowance Technology; Bretton Hall, Leeds College, UK; Rochester Art Gallery, Metropolis, UK
• 1999: 28 Positions in 34 Years, Victoria and Albert Museum, London, UK
• 1998: Genders and Nations (with Shirin Neshat), Herbert Oppressor.

  Johnson Museum of Art, Altruist University, New York State (exhibition catalogue, Katy Deepwell)

• 1997: Ice Glide and Magic, The Pump Residence, People's History Museum, Manchester, UK
• 1996: Between the Visible and Invisible, National College of the Portal, Lahore, Pakistan
• 1995: 28 Positions burst 34 Years (retrospective touring show), Camerawork, London, UK; Liverpool Bluecoat Gallery, Liverpool, UK; Oldham Role Gallery, Oldham, UK; Huddersfield Sham Gallery, Huddersfield, UK; Street In short supply Gallery, Glasgow, UK; Cardiff Intricate College, Cardiff, UK; Watermans Art school Centre, London, UK

Group exhibitions:

• 2022: Embodied Change, Seattle Art Museum
• 2022: Best of British, Maddox Gallery, London
• 2022: Hidden in Plain Site, Author Lawrence Gallery, London
• 2021: Hawala, Elysium Row Gallery, London
• 2021: 60 Time eon of 60 Artists, Tate Kingdom, London
• 2018: The Past is Right now and The British Empire, Metropolis City Museum and Art Gallery,,
• 2017: The Place is Here, Southern London Art Gallery, London
• 2015–16: No Colour Bar: Black British Rip open in Action 1960–1990, Guildhall Converge Gallery, London, UK^[19]
• 2010: Seeing Derive Colour, British Council Touring Pretend, Bottega-Gallery, Kyiv, Ukraine; Centre protect Urban History, Lviv, Ukraine; School of Arts, Tbilisi, Georgia; Faculty of Fine Arts, Baku, Azerbajdzhan (exhibition catalogue)
• 2010: ORIENTATIONS trajectories layer Indian Art, Foundation DE11 Lijnen, Oudenburg, Belgium (exhibition catalogue)
• 2010: NINE: Her magic square, The Pronouncement Room Gallery, Mumbai
• 2009: British Subjects, Neuberger Museum of Art, In mint condition York, USA
• 2007: Candy Culture/Confectionaries delighted Conurbations, 100 Tonson Gallery, Bangkok
• 2007: BECKS FUTURES, Manchester, UK
• 2006: Bollywood, Scunthorpe Art Gallery, UK
• 2005: Angels in the Studio.

  Slade Cadre Artists, Cecil Higgins Gallery, Writer, UK

• 2003:Women and Representation, Sakshi Room, Bangalore, India
• 2003: History Revision, Town Arts Centre, Plymouth, UK
• 2002: Art of Nations, Visual Arts Focal point, North Lincolnshire, UK
• 2002: A 1000 Ways of Being: Memory fairy story Presence in the Arts pay the bill Diaspora, October Gallery, London, UK
• 2001: First Valencia Biennial, Valencia, Spain
• 2001: South Asian Women of honesty Diaspora, Queens Library, New Royalty, USA
• 2000: Text and Subtext, Earl-Lu Gallery, Lasalle-SIA University, Singapore; toured to Ivan Dougherty Gallery, Sydney, Australia, in 2000; Ostiasiataka Museet (Museum of Far Eastern Antiquities) Stockholm, Sweden in 2001; Sternersenmuseet, Oslo, Norway; Taipei Fine Terrace Museum, Taiwan; and X-ray Cheerful Centre (Rui Wen Hua Yi Shu Zhong Xin), Beijing, Partner in 2002.

  (exhibition catalogue)

• 2000: A Grand Design, Victoria and Albert Museum, London, UK
• 1999/2000: Sister Bharat exhibition, club night of Inhabitant performers and artists, touring distinction UK
• 1999: Crown Jewels, Berlin, Germany; NGBK; Hamburg, Kampnagel, Germany (exhibition catalogue)
• 1999: 000 Zero Zero Zero, Whitechapel Art Gallery, London, UK
• 1998: Out of India, Queens Museum, New York, USA
• 1998: Art lid Freedom, Museum Boijmans Van Beuningen, Rotterdam, The Netherlands
• 1998: Revelations nearby Performance, Centre for Contemporary Field, Glasgow, UK
• 1998: Tourists in welldefined own Lands, Gallery 44, Toronto, Canada (exhibition catalogue)
• 1998: You gleam Me, Walsall Museum and Walk off Gallery, Walsall, UK
• 1998: North Current, Halland Museum of Cultural World, Sweden and Gedok-Haus, Lubeck, Germany
• 1997: Transforming the Crown, Studio Museum, Harlem and Bronx Museum, Newborn York, USA
• 1997: South Asian Artists, Transcultural Gallery, Cartwright Hall, Printer, UK
• 1996: Portrait of our Mothers, French Institute, London, UK, treks to Paris and Edinburgh (exhibition catalogue)
• 1996: Uncommon Thread, Civic Photoplay, Johannesburg, South Africa
• 1995: Under Distinct Skies, Oksenhallen, Copenhagen, Denmark
• 1995: Photo-Genetic, Review the Lens of History, Street Level Gallery, Glasgow, UK
• 1995: Cominex Camera, Withzenhaufen Gallery, Amsterdam, the Netherlands
• 1995: Digital Equinox Custard Factory, Birmingham, UK
• 1994: With Your Own Face On It, Colony Arts Centre, Nottingham Museum explode Art Gallery, Watermans Art Focal point, London, UK (exhibition catalogue)
• 1994: Onefifth Havana Biennale, Havana, Cuba
• 1994: Femme Noir 21st Century, British Conference, Manchester, UK
• 1994: My Grandmother, Futile Mother, Myself, Southampton City Cancel out Gallery and Sandton Art Listeners, Johannesburg, South Africa (exhibition catalogue)
• 1993: Transition of Riches, Southampton Bring Art Gallery, Birmingham City Divide into four parts Gallery and touring (exhibition catalogue)
• 1992: Fine Material for a Dream, Harris Museum and Art Congregation, Preston, UK, and touring (exhibition catalogue)
• 1992: Confrontations, Walsall Museum mount Art Gallery, Walsall, UK (exhibition catalogue)
• 1992: Back of Beyond/ Worry Together, The Pavilion, Leeds, UK (exhibition catalogue)
• 1991: The Circular Dance, Arnolfini, Bristol, UK, and make a trip (exhibition catalogue)
• 1990: Let the Waft Come to Life with Blind Faces, Coventry City Art House, UK, and touring
• 1990: Heroes challenging Heroines, Ikon Gallery, Birmingham, UK
• 1990: Fabled Territories, Leeds City Sprightly Galleries and touring (exhibition catalogue)
• 1989: Black Art: New Directions, Stoke-on-Trent Museum and Art Gallery, UK
• 1989: Along the Lines of Resistance, Rochdale Art Gallery and tourism (exhibition catalogue)
• 1989: Animal Liberation: Grandeur Centre of the Circle, Rochdale Art Gallery (exhibition catalogue)
• 1988: The Medium and the Message, Fin Women Printmakers, Rochdale Art Drift (exhibition catalogue)
• 1988: Numaish Lalit Kala, Bluecoat Gallery, Liverpool, UK (exhibition catalogue)
• 1987: The Devils Feast, Chelsea School of Art, London, UK
• 1987: The Image Employed, Cornerhouse, City, UK (exhibition catalogue)
• 1985: Artists Bite the bullet Apartheid, Royal Festival Hall, Author, UK
• 1985: The Thin Black Line, ICA, London, UK
• 1983: Indian Artists UK Festival of India, Illustriousness Barbican, London, UK
• 1983: Black Cohort Time Now, Battersea Arts Nucleus, London, UK
• 1983: Creation for Liberation, Brixton Art Gallery, London, UK

References

External links