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Submission declined on 8 April 2024 by MurielMary (talk).
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Declined by MurielMary 10 days ago. Last edited by Agrave13 10 days ago. Reviewer: Inform author.
This draft has been resubmitted and is currently awaiting re-review.
Comment: Is her work included in the permanent collections of any major (national) art museums or galleries? Is that the list in "notable collections"? This list needs a citation for each entry. MurielMary (talk) 17:23, 8 April 2024 (UTC)
Suchitra Mattai (born 1973) is a multi-disciplinary Guyanese American artist of South Asian descent.[1] Her diverse practice—which includes mixed media paintings, fiber works, sculptures, and large scale installations[2]—draws upon myth, memory,[3] and ancestral histories,[4] often inviting critical reflection upon the legacy of colonialism in the Indo-Caribbean.[5][6] She currently lives and works in Los Angeles, CA.[7]
Early Life and Education
Mattai was born in Guyana, a Caribbean country in South America, as part of the South Asian diaspora. Her great-grandparents were indentured laborers, brought from northern India to Guyana to work the sugar plantations under the British colonialists.[4] As a child, Mattai learned sewing, embroidering, and other craft-based techniques from her grandmothers. She moved, along with her parents, to Nova Scotia, Canada, where she attended elementary school first in Wolfville and later in Halifax, before eventually immigrating to the USA, living in Quincy, Massachusetts and then Metuchen, New Jersey.[7] Mattai attended Rutgers University as an undergraduate, and received fellowships to study at the Royal College of Art, London, and at the American Institute of Indian Studies, Udaipur, India.[8] Mattai holds an MFA in painting and drawing and an MA in South Asian Art, both from the University of Pennsylvania in Philadelphia.
Select exhibitions
Recent solo exhibitions of Mattai's work include:
Suchitra Mattai: Labor and Love at the National Museum of Women in the Arts, Washington DC (2024). This solo exhibition pairs Mattai’s recent work, including mixed-media installation and sculpture, with historical objects sourced from nearby collections in Washington, D.C. For the first time, this exhibition provides the opportunity for a visual call and response between historical objects and Mattai’s contemporary work. The exhibit explores and complicates understandings of binaries such as East and West, art and craft, and history and memory. The way certain histories are remembered, or not, is central to much of her art.[9][10]
Institute of Contemporary Art San Francisco (2024). Mattai’s upcoming solo exhibition considers the concept of “home” from an immigrant perspective. Multiple mixed-media installations will conjure an imagined domestic space inspired by Mattai’s mother’s familial home. Her interactive sculptures invite viewers to feel the power of family, care, and community in the face of migration and upheaval.[11]
We are nomads, we are dreamers,Socrates Sculpture Park, Queens, NY (2024). A solo exhibition of newly commissioned works by Suchitra Mattai, celebrating the migratory oceanic journeys of past, present, and future diasporic communities. Inspired by the Park’s position along the East River, which flows into the vast expanse of the Atlantic Ocean, Mattai’s installation features a series of monumental sculptures that combines mirrored stainless steel, vintage saris, and fabric. Activated by monthly dance performances, this exhibition pays homage to the artist’s Indo-Caribbean ancestors and the stories of many Queens residents.[12]
Suchitra Mattai: Bodies and Souls at the Tampa Museum of Art, Tampa FL (2024) is a solo exhibition that explores migration, matriarchy, and materiality. Mattai uses found objects, such as vintage saris, to create colorful monumental installations. She wraps, braids, stitches, and weaves fabrics together as allegories for historical and personal narratives. For her first museum exhibition in Florida and the Southeast, Mattai will premier new installations in conversation with recent works, highlighting the artist’s ongoing investigations of the past and present.[13]
^Magnatta, Sarah (March 19, 2023). ""Resonant Presence: Materiality and Memory in the Work of Suchitra Mattai"". Art Journal. 82: 16–33. doi:10.1080/00043249.2023.2180276.
^ abAneiza Ali, Grace (2023). Are we free to move about the world: The passport in contemporary art. Tallahasse, FL: Florida State University Museum of Fine Arts.
^Wendt, Selene (October 5, 2021). "The Past is Present," in Beyond the Door of No Return: Confronting Hidden Colonial Histories through Contemporary Art. Sikra. ISBN978-8857245607.
^Almeida, Laura F.; modern, Caitlin Swindell Laura F. Almeida joined the DAM as a Doctoral Curatorial Fellow in August 2019 She is an art historian of; Hill, contemporary art with specialization in Latin American art of the Cold War Caitlin Swindell is a Curatorial Assistant at the museum She holds a master’s degree in art history from the University of North Carolina at Chapel; History, A. Bachelor's Degree in Art; University, anthropology from Tulane (2021-08-16). "Connecting Threads: Recent Modern & Contemporary Art Acquisitions | Denver Art Museum". www.denverartmuseum.org. Retrieved 2024-04-09.((cite web)): CS1 maint: numeric names: authors list (link)
Comment: Is her work included in the permanent collections of any major (national) art museums or galleries? Is that the list in "notable collections"? This list needs a citation for each entry. MurielMary (talk) 17:23, 8 April 2024 (UTC)