Priyanka Dasgupta & Chad Marshall

*1979, Kolkata / India, lives and works in New York, NY

EDUCATION

2017 MFA Digital & Interdisciplinary Art Practice (DIAP)
The City College of New York , City University of New York (CUNY), New York

2003 MA Studio Art (ARST/ICP)
Steinhardt School of Culture, Education and Human Development / International
Center of Photography , New York University, New York

2000 BA (Hons), English Literature
St. Stephen’s College , Delhi, India

 

SOLO / TWO PERSON EXHIBITIONS 

2018 Sunroom Project Space, (w/ Chad Marshall), curated by Eileen Jeng Lynch. Wave Hill, New York (upcoming)

2017 WhereStraight Lines Fail, Archives Gallery, Cohen Library, City College of New York, NY WhereStraight Lines Fail, 2017, Inter-discursive Installation (Video, Sculpture, Photographs, Archival Documents)

2012  Transparent Studio at Bose Pacia Gallery, Brooklyn, New York
Forgetfulness, 2012-14, Multi-media Installation (Video, Sculpture, Interactive Elements)

2011 Dreams of In-convenience, Shrine Empire Gallery, New Delhi, India
Dreams of In-convenience, 2011, Multi-media Installation (Video, Sculpture)

2009 Not Ungrateful, Just Planning Ahead (w/ Karla Carballar), Wagner Gallery, NY
Not Ungrateful, Just Planning Ahead, 2009, Multimedia Installation (Video, Photographs)

SELECT GROUP EXHIBITIONS

2018 Notanedge,butahinge,(w/ChadMarshall),curatedbyAlexisWilkinsonandChristian Camacho-Light, AIRspace Exhibition, Abrons Arts Center, New York, NY
After Roland Redd (A Study), 2018, Video Installation

2018 In Practice: Another Echo, (w/ Chad Marshall), curated by Allie Tepper. Sculpture Center, Queens, New York
Passage, 2018, Interdisciplinary Installation (Sculpture, Video, Sound)

2018 Beyond Transnationalism, curated by Dr. Arshiya Lokhandwala. AIFACS Gallery, New Delhi & Bhau Daji Lad Museum, Mumbai, India.
AnOther , 2017, Single Channel Video Installation (Video, Postcard take-away)

2017 A More Perfect Union, (w/ Chad Marshall), curated by Dave Kyu, Asian Arts Initiative, Philadelphia, PA
Four Hands, 2003, Single Channel Video Installation

2017 Archival Alchemy, curated by Saisha Grayson, SAWCC, Abrons Arts Center, New York
Where Straight Lines Fail, 2017, Inter-discursive Installation (Video, Photography, Documents)

2017 Loving Blackness, (w/ Chad Marshall), curated by Jaishri Abichandani, Asian Arts Initiative, Philadelphia
Tar Baby, 2017, Sculpture (3D Printed Polymer, Coal, PVC)

2017 Ornate Activate, (w/ Chad Marshall), curated by Alexander Campos, Villa Terrace
Decorative Arts Museum, Milwaukee
Humsa/ Hamsa, 2015, Sculpture (Laser Cut Acrylic, Wood, Metal)

2016 India Art Summit, (w/ Chad Marshall), Shrine Empire Gallery, New Delhi, India
Humsa/ Hamsa, 2015, Sculpture (Laser Cut Acrylic, Wood, Metal)

2015 Ornate Activate, (w/ Chad Marshall), curated by Alex Campos, SAWCC, Shirin Gallery, Chelsea, New York
Humsa/ Hamsa, 2015, Sculpture (Laser Cut Acrylic, Wood, Metal)

2015 Real/Unreal, curated by Wang Qingsong, Changjiang Museum of Contemporary Art, Chongqing, China
Sharaafat ke liye Sharaarat, 2015, Single Channel Video Installation, 6’

2015 India Art Summit, New Delhi, India
Pairi Daeza, 2015, Single Channel Video Installation

2014 India Art Summit, Shrine Empire Gallery, New Delhi, India
Forgetfulness, 2012-14, Multi-media Installation (Video, Sculpture, Interactive Elements)

2013 A Bomb with Ribbon Around it, curated by Raul Zamudio, SAWCC, Queens Museum, NY Dreams of In-convenience, 2011, Multi-media Installation (Video, Sculpture)

PUBLIC ART

201 5 – Ongoing Living Archive of Activism in the Lower East Side (w Dipti Desai). A series of oral history videos to document the lives and struggles of activists of color involved in the housing movement in the Lower East Side, New York (ongoing)

2010 Artiger, (w/ Chad Marshall), Public Art Project for tiger conservation, New Delhi, India

RESIDENCIES AND FELLOWSHIPS

2018 Smack Mellon Artist Studio Program (w/ Chad Marshall), Smack Mellon, New York, NY
2018 AIRspace Visual Artist Residency (w/ Chad Marshall) , Abrons Arts Center, New York, NY
2012 Transparent Studio, Bose Pacia (now +91 Foundation), Brooklyn, New York
2007 Aljira Emerge with Creative Capital, New Jersey
2005 AIM, Artists in the Marketplace, Bronx Museum of the Arts, New York, NY

ARTIST TALKS AND PANELS

2017 Columbian Exchange, Panel Discussion as part of Studio in the Park – Residency: Citizens of Earth by Nick Kozak. Queens Museum, New York
2017 Fatal Love: Where Are We Now, Asia Society & Queens Museum, New York
2017 Archival Resistance, “Building Archives and Allies,” Panel Discussion & Performance, Archival Alchemy, Abrons Arts Center, New York
2017 Artist Talk, Asian-American Studies, Hunter College, CUNY, New York
2016 The Community as Studio: A Symposium on Visual Art, SAWCC at theAsian/Pacific/ American Institute at NYU ,
New York, NY
2016 Indo American Arts Council Literature Festival, Kimmel Center, New York, NY
2015 Art Forum Speaker Series, Montclair State University, Montclair, New Jersey
2015 Creative Chemistries, ART21 , “The Intersections of Artistic and Educational Practices,” Park Avenue Armory, New York, NY
2014 Art Forum Speaker Series, Montclair State University, Montclair, New Jersey
2013 Featured Speaker, Asian American Arts Alliance, Town Hall, New York, NY
2012 Transparent Studio, Artist Talk w/ Simon Leung, Bose Pacia (+91 Foundation), NY
2008 Critical Studio; Dialogue with South Asian Artists, Macy Gallery, New York, NY

BIBLIOGRAPHY

Passage

– Chiragdin, Neil, “ Echoes of the Self ,” Queens Chronicle, February 2018
– Tepper, Allie, “ In Practice: Another Echo ,” Exhibition Catalogue, Sculpture Center, February 2018
Where Straight Lines Fail
– Cotter, Holland, “ 10 Galleries to Visit Now in the Lower East Side ,” New York Times, April 2017
Tar Baby
– Napoli, Ilana, “ Loving Blackness at Asian Arts Initiative, a complex exhibition about color ,” Artblog, Philadelphia, April 2017
Humsa / Hamsa
– Hauer, Sarah, “ South Asian artists embroider their points at Villa Terrace ,” Journal Sentinel, Milwaukee, February, 2017
– Kneevers, Kat, “ South Asia as Seen in Villa Terrace’s ‘Ornate / Activate’ Exhibit ,” Shepherd Express, April, 2017
Sharaafat ke liye Sharaarat
– Jansen, Charlotte, “ 7 Indian Artists to Know ,” Amuse, Vice, February 2017
Forgetfulness
– Ray, Sharmistha, Artist Profile, “Media Frenzy ,” Elle India, March 2014
– Maddox, Georgina, Art Review, “ Show me the money ,” Hindu Business, Delhi, Feb. 2014
– Pancholi, Aditi & Lahiri, Papia, “Interpreters of Realities ,” Asian Age, Delhi, Feb. 2014
– Sharma, Anita, “ Transparent Studio: Interview with Priyanka Dasgupta ,” +91 Archives, July, Nov. 2012
Dreams of In-convenience
– Prasad, Prem, “ Queens Museum Showcases Provocative Artwork ,” TimesLedger, Dec. 2013 – Allana, Rahaab, Interview, “The Ephemera of Meaning” , TakeOnArt, Jan. 2012
– Rao, Lyla, Review, “Waking up to Loss”, Art India Magazine, Dec. 2011
Artiger
– Kalra, Vandana, Art Review, “ Cat Calls ,” Artiger, Indian Express, Delhi, 2011
– Alawadhi, Neha, Review, “ Promoting tiger conservation through art ,” The Hindu, 2010
4077
– Bhagat, Himanshu, “ You can’t hang this ,” livemint.com, Delhi, 2010
– Gupta, Gargi, “ Starting from scratch ,” Business Standard, Delhi, 2010
Havaldaar Imaandaar
– Genocchio, Benjamin, “ From Young Storytellers, a Playful Tone ,” N ew York Times, 2007

*1975, Washington D.C., lives and works in New York, NY

EDUCATION

2003 MA, Studio Art with a focus in painting, New York University
1999 BA, Studio Art with a focus in printmaking, Morehouse College
1998 Visiting, Art, University of Maryland College Park

SOLO / TWO PERSON EXHIBITIONS

2018 Sunroom Project Space, (w/ Priyanka Dasgupta), curated by Eileen Jeng Lynch. Wave Hill, New York (upcoming)
2011 Chad E. Marshall New Works on Paper, Manhattan Projects(s) Manhattan College, NY
2006 Morning In America, Priska C. Juschka Fine Art, Chelsea, New York

SELECTED GROUP EXHIBITIONS

2018 Not an edge, but a hinge, (w/ Priyanka Dasgupta), curated by Alexis Wilkinson and Christian Camacho-Light, AIRspace Exhibition, Abrons Arts Center, New York, NY

2018 In Practice: Another Echo, (w/ Priyanka Dasgupta), curated by Allie Tepper. Sculpture Center, Queens, New York
Passage, 2018, Interdisciplinary Installation (Sculpture, Video, Sound)

2017 Loving Blackness, (w/ Priyanka Dasgupta), curated by Jaishri Abichandani, Asian Arts, Initiative, Philadelphia
Tar Baby, 2017, Sculpture (3D Printed Polymer, Coal, PVC)

2017 Ornate Activate, (w/ Priyanka Dasgupta), curated by Alexander Campos, Villa Terrace Decorative Arts Museum, Milwaukee
Humsa/ Hamsa, 2015, Sculpture (Laser Cut Acrylic, Wood, Metal)

2016 India Art Summit, (w/ Priyanka Dasgupta), Shrine Empire Gallery, New Delhi, India
Humsa/ Hamsa, 2015, Sculpture (Laser Cut Acrylic, Wood, Metal)

2015 Ornate Activate, (w/ Priyanka Dasgupta), Curated by Alex Campos, SAWCC, Shiriin Gallery, Chelsea, New York
Humsa/ Hamsa, 2015, Sculpture (Laser Cut Acrylic, Wood, Metal)

2005 New Art. New York: Reflections on the Human Condition, Trierenberg Holding AG, Vienna, Austria

2005 Kiss Me Long and Hard, Priska C. Juschka Fine Art, New York

2004 A Conversation, Marvelli Gallery, New York

2003 Just Paint, Barney Bldg Commons, New York

2001 Looks Good on Paper, Spruill Art Gallery, Atlanta

2001 18th Annual Print and Drawing Exhibition, Bradley University, Peoria. Juror: Mark Pascale, Associate Curator of Prints and Drawings, Art Institute of Chicago

2000 Delta National Print Exhibition, Arkansas State University, Jonesboro. Juror: Mark Pascale

2000 Members Juried Exhibition #4, Art Station, Stone Mt. Juror: Anthony Hirschel Director, Michael C. Carlos Museum, Emory

RESIDENCIES AND FELLOWSHIPS

2018 Smack Mellon Artist Studio Program (w/ Priyanka Dasgupta), Smack Mellon, New York,
2018 AIRspace Visual Artist Residency (w/ Priyanka Dasgupta) , Abrons Arts Center, NY
2005 Chashama AREA Award, New York, NY

BIBLIOGRAPHY

Passage

– Chiragdin, Neil, “ Echoes of the Self ,” Queens Chronicle, February 2018
– Tepper, Allie, “ In Practice: Another Echo ,” Exhibition Catalogue, Sculpture Center, February 2018
Tar Baby
– Napoli, Ilana, “ Loving Blackness at Asian Arts Initiative, a complex exhibition about color ,” Artblog, Philadelphia, April 2017
Humsa / Hamsa
– Hauer, Sarah, “ South Asian artists embroider their points at Villa Terrace ,” Journal Sentinel, Milwaukee, February, 2017
– Kneevers, Kat, “ South Asia as Seen in Villa Terrace’s ‘Ornate / Activate’ Exhibit ,” Shepherd Express, April, 2017
– Mathews-Berenson, Margaret, “New Art- New York: Reflections on the Human Condition”. Exhibition Catalogue. Trierenberg Art, Traun, Austria. 2006
– Fox, Catherine, “Having an Art-to-art Talk,” Atlanta Journal and Constitution, 6 July, 2001

In 2015, after working as individual artists for a decade, Chad Marshall and I began collaborating officially for our work.  The experience enabled a critical shift in our practice.

Our work examines power and privilege in the United States, and its relationship with image, and appearance.  It is an inter-discursive endeavour which locates itself in the gaps between history and storytelling.  Drawing from archival texts, sociological conventions, oral histories, postmodern theory and postcolonial studies, it embodies at once the document and the story, the object and its shadow.

We imagine the medium of installation as a catalyst for dialogue.  Our installations combine video, sculpture, sound, photography, painting and text.  It is important to us that individual components within the installations both complement and contradict one another, drawing the audience into a place where they must contend with the in-betweenness of lived experience; the gaps between truth and fiction.  Through the creation of these layered, hybrid objects and spaces that embody multiple perspectives, we work towards destabilizing linear relations between history, memory and politics.

We are currently developing work inspired by the lost histories of Bengali sailors who passed as Black in the early twentieth century, settling into communities of color in the wake of anti-Asian immigration laws in the United States.  Making the work through this historical lens provides an essential distance, functioning as a motif through which the audience is engaged with issues of power, privilege and their relationship to appearance, which remain pertinent today.

Informed by the complexities of our own transcultural reality, our practice remains grounded in the desire to uncover shared histories between self and anOther.  It considers the role of the contemporary diasporic artist in making visible alternate histories and disrupting binary driven distinctions between societal norms and stereotypical expectations.

In our installation, Paradise, 2018, for the Sunroom Project Space at Wave Hill, New York, we use a gated, paradisal formal garden as a metaphor for exposing discrepancies in the U.S. immigration policies, and exploring the dichotomy of the sanctuary—its ability to protect as well as restrict and exclude. With a gate barring the gallery’s entrance, visitors must find another way in, where too, their path is obstructed by a low tunnel and a high concrete wall. The constructed garden within, is comprised of gravel path, faux grass and a pool which displays a slow-moving image of a night-blooming epiphyllum cactus flower at Wave Hill. The recorded images are reminders of the surveillance around us—the camera has captured a desirable moment and provided exclusive access––eliciting questions about access, power and fetish, within a multicultural and multiclass society.

Exhibited earlier this year at SculptureCenter, New York, our installation, Passage, 2018, considers the current plight of American immigration, by revisiting the paths that Blacks and early twentieth century Bengali sailors took to the US, through the holds of slave ships and the boiler rooms of British Merchant vessels. “The New Colossus”—by Emma Lazarus, engraved on the base of the Statue of Liberty as a welcoming address to immigrants—echoes through the installation: translated into Yoruba and Bengali, and set to traditional music. The lights of Times Square glow red at the end of the passage—the word “welcome” in Bengali and Yoruba obscuring at times, its signage. Passage celebrates the spirit and culture that can emerge under conditions of forced displacement while critiquing the promise of the American dream.

Where Straight Lines Fail, 2017, is an interdiscursive installation derived directly from the lost histories of Bengali sailors (traced by Vivek Bald in his 2013 book, Bengali Harlem) who passed as Black in the early twentieth century to circumvent laws against Asian immigration in the United States. Amongst the individual stories of passing that we encounter here, is a Bengali sailor’s son who lived as a Black jazz musician, Peddler, 2017; a light-skinned African American man who found success as an Indian mystic, After Roland Redd (A Study), 2018; and AnOther, 2016, which imagines the circuitous journey of the modernist sculpture, Remorse of an Egg, by Prodosh Dasgupta, which disappeared in New Delhi in 1991, and re-appeared on an “Antique Roadshow” episode in Tucson, Arizona, in 2016, masquerading as a planter.

Another recent installation, Tar Baby, 2017, draws upon the iconography of the “Tar-Baby” from Black folktales about Brer Rabbit, to reinterpret the perceived value of Blackness. Beyond its role in Brer Rabbit’s story as a trap, the term has been used as a derogatory slur against dark skin. In Tar Baby, this slur is conceptually juxtaposed against the desire of the Bengali sailors who passed as Black, visually represented here through its skin, tattooed with gold Adinkra symbols, arranged in a pattern reminiscent of a fetished commodity.