All posts tagged: Indian

Featured image: Udita Upadhyaya at the book release for “nevernotmusic,” at TriTriangle. The artist leans over a table, looking down as she writes in gold pen inside a copy of her book. Next to her is another copy, open to its centerfold, where gold thread is visible. The artist wears a light-colored, textured sweater. Photo by Caleb Neubauer.

Beyond the Page: Udita Upadhyaya’s “nevernotmusic” (the book)

“Beyond the Page” digs into the process and practice of writers and artists who work at the intersection of literary arts and other fields. This interview is the third of three with interdisciplinary artist Udita Upadhyaya about “nevernotmusic” — a solo exhibition of scores activated by curated, collaborative performances — and her process of developing these scores into a book (the first and second interviews are online). After the book’s release in September, I met with Udita to reflect on the book, the process of creating it (and personalizing each copy), and the connection between music and grief in her work. Get a copy of the limited edition book by contacting Udita. Find @uditau on Twitter and Instagram. This interview has been edited for length and clarity.   Marya Spont-Lemus: How are you feeling about Saturday’s book release event? Udita Upadhyaya: I’m still processing, but I am feeling good. It was great to see the book in its final form. The book is really beautiful! I have not spent enough time with it yet, but …

This image depicts part of a performance score, bound into a thin book. On the top page, toward its bottom-right corner, it reads “Dear Corey: Unfold (into you)” in black ink on grey paper. Across the binding, on the bottom page—the majority of the image—text, lines, arrows, and shapes appear in black ink against a whitish vellum background. Solid black abstract shapes connect and overlap, creating white space where they overlap. Lines swoop, loop, and change direction, and some end in arrowheads. Text appears in different sizes and spatial orientations (e.g., right-side up, upside-down, diagonal, vertical, and organic shapes), with some words/phrases expanded in space, condensed, or intersecting with other text.

Beyond the Page: Udita Upadhyaya’s “nevernotmusic” (the book in progress)

“Beyond the Page” digs into the process and practice of writers and artists who work at the intersection of literary arts and other fields. This interview is the second of three with interdisciplinary artist Udita Upadhyaya about “nevernotmusic” — a solo exhibition of scores activated by curated, collaborative performances — and her process of developing these scores into a book (read the first interview here and the third here). In late May, I met with Udita to discuss the book’s first mock-up, her aesthetic choices and decision-making process, and the role of intimacy, the body, and language in her work. Follow @uditau on Twitter and Instagram and check out her book launch at TriTriangle on September 8, 2018, 7 pm. This interview has been edited for length and clarity.   Marya Spont-Lemus: So, you made a book! Udita Upadhyaya: Yeah. This is not what it’s going to look like but this is the first mock-up with real pages of the scores and some of the color and stuff being decided. MSL: Wow. Can I look …

The photograph shows the artist at center, standing in front of one of the gallery’s internal, white walls, with performers and guests sitting or standing on either side of her. Black vinyl letters are installed directly onto the walls, in the form of words and phrases in English and Hindi. Text appears in different sizes and spatial orientations (e.g., right-side up, upside-down, diagonal, vertical, and organic shapes), with some words/phrases expanded in space, condensed, or intersecting with other text. English words/phrases shown in this image include “a tender beginning,” “offer,” and “of this winter.” A gestural drawing—also made of black vinyl—is shown on the left-hand side of the image.

Beyond the Page: Udita Upadhyaya’s “nevernotmusic” (the show)

“Beyond the Page” digs into the process and practice of writers and artists who work at the intersection of literary arts and other fields. This interview is the first of three with interdisciplinary artist Udita Upadhyaya about “nevernotmusic” — a solo exhibition of scores activated by curated, collaborative performances — and her process of developing these scores into a book (read the second interview here and the third here). In early March, on the last day of her show “nevernotmusic” at Roman Susan, I met with Udita to discuss her processes of creating and “gifting” performance scores, transforming the scores into an installation, and learning from performers’ interpretations. Follow @uditau on Twitter and Instagram and check out her book launch at TriTriangle on September 8, 2018, at 7pm. This interview has been edited for length and clarity.   Marya Spont-Lemus: Knowing a bit about your work, and specifically your work with language, I already wanted to talk to you for “Beyond the Page.” And then I was so excited to hear about “nevernotmusic” — the …

Home to Self: An Interview with Preetika Rajgariah

When talking to artist Preetika Rajgariah about how she arrived at her most recent body of work, I was struck by how a lexicon of movement naturally developed. She spoke about the strategies her family used to recreate the feel, warmth, and comfort of a home that was thousands of miles and oceans away after they settled in the city of Houston. She talked about how travel and relocation punctuated significant shifts in her work. She told me how one of her most commercially successful bodies of work addresses concepts of migration and accumulation but also whispers to how, aesthetically, macro perspectives mimic the micro and cellular. But while motion might be one of the most immediately legible themes that one can draw out of her work, it is stillness that has actually allowed her practice to move forward in substantial and  illuminating ways. Having discernment around what advice, suggestions, constructive criticisms are valid and useful and which ones counter her progression has allowed her work to bloom in ways that disrupt her original understandings of …