Chila burman biography of abraham

British artist

Chila Kumari Singh BurmanMBE is a British person in charge, celebrated for her radical reformer practice, which examines representation, making out and cultural identity. She expression across a wide range pencil in mediums including printmaking, drawing, likeness, installation and film.

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

In 2018, she accustomed an honorary doctorate from Tradition of the Arts London mean her impact and recognised estate as an international artist.

Personal 2020 she was invited run over the Art Workers' Guild type a Brother ^[2] and assume 2022, Burman was appointed cool Member of the Order matching the British Empire (MBE) dupe the Queen's Birthday Honours application services to visual art.

Early life

Born in Bootle, near Port, England, to IndianHindu Punjabi parents, Burman attended the Southport Institute of Art, Leeds Polytechnic stall the Slade School of Positive Art, UCL where she gradational in 1982.^[3]

Career

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

A key character in the British Black Subject movement in the 1980s, Burman has remained rooted in amass understanding of the diverse makeup of culture. Continually seeking run into break stereotypes and emancipate probity image of women, she generally uses self-portraiture as a stuff of empowerment and self-determination.

In the 1980s, her work was shown in a number worry about seminal group shows including Four Indian Women Artists (UK Artists Gallery, 1982); Black Women Sicken Now (Battersea Arts Centre, Author, 1983); The Thin Black Line (ICA, London, 1985); Black Art: New Directions (Stoke-on-Trent Museum essential Art Gallery, 1989) and say publicly feminist exhibition Along the Form of Resistance (Rochdale Art Assemblage and touring, 1989).

In prestige 1990s and 2000s, Burman's deeds more explicitly explored her kinsmen history, specifically her father's prepare as an ice-cream van male in Bootle (in her exhibitions Candy-Pop & Juicy Lucy, Author Lawrence Gallery, University of Borough, London, 2006; Ice Cream contemporary Magic, The Pump House, People's History Museum, Manchester, 1997).^[4] Condemn 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 on the way out Art, Cornell University, New Dynasty State, 1998). Her retrospective traverse 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 Subject Centre, London.

From the 2000s, her works were frequently shown internationally with notable group shows including South Asian Women be successful the Diaspora (Queens Library, Spanking York, 2001) and Text subject Subtext (Earl-Lu Gallery, Lasalle-SIA Academy, Singapore, 2000) toured to Ivan Dougherty Gallery, Sydney, Australia, donation 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 Noble Queens was displayed at Middlesbrough Institute of Modern Art. Transfer together works made between decency 1970s up to 2018. Interpretation show focused on themes short vacation female empowerment, social and civil activism, folk traditions and residents legacy.^[5] The show included various iconic pieces alongside newer entireness.

The show was reviewed importance one that showed "how dignity race, gender and class barriers the Burman family encountered try the political dynamism of say no to work".^[6]

In 2020, Burman was elect as the fourth artist relax complete the Tate Britain Season Commission. The resulting hugely public installation Remembering A Brave Additional World, addressed the colonial depiction of Tate Britain and well-fitting Eurocentric position.

Adorning the room façade with references to Asian mythology, popular culture, female authorization, political activism and colonial donation. It exposed a need insinuate better informed conversations, and writer effective strategies for tackling racialism in the art world suffer wider society. Burman has in that gone on to complete embellished profile light installation projects Do you see words in rainbows for Covent Garden’s historic bazaar stall building, Liverpool Love appreciated My Life^[7] for the Metropolis Town Hall, and Blackpool Bright of My Life for Blackpool's Grade II listed Grundy Workmanship Gallery.^[8] Burman has also featured in Sky Arts documentary joint Statues Redressed and BBC2 flick Art That Made Us, stomach has completed a number fail notable commission pieces for characters including Netflix's White Tiger movement and Byredo’s new fragrance Bombay Noise.

In 2023, she was part of the jury engage in the John Moores Painting Enjoy, along with Alexis Harding, Honourableness White Pube, Marlene Smith bracket Yu Hong.^[9]

Writing and publications

Alongside ocular arts, Burman has written mostly on feminism, race, art current activism. In 1987, she wrote "There have always been Ready to go Blackwomen Artists", exploring the locale of black women artists pathway relation to Linda Nochlin's 1971 essay "Why have there archaic no Great Women Artists?" (first published in Women Artists Slip 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 Collection 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 come first Me (Doubleday/Transworld, 1996); Life Isn't All Ha Ha Hee Hee (Doubleday/Transworld, 1999), as well rightfully on the covers of Saint Proctor (ed.), Writing Black Kingdom, 1948–1998 (Manchester University Press, 2001);^[11] Roger Bromley (ed.), Narratives select a New Belonging: Diasporic Native Fictions (Edinburgh University Press, 2000);^[12] and Peter Childs and Apostle Williams, An Introduction to Post-Colonial Theory (Prentice Hall, 1998).^[13]

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

Selected writings

• 2000: "Storm deal a D-Cup", Artists Newsletter
• 1999: Artist's statements in Frances Borzello, Women and Self Portraiture (Thames topmost Hudson)
  • Artist's Statement in "West Coast Line Here and Encircling Between South Asia's", New Script book from Canada and India, nos.

    26 and 27

  • "Crossing Cultures", artist's statement in "KHOJ International Workshops", Artists Newsletter Magazine, January
• 1998: "Objects of Désireé", Artists Pages become apparent to Lucretia Knapp n.paradoxa: international libber art journal, Vol. 1, Jan
  • Artist's statement in Sue Writer, Eight Technologies of Otherness (London: Routledge)
• 1995: "Automatic Rap", in Wife Ugwu (ed.), Let's Get Outdo On: The Politics of Sooty Performance (London: ICA, and Seattle: Bay Press), p. 113
  • "Right elect Hope", in One World Art (UNESCO)
• 1993: "Enough is Enough", Feminist Art News, Vol.

  4, Pollex all thumbs butte. 5

• 1992: "Power to the People: Fear of a Black Community", Feminist Art News, Vol. 3, no.9
  • "Ask How I feel/ Automatic Rap/ My New Work", Third Text, No. 19, Summer
• 1991: "Ask How I Feel", Feminist Arts News, Vol. 3, Inept. 6 (also guest editor support this issue on "Working Rear Women Artists")
  • "Power to primacy people: fear of a smoke-darkened community", Feminist Arts News, vol.

    3, no. 9, pp. 14–15

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

Selected reviews, incumbency, broadcasts, publications

• 2022: Bernardine Evaristo, "They are totally smashing it!’ Bernardine Evaristo on the artistic accomplishment of older Black women," The Guardian, 28 April 2022
• 2020: Louisa Buck, "Blinged-up but razor-sharp", question period, The Art Newspaper, 16 Nov 2020
• 2020: Alice Corriea, "Picturing Resilience and Resilience: South Asian Identities in the Work of Chila Kumari Burman", Visual Culture outline Britain, 21 February 2020
• 2012: Rina Arya, "Chila Kumari Burman: Sakti, Sexuality and Bindis," KT fathom, London, 2012
• 2012: Kahu Kochar, "Challenging stereotypes", interview with C.

  Immature. Burman, Platform magazine review, 27 February 2012

  • Leslie Goodwin, "Brilliant portrait of artist", Leicester Mercury, 8 March 2012, p. 11
  • Drawing treatise number #6 (Tate Liverpool) hassle conjunction with the Liverpool biennale 2012, co-curated by Mike Carney, Jon Barraclough, Gavin Delahunty
• 2011: Cheah Ui–Hoon, "Piecing together the Fragments", Singapore Business Times, 29 Revered 2011
  • Ryan, "In the Mix", Indian Express, 20 March 2011
  • "Exotic Edge", Blindspot exhibition, Home (Hong Kong), December, p. 47
  • Review of Blindspot exhibition, Ming Pao Weekly (Hong Kong), 3 December 2011, p. 119
• 2010: Richard Appignanesi (ed.), Beyond Educative Diversity: The Case for Creativity (Third Text)
  • Guardian online, Reformist postcard art auction at goodness Aubin Gallery, London, October
  • Coline Milliard, "A Missing History: The Vex Story revisited", Art Monthly, cack-handed.

    339, pp. 30–31

• 2009: Katy Deepwell, "Feminist art practice rewind, remix, be proof against pump up volume", Axis: Curated Collections, 29 July 2009
  • "Interview with Chila Burman", Space Studios online, 1 November
• 2007: "Close-up: Ask with Imogen Fox", The Guardian, 9 June 2007
  • Barbara Writer, "Indian summer in the city", Evening Standard (London), 8 Honoured 2007, p. 1
  • Hannah Pool, "Change your mind: When it comes commerce creativity there really are ham-fisted limits: The artist: Chila Kumari Burman", The Guardian (London), 2 June 2007, p. 7
  • BBC Radio 4Midweek, interview with Libby Purvis
  • BBC Eastern Network, radio Interview with Nikki Bedi
• 2006: Review of Candy Explode and Juicy Lucy in Time Out
  • Stephen Pettifor, "The layering show 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 Arts programme
• 2004: Amit Roy, "Review", Calcutta don Bombay Times
  • "Mind, Body, Spirit", British Medical Journal
  • Amit Roy, "Ice-Cream Vehivle Girl Cometh", Eastern Eye opinion Daily Telegraph
  • Ali Hussein, "Dazzling", Times of India (Britain)
  • Review of Points of View solo exhibition avoid Hastings Museum and Art Assemblage, A-N Magazine (January 2004)
  • Derwent May well, "Brunei Gallery — a remedy show perks up", The Times (London), 2 November 2004, p. 16.
  • Rasheed Araeen, "The success and dignity failure of Black Art", Third Text (2004)
• 2003: "Interview with Ginger beer Hynes", Atlántica 35
  • Yasmin Alibhai-Brown, "Our multicultural society is anomaly Britart", The Independent (London), 17 March 2003, p. 15
  • BBC Radio 4, New BRIT Series, interview tweak Yasmin Alibhai-Brown
• 2002: John Cornall, "Fashioning lessons out of art; Stitch up Up", Leamington Art Gallery & Museum, Royal Pump Rooms, Birmingham Post, 30 January 2002, p. 14
• 2001: Stuart Hall and Mark Sealy, Different, Phaidon
  • LXE 9 – "Art and Light on Homerton High Street"
  • Massimo Tommaso Mazza, Ordinal Valencia Biennial, Video Showroom,
  • Christina Kasrlstam, "Text + Subtext", Stockholm Times, 20–25 October
  • Franklin Sirmins, New Dynasty Time Out, 7 February
  • "Flirt", "Storm in a D-Cup", Admit 1 Gallery, Art in Review, gross Holland Cotter, The New Royalty Times, 9 February
  • S.

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

  • Victoria Lu, "Text + Subtext", Artists Magazine, Singapore
  • Meena Alexander, "Post-Colonial Theatre of Sense: The Art of Chila Kumari Burman", n.paradoxa: international feminist break into pieces journal, issue 14 February, pp. 4–13
• 2000: Wish You Were Here: Scots Multicultural Anthology, Scottish National Profile Gallery, Pocket Books Publication
  • Ann Donald, "A fresh look decompose the writer".

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

  • En Young Ahn, "Text + Subtext Exhibition, Lasalle-Sia", Art Monthly Australia
  • Rachel Jacques, "Hello Girls", Wasafiri, vol. 16, no. 32, Autumn 2000, pp. 25–26
  • Rachel Jacques, "The Wonder discover the Bra", Singapore Arts Magazine
  • BBC Radio 4, Woman's Hour, interrogate with Jenni Murray (13 September)
• 1999: Martin Longley, "Sisters doing travel for a chosen few: Preserve India", Wolverhampton Wulfrun Hall, Birmingham Post, 19 October 1999, p. 15
  • Eastern Mix (Carlton TV Data Central TV programme), includes comb interview with Chila Kumari Burman
• 1998: Lavini Melwani, review of 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 the Globe Unite", Asian Age (New Delhi)
  • Alka Pande, "Artlinei", The Indian Express, 21 November, Chundigarh
  • Geeta Sharma, "The Search Within", The Telegraph Calcutta Weekend, 28 November, Calcutta
  • Nilanjana Remorseless.

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

  • Frances Borzello (ed), Seeing Ourselves: Women's Self-portraits, Thames & Hudson
• 1997: Bog Holt, "Chila Kumari Burman: A-one Martial Artist Beyond Two Cultures", Third Text no. 41, Frost 1997/98, pp. 96–8
  • Holland Cotter argument of Out of India old the Queens Museum, The Pristine York Times, 26 December
  • Sonali Fernando, "Indian Women Photographers", Photographers International, No.

    35, SE Asia

  • Balraj Khanna, "Review of Indian Women Photographers", Artists and Illustrators (1997)
  • Interview train in TV programme by Stuart Appearance on Black British Photography (Channel 4)
• 1996: Marsha Meskimmon, The Involvement of Reflection: Women Artists’ Self- Portraiture in the Twentieth Century, Scarlet Press, London & Recent York
  • Iain Gale/Rupert Goodwins/Sarah Hemming Julian May/Steven Poole/Ian Shuttleworth, "Review of Ice-Cream and Magic II", The Independent (London), 13 Jan 1996: 2, 13 January 1995: 2.
• 1995: Tanya Guha, '"Camerawork – Chila Kumari Burman", Time Out, 27 September 1995
• 1994: Dialogue of Portrait of My Mother, The Times, 15 October, Author
  • "Chila Kumari Burman", Versus (1994)
• 1993: Shirini Sabratham, review of Transition of Riches, The Observer (London), 20 December
  • Allan de Souza, review of Confrontations exhibition Artistic Camera, February
  • Jacques Rangasamy, review grapple Confrontations exhibition, Third Text, Cack-handed 22
  • Joseph Williams, "Colours Enter picture Picture", The Times, 25 Esteemed 1993
  • Review of Transition of Riches, Asian Times, 27 November;
  • Review atlas Transition of Riches, The Metropolis Post, 20 November
  • Robert Clark, "South Asian Visual Arts Festival Birmingham", The Guardian (Manchester), 9 Oct 1993
  • Keith Piper, "Separate spaces", Variant (1993)
• 1992: Lynda Nead, The Warm Nude: Art, Obscenity & Sexuality, London: Routledge
  • Tim Hilton, debate of Radical Hair Gallery event, The Guardian, 25 July
  • "Identikit, Biography on Chila Burman", Bazaar Magazine (London), no.

    15

  • Janice Cheddie, "Body Rites: the Self-Portraits of Chila Burman", Women's Art Magazine (London), no. 49
• 1990: Hiroko Hagiwara, Black Women Artists Speak Out (PQ Books, Osaka, Japan, Japanese text)
  • Nina Perez, Review of Range Gallery exhibition, Women's Art Magazine, no. 36, and in Feminist Art News London, vol.

    3, no. 6

• 1989: Hiroko Hagiwara, Feminist Art News, Vol. 3, Clumsy. 1 (London)
• 1989: Four Indian Squadron Artists (BBC Pebble Mill, Birmingham), TV programme about Chila Kumari Burman
• 1988: Andrew Hope, Race Today, Vol. 18, No 2, Author
  • Chambers, E., & J. Lamba, The Artpack: a history flawless black artists in Britain, Haringey Arts Council
  • Owusu, Kwesi, Nadir Tharani, Pratibha Parmar, Jide Odusina, Keith Piper, Donald Rodney, David Natty.

    Bailey, Ruhi Hamid, Armet Francis, Pitika Ntuli (eds), Storms confiscate the Heart: An Anthology take away Black Arts & Culture (Camden Press, 1988)

• 1985: Waldemar Januszczak, "Anger At Hand", The Guardian (London), 29 June
  • Errol Lloyd, study of The Thin Black Line, ArtRage (London), November
• 1982: C.

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

Collections

Burman's work is collected ubiquitous, notably by Seattle Art Museum, National Portrait Gallery, Tate Heading, Victoria and Albert Museum, Wellcome Trust, Science Museum, Arts Meeting Collection and the British Mother of parliaments in London; Museum and Pull out Gallery in Birmingham; Sir Richard Branson; Cartwright Hall in Bradford; Devi Foundation in New Delhi; Linda Goodman in Johannesburg; Newborn Walk Museum and Art Assembly in Leicester; New Art Verandah in Walsall; Scottish National Profile Gallery in Edinburgh.^[15]

Honours and recognition

In 2012, she was artist-in-residence strict ART CHENNAI and produced rendering exhibition pREpellers, curated by Kavita Balakrishnan for Art Chennai, Collapse and Soul gallery.

In 2011–12, Burman's residency at the Poplar HARCA centre, London, concluded accost a major solo exhibition focal point this local community centre. Give something the thumbs down residency from February 2009 interrupt March 2010 at the School of East London was goodness result of a Leverhulme Award.^[16] For three years, January 2006 to December 2009, she was artist-in-residence at Villiers High Grammar, Southall, London.

Since January 2004, Burman has been a Defender at Rich Mix, London (and was Vice-Chair, 2008–2010). In 1986, she took part in shaping The Roundhouse Mural Project, Metropolis, London, and in 1985 come up The Southall Black Resistance Picture, in collaboration with Keith Instrumentalist.

Burman was appointed Member endorse the Order of the Brits Empire (MBE) in the 2022 Birthday Honours for services join visual art, particularly during nobility Covid-19 pandemic.^[17]

Burman is named ring the BBC's 2023 list countless 100 Women, which features Cardinal inspiring and influential women circumvent around the world.^[18]

Exhibitions

Selected solo exhibitions and commissions:

• 2022: Neon Drama impressive Pearl Drops, Mansard Gallery, Heal's, Tottenham Court Road
• 2021: Blackpool radiate of my life, Grundy Verandah, Blackpool
• 2021: Do you see period in rainbows, Covent Garden Westerly Piazza (Commission)
• 2020: White Tiger Promo Car, Netflix (Commission)
• 2020: Remembering unadulterated brave new world, Tate Kingdom, London
• 2018: Tales of Valliant Queens, Middlesbrough Museum of Modern Arts
• 2017: Illuminating India, Science Museum
• 2017: Dada And The Punjabi Princess, Attenborough Centre, Leicester
• 2017: Portrait in 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 Go over NOT ME, Cookhouse Gallery, London
• 2013: GENDER MATTERS, Brunei Gallery, SOAS, London
• 2011: Fragments of My Imagination, Paradox Gallery, Singapore, toured kind Blindspot Gallery, Hong Kong (exhibition catalogue)
• 2010: Usurp Art Gallery & Studios: Chila Burman’s Royal Institution Summer Exhibition – the premier retrospective of Chila Burman, celebrating over 20 years of conjectural and provocative art by defer of the leading figures in the middle of UK Black and Asian artists
• 2006: CANDY-POP & JUICY LUCY, Writer Lawrence Gallery, University of Borough, London, UK (Iniva education project) (exhibition catalogue)
• 2005–07: Damascus and Aleppo, British Council touring exhibition
• 2005: Chila Kumari Burman, 1995–present, Waterside Discipline Centre, Manchester, UK
• 2004: Material Serendipity, Plymouth Arts Centre (exhibition order, Lynn Nead), toured to Cecil Higgins Gallery + Museum, Bedford, Nottingham: New Art Exchange (Apna Arts)
• 2003: Points of View, Architect Museum & Art Gallery, Architect, UK
• 2003: Enchanting the Icon, Sakshi Gallery.

  (exhibition catalogue, Marta Jakimowi)

• 2002: Visual Autobiographies, Rich Mix, Writer (exhibition catalogue, Leverhulme artist-in-residence)
• 1999: Hello Girls!, Andrew Mummery Gallery, Writer, UK; Northbrook College of Technology; Bretton Hall, Leeds University, UK; Rochester Art Gallery, Rochester, UK
• 1999: 28 Positions in 34 Years, Victoria and Albert Museum, Author, UK
• 1998: Genders and Nations (with Shirin Neshat), Herbert F.

  Lexicographer Museum of Art, Cornell Academy, New York State (exhibition separate, Katy Deepwell)

• 1997: Ice Cream become peaceful Magic, The Pump House, People's History Museum, Manchester, UK
• 1996: Between the Visible and Invisible, Secure College of the Arts, City, Pakistan
• 1995: 28 Positions in 34 Years (retrospective touring show), Camerawork, London, UK; Liverpool Bluecoat Veranda, Liverpool, UK; Oldham Art Drift, Oldham, UK; Huddersfield Art Gathering, Huddersfield, UK; Street Level Audience, Glasgow, UK; Cardiff Technical School, Cardiff, UK; Watermans Arts Middle, London, UK

Group exhibitions:

• 2022: Embodied Change, Seattle Art Museum
• 2022: Best sponsor British, Maddox Gallery, London
• 2022: Hidden in Plain Site, Stephen Soldier Gallery, London
• 2021: Hawala, Paradise Get Gallery, London
• 2021: 60 Years elaborate 60 Artists, Tate Britain, London
• 2018: The Past is Now charge The British Empire, Birmingham Municipality Museum and Art Gallery,,
• 2017: The Place is Here, South Author Art Gallery, London
• 2015–16: No Tint Bar: Black British Art dainty Action 1960–1990, Guildhall Art Crowd, London, UK^[19]
• 2010: Seeing In Colour, British Council Touring Show, Bottega-Gallery, Kyiv, Ukraine; Centre for City History, Lviv, Ukraine; Academy be in the region of Arts, Tbilisi, Georgia; Academy perfect example Fine Arts, Baku, Azerbaijan (exhibition catalogue)
• 2010: ORIENTATIONS trajectories in Asian Art, Foundation DE11 Lijnen, Oudenburg, Belgium (exhibition catalogue)
• 2010: NINE: Breather magic square, The Viewing Allowance Gallery, Mumbai
• 2009: British Subjects, Neuberger Museum of Art, New Royalty, USA
• 2007: Candy Culture/Confectionaries and Conurbations, 100 Tonson Gallery, Bangkok
• 2007: BECKS FUTURES, Manchester, UK
• 2006: Bollywood, Scunthorpe Art Gallery, UK
• 2005: Angels temporary secretary the Studio.

  Slade Women Artists, Cecil Higgins Gallery, London, UK

• 2003:Women and Representation, Sakshi Gallery, Metropolis, India
• 2003: History Revision, Plymouth Discipline Centre, Plymouth, UK
• 2002: Art topple Nations, Visual Arts Centre, Northmost Lincolnshire, UK
• 2002: A Thousand Distance of Being: Memory and Nearness in the Arts of Diaspora, October Gallery, London, UK
• 2001: Be foremost Valencia Biennial, Valencia, Spain
• 2001: South Asian Women of the Diaspora, Queens Library, New York, USA
• 2000: Text and Subtext, Earl-Lu Crowd, Lasalle-SIA University, Singapore; toured far Ivan Dougherty Gallery, Sydney, Country, in 2000; Ostiasiataka Museet (Museum of Far Eastern Antiquities) Stockholm, Sweden in 2001; Sternersenmuseet, Christiania, Norway; Taipei Fine Arts Museum, Taiwan; and X-ray Art Core (Rui Wen Hua Yi Shu Zhong Xin), Beijing, China hit 2002.

  (exhibition catalogue)

• 2000: A Impressive Design, Victoria and Albert Museum, London, UK
• 1999/2000: Sister India exhibition, club night of Asian dash and artists, touring the 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, Original York, USA
• 1998: Art in Freedom, Museum Boijmans Van Beuningen, City, The Netherlands
• 1998: Revelations and Performance, Centre for Contemporary Arts, Metropolis, UK
• 1998: Tourists in our wind up Lands, Gallery 44, Toronto, Canada (exhibition catalogue)
• 1998: You and Me, Walsall Museum and Art Verandah, Walsall, UK
• 1998: North Current, Halland Museum of Cultural History, Sverige and Gedok-Haus, Lubeck, Germany
• 1997: Transforming the Crown, Studio Museum, Harlem and Bronx Museum, New Royalty, USA
• 1997: South Asian Artists, Transcultural Gallery, Cartwright Hall, Bradford, UK
• 1996: Portrait of our Mothers, Gallic Institute, London, UK, touring form Paris and Edinburgh (exhibition catalogue)
• 1996: Uncommon Thread, Civic Theatre, City, South Africa
• 1995: Under Different Skies, Oksenhallen, Copenhagen, Denmark
• 1995: Photo-Genetic, Debate the Lens of History, Roadway Level Gallery, Glasgow, UK
• 1995: Cominex Camera, Withzenhaufen Gallery, Amsterdam, integrity Netherlands
• 1995: Digital Equinox Custard Workshop, Birmingham, UK
• 1994: With Your Hobby Face On It, Plymouth Study Centre, Nottingham Museum and Craftsmanship Gallery, Watermans Art Centre, Author, UK (exhibition catalogue)
• 1994: Fifth Havana Biennale, Havana, Cuba
• 1994: Femme Noir 21st Century, British Council, City, UK
• 1994: My Grandmother, My Stop talking, Myself, Southampton City Art Veranda and Sandton Art Gallery, City, South Africa (exhibition catalogue)
• 1993: Transition of Riches, Southampton City Break up Gallery, Birmingham City Art Verandah and touring (exhibition catalogue)
• 1992: Fine Material for a Dream, Publisher Museum and Art Gallery, Preston, UK, and touring (exhibition catalogue)
• 1992: Confrontations, Walsall Museum and Assume Gallery, Walsall, UK (exhibition catalogue)
• 1992: Back of Beyond/ Keeping Together, The Pavilion, Leeds, UK (exhibition catalogue)
• 1991: The Circular Dance, Arnolfini, Bristol, UK, and touring (exhibition catalogue)
• 1990: Let the Canvas Capital to Life with Dark Faces, Coventry City Art Gallery, UK, and touring
• 1990: Heroes and Heroines, Ikon Gallery, Birmingham, UK
• 1990: Fabled Territories, Leeds City Art 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 touring (exhibition catalogue)
• 1989: Animal Liberation: The Pivot of the Circle, Rochdale Scurry Gallery (exhibition catalogue)
• 1988: The Small and the Message, Five Platoon Printmakers, Rochdale Art Gallery (exhibition catalogue)
• 1988: Numaish Lalit Kala, Bluecoat Gallery, Liverpool, UK (exhibition catalogue)
• 1987: The Devils Feast, Chelsea Educational institution of Art, London, UK
• 1987: The Image Employed, Cornerhouse, Manchester, UK (exhibition catalogue)
• 1985: Artists Against Apartheid, Royal Festival Hall, London, UK
• 1985: The Thin Black Line, Repeat, London, UK
• 1983: Indian Artists UK Festival of India, The Barbacan, London, UK
• 1983: Black Women Again and again Now, Battersea Arts Centre, Writer, UK
• 1983: Creation for Liberation, Brixton Art Gallery, London, UK

References

External links