{"id":126348,"date":"2018-06-11T13:00:45","date_gmt":"2018-06-11T17:00:45","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=126348"},"modified":"2018-06-13T10:16:53","modified_gmt":"2018-06-13T14:16:53","slug":"notations","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2018\/06\/11\/notations\/","title":{"rendered":"Notations"},"content":{"rendered":"
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Mequitta Ahuja\u2019s medium is\u00a0<\/i>automythography.\u00a0<\/em>In her multilayered paintings and drawings, she creates images of herself at work, challenging the representational space that self-portraiture typically occupies in the art market. \u201cMy central intent,\u201d she writes, \u201cis to turn the artist\u2019s self-portrait, especially the woman-of-colour\u2019s self-portrait, long circumscribed by identity, into a discourse on picture-making, past and present. This includes depicting my intimate relationship to painting\u2014the verb and the noun, the act and the object.\u201d A solo exhibition<\/a> of her work was presented at Tiwani Contemporary this spring. The show closed this past weekend, but for those who weren\u2019t able to make it in person, a selection of images is presented below.<\/i><\/span><\/p>\n

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Mequitta Ahuja, Sales Slip<\/em>, 2017.<\/p><\/div>\n

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Forty<\/em>, 2017.<\/p><\/div>\n

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Annotation<\/em>, 2018.<\/p><\/div>\n

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\"\"<\/a>

Notation<\/em>, 2017.<\/p><\/div>\n

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Paper<\/em>, 2017.<\/p><\/div>\n

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Crossword<\/em>, 2017.<\/p><\/div>\n

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Mequitta Ahuja holds an M.F.A. from the University of Illinois, where she studied with Kerry James Marshall. Mequitta has focused her career efforts on museum exhibitions, most notably \u201cShifting,\u201d at The David C. Driskell Center (2017); \u201cChampagne Life,\u201d at the Saatchi Gallery (2016); \u201cMarks of Genius,\u201d at the Minneapolis Institute of Arts (2014); \u201cState of the Art,\u201d at Crystal Bridges (2014); \u201cPortraiture Now,\u201d at the Smithsonian National Portrait Gallery (2013); \u201cThe Bearden Project,\u201d at the Studio Museum in Harlem (2012); and \u201cGlobal Feminisms,\u201d at the Brooklyn Museum (2007). Mequitta is the recipient of several awards, including a 2009 Joan Mitchell Award, a 2011 Tiffany Award, and a 2018\/19 Guggenheim Fellowship.<\/em><\/p>\n

Images courtesy of the artist and Tiwani Contemporary<\/a>.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Mequitta Ahuja\u2019s medium is\u00a0automythography.\u00a0In her multilayered paintings and drawings, she creates images of herself at work, challenging the representational space that self-portraiture typically occupies in the art market. \u201cMy central intent,\u201d she writes, \u201cis to turn the artist\u2019s self-portrait, especially the woman-of-colour\u2019s self-portrait, long circumscribed by identity, into a discourse on picture-making, past and present. […]<\/p>\n","protected":false},"author":1522,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2384],"tags":[34355,67,227,34356,34357],"class_list":["post-126348","post","type-post","status-publish","format-standard","hentry","category-look","tag-mequitta-ahuja","tag-painting","tag-self-portrait","tag-self-portraiture","tag-tiwani-contemporary"],"acf":[],"yoast_head":"\nNotations by Mequitta Ahuja<\/title>\n<meta name=\"description\" content=\"\u201cMy central intent,\u201d the artist Mequitta Ahuja writes, \u201cis to turn the artist\u2019s self-portrait, especially the woman-of-colour\u2019s self-portrait, long circumscribed by identity, into a discourse on picture-making, past and present.\u201d\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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