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aiconart, 35 Great Jones Street, New York, NY (2026)

08/21/2024

For a more holistic view of Mohan Samant’s practice, ‘Archaeologist at the Ancient City’ includes a selection of five works on paper. While Samant used watercolors throughout his career, he turned to the medium with increased vigor in 1974 after a heart attack left him unable to work on large-scale canvases. He played with texture by adding linear patterns with felt-tip marker and cut-paper appliques to layers of transparent watercolor. He had another period of exceptional watercolor output in the 1990s. Works such as ‘The Gossipers’ (1998) show Samant’s deft hand mixing delicate washes of color with swaths of opaque paint and felt-tip marker embellishments.

‘Archaeologist at the Ancient City’ is open at Aicon through September 21.

Photo 1: Mohan Samant, ‘The Gossipers’ (detail), 1998, Watercolor on paper, 50 x 35 in.

Photo 2: Mohan Samant, ‘Bird Flight,’ c. early 1980s, Watercolor and cut paper on paper, 40 x 29 in.

Photo 3: Mohan Samant, ‘Impending Storm’ (detail), 1998, Watercolor on paper, 52 x 35 in.

08/13/2024

Reminder | Join Aicon to celebrate the opening of ‘Archaeologist at the Ancient City,’ a retrospective of the late Mohan Samant (1924-2004), and ‘Requiem,’ the first solo exhibition of the Indian Expressionist painter Lancelot Ribeiro (1933–2010) in New York. The reception is this Thursday, August 15, 6-8 pm.

There will be a short performance by Kamel Boutros and Jillian Samant during the opening reception (6:45 pm). Kamel is the Music Director of the Parish of Calvary-St. George’s in NYC. He was a baritone soloist at the Metropolitan Opera for 6 seasons and has performed several concerts with the legendary pianist Martha Argerich. Jillian, a musician and widow of Mohan Samant, will be reading from letters written by her late husband.

RSVP to [email protected] or by direct messaging this account.

Left: Mohan Samant, ‘Mrutya Smruti: Dance for the Ancestors’ (detail), 1987, Acrylic, oil, sand and wire drawings on canvas, 55 x 72.5 in.

Right: Lancelot Ribeiro, ‘Frolic on a Nuclear Playground’ (detail), 1965, Oil and polyvinyl acetate on canvas, 32.5 x 50.4 in.

08/03/2024

Aicon is delighted to announce ‘Requiem,’ the first solo exhibition of the Indian Expressionist painter, Lanceloté José Belarmino Ribeiro (1933–2010) in New York. The exhibition presents a selection of works drawn from Ribeiro’s six-decade career, with the earliest from 1962—the year of his leaving India for a new life in London—to the latest in 2004. ‘Requiem’ is presented in collaboration with 108 Art Projects India.

Ribeiro was born in Bombay to a Roman Catholic family from Goa. F.N. Souza was his older half-brother and the two, from childhood, would remain close. Ribeiro would witness his brother’s career emerge and the formation of the Progressive Artists’ Group whose members were welcomed into the family home. He was schooled at St. Xavier’s in Mumbai in the 1940s, but it was the troubled experience of two years boarding at St. Mary’s Catholic School in Rajasthan, run by Irish Christian Brothers which, he described, set his “beginning as an image maker.”

Over his career, Ribeiro held nearly 70 solo and group exhibitions across India, UK, Paris, Germany, Chicago, and San Francisco. He participated in exhibitions alongside his brother, which included ‘The Arts of India’ at the Towner Art Gallery (1966) and ‘Five Indian Artists’ (1976) organized by Maria Souza’s ARTS 38. His last major solo exhibition was a retrospective at Leicester’s Museum & Art Gallery (1986), which showcased his work from 1960–1986. He would return to India for one last exhibition in 1998, 30 years after he had left.

All works included in ‘Requiem’ are directly from the Artist’s Estate.

Photo 1: Lancelot Ribeiro, ‘Stricken Monk with Cat O’Nine Tails (Psychedelic Man Series)’ (detail), 1968, Oil and polyvinyl acetate on canvas, 71 x 49.8 in.

Photo 2: Ribeiro in Belsize Park (1968).

Photo 3: Lancelot Ribeiro, ‘Large Red Head (Awaiting Revelation)’ (detail), 1966-68, Acrylic, polyvinyl acetate, crayon and collage on architecturally drawn paper, 46.7 x 32.9 in.

08/01/2024

Aicon is pleased to announce ‘Archaeologist at the Ancient City,’ a retrospective of the late Mohan Samant (1924-2004). The exhibition charts his dynamic practice from the early 1960s through 2003 with examples of his heavily textured surfaces from the 1960s and 70s, three-dimensional paper cut-outs starting in 1975, intricately hand-bent wire figures and cut niches that appeared in the 1980s, and finally, the expert melding of these canvas expanding processes in the 1990s and 2000s. Alongside important canvases highlighting Samant’s unique idiom is a collection of watercolor-based works on paper from the 80s and 90s.

Mohan Samant (b. Bombay, 1924; d. New York City, 2004) was an early Indian modernist painter and a member of the Progressive Artists’ Group (PAG). He received his diploma from the Sir J.J. School of Art in 1952. Samant had several solo shows with his New York representative, World House Galleries, and was included in major group exhibitions such as the Venice Biennale (1956), the touring ‘Trends in Contemporary Painting From India’ (1959-60), ‘Contemporary Indian Painting 1973’ (1973, Renwick Gallery, Washington, D.C.), ‘Contemporary Indian Art’ (1982, Royal Academy of Arts, London, UK), and ‘The Progressive Revolution’ (2019, Asia Society, New York). In addition to his art practice, Samant was a skilled musician who favored the sarangi (an Indian bowed instrument). He often held concerts in his Flatiron loft with his wife, musician Jillian Samant. Samant’s artworks are held in prestigious collections including the Hirshhorn Museum (Washington, D.C.), Museum of Modern Art (New York, NY), National Gallery of Modern Art (Mumbai, India), Picker Art Gallery (Colgate University, NY), Tate (London, UK), and The Metropolitan Museum of Art (New York, NY).

‘Archaeologist at the Ancient City’ is presented in collaboration with Jillian Samant and Abraham Joel.

Photo 1: Mohan Samant, ‘Killing of the Mythical Bird’ (detail), 1980, Mixed media and paper cutouts on a textured background, 46 x 46 in

Photo 2: Mohan Samant in his studio

Photo 3: Mohan Samant, ‘Hoxenthop,’ 2003, Acrylic, oil, plaster, wire, and mixed media on canvas, 45 x 45 in

06/28/2024

CLOSING TOMORROW | ‘Achuthan Kudallur: A Cloud of Flowers’ & ‘Delicately Does It’

Aicon’s summer exhibitions close June 29. Visit the gallery between 10 am and 6 pm for your last chance to view these fabulous shows.

Note, Aicon will be open by appointment only between July 2 and August 14. Please email [email protected] to set up a viewing.

Installation photography by Sebastian Bach.

06/22/2024

Closing out our series of ‘Delicately Does It’ artist features, we have Sathi Guin. Sathi Guin was born in India in 1979 and completed her BVA and MVA in Painting at the Rabindra Bharati University in Kolkata, India. She sees her expressive line work as extensions of the lines of her hand, illustrating her past, present and future. The delicacy of Guin’s fine-line brushwork is reinforced through her use of watercolor, an inherently diaphanous and fluid medium. The final composition is determined by the meditative process of repetitive mark-making. This spontaneity highlights the importance of the making process and encourages personal interpretation of the works rather than a pre-ordained meaning. Guin had her first solo exhibition, ‘Portraits of Intimacy,’ at Akara Art in Mumbai in 2022. She currently lives and works in Vadodara, India.

Sathi Guin’s works are on display at Aicon through next Saturday (June 29).

Photo 1: Sathi Guin, ‘Drawing in black 9’ (detail), 2019, Watercolor on paper, 55.5 x 94 in.

Photo 3: Sathi Guin, ‘Untitled’ (detail), 2024, Watercolor on paper, 9 x 5 in.

Installation photography by Sebastian Bach.

06/18/2024

Next up in our series on artists from our ‘Delicately Does It’ exhibition: IMAGINE. IMAGINE (aka Sneha Shrestha, b. 1987) is a Nepali artist whose style is recognizable by her combination of Sanskrit scripture aesthetics with contemporary graffiti. Her artworks range in size from intimate works on paper to massive outdoor murals around the world. Shrestha is the first contemporary Nepali artist to be acquired by the Museum of Fine Arts, Boston, and is also represented in the collections of Meta (Facebook), Google and Fidelity Investments. Alongside her artistic practice, Shrestha is an educator and social entrepreneur. She established Nepal’s first Children’s Art Museum to provide a creative space where children and youth can develop skills through project-based art experiences. In the US, Shrestha is the Arts Program Manager at the South Asia Institute at Harvard University.

IMAGINE’s works are on display at Aicon through June 29.

Photo 1: IMAGINE, ‘Untitled red (1),’ 2023, Acrylic ink on handmade Nepali paper, 30 x 20 in.

Photo 3: IMAGINE, ‘Untitled red (3)’ (detail), 2023, Acrylic ink on handmade Nepali paper, 30 x 20 in.

Installation photography by Sebastian Bach.

06/15/2024

“Abstraction, to me, is not a spoof of reality, but a disembodied reality. When I touch colour I have no bargain with the semblances of the world. Semblances used to fascinate me once. From my experience in both an earlier figurative phase and the abstract phase later, I have found colour behaving like the edges of a flame. This rapacious nature of colour poses new challenges.

Can I harness and contain it in a new sense of order, which was not there before and to which I am solely responsible? Can I work against the tonalities of colour and the static nature of the medium simultaneously by annihilating the real space and creating a new pictorial space? How best can I provide a colour with the shape it cries for in the midst of other colours also crying for such shapes? Can I make the space more resonant and more animated with fewer and fewer such shapes? Above all and most important, in so doing, what amount of my flesh, my blood has got into these bright patches of colour I held in the tranquillity of my mind?”

Achuthan Kudallur, ‘A Decade in Colour,’ Fifth One Man Show

‘Achuthan Kudallur: A Cloud of Flowers’ is on view through June 29.

Installation photography by Sebastian Bach. Archival photography courtesy of Ashvita’s.

06/12/2024

Continuing on in our ‘Delicately Does It’ artist series, we have Safdar Ali Qureshi. Safdar Ali Qureshi (b. 1980 in Larkana, Pakistan) specialized in miniature painting when studying fine art at the National College of Art in Lahore. After graduating in 2005, Qureshi began experimenting outside the confines of miniature painting with narrow color palettes and abstract compositions. His paintings are now characterized by his dashes and use of monochromatic schemes. Qureshi’s works are a direct response to his experiences, capturing his memories in swirling and overlapping layers. In addition to his art practice, Qureshi teaches miniature painting at SABS University of Art, Design and Heritages Jamshoro, a short distance from his home in Hyderabad. He has been featured in solo and group exhibitions around the world.

These works are on display at Aicon through June 29.

Photo 1: Safdar Ali Qureshi, ‘Untitled’ (detail), 2024, Gouache on wasli paper, 20 x 25 in.

Photo 3: Safdar Ali Qureshi, ‘Untitled,’ 2024, Gouache on wasli paper, 20 x 26 in.

Installation photography by Sebastian Bach.

06/08/2024

For the sixth artist feature in our ‘Delicately Does It’ series, we will highlight the works of Waqas Khan. Waqas Khan (b. 1982 in Akhtarabad, Pakistan) is a graduate of the National College of Arts in Lahore. Though trained in printmaking, Khan went on to cultivate his own minimalist ink style: precisely placing thousands of small dots and lines on paper to create large, abstracted webs and celestial bodies. Often made imperfect with deliberate denseness or impurities, his webbed structures come together as an organic whole. Inspired by Sufi poets and Mughal miniature paintings, Khan’s largescale ink drawings on canvas invite moments of pause and reflection. He was shortlisted for the prestigious Jameel Art Prize in 2013. Khan’s works are found in the collections of The British Museum, the Victoria and Albert Museum, the Deutsche Bank Collection, and the Kiran Nadar Museum of Art.

You can view these magnificent works in person at Aicon through June 29.

Photo 1: Waqas Khan, ‘Convolute,’ 2024, Ink on canvas, 60 x 60 in.

Photo 3: Waqas Khan, ‘This’ (detail), 2024, Ink on paper, 30 x 20 in.

Installation photography by Sebastian Bach.

06/05/2024

Next in our ‘Delicately Does It’ artist feature series: Yasi Alipour. Yasi Alipour is a Brooklyn-based Iranian writer and artist who uses intricate paper folding techniques to create interactive works of art. Born in Tehran, Iran, in 1989, Alipour received a BS in Computer Science at the University of Iran in 2011, a BFA in Photography at the School of Visual Arts in 2015, and an MFA in Visual Arts at Columbia University in 2018. Though primarily expressing her ideas through innovative paper folding processes, her work is expansive and spans sculpture, installation, performance, drawing, writing, and lectures. She explores themes of home, displacement, migration, political instability, language, and mathematics, drawing on her personal experience as a Middle Eastern q***r artist fluctuating between a life in the United States and Iran.

You can see these works in person at Aicon through June 29.

Photo 1: Yasi Alipour, ‘Losing Language’ (detail), n/d, Fold, paper with toner, 31.5 x 20.5 in.

Photo 3: Yasi Alipour, ‘Measuring a Mountain,’ n/d, Fold, cyanotype on black sulphite paper, 38 x 39 in.

Photo 4: Yasi Alipour, ‘ﻭ’ (detail), n/d, Fold, cyanotype dyed with lahijan tea, 11 x 8.25 in.

Installation photography by Sebastian Bach.

05/29/2024

For the fourth feature in our ‘Delicately Does It’ artist series, we will examine the works of Ghulam Mohammad. Mohammad’s (b. 1979 in Kachi, Pakistan) art explores his cultural identity in both a historical and contemporary context through a unique textual mixed media: intricate collages featuring individually cut Urdu letters pasted onto wasli paper. His experience struggling to acquaint himself with Urdu after growing up in Balochistan, where combinations and pronunciations of basic letters are so different, seemed to make the cultural gap between himself and the society in which he was trying to settle that much more difficult to bridge. By eschewing legibility in favor of surface texture, Mohammad’s work creates a new visual language that raises questions about absence and erasure. Mohammad currently works as a senior lecturer of Fine Arts at Beaconhouse National University in Lahore, where he graduated with distinction in Fine Arts in 2013. In 2016, he became the first Pakistani artist to win the Jameel Art Prize from the Victoria and Albert Museum in London.

These works are on display at Aicon through June 29.

Photo 1: Ghulam Mohammad, ‘Untitled’ (detail), 2023, Iranian ink & paper collage on wasli, 4 x 6 in.

Photo 2: Ghulam Mohammad, ‘Untitled,’ 2022, Iranian ink & paper collage on wasli, 6 x 4 in.

Photo 3: Ghulam Mohammad, ‘Gunjaan (Jam-Packed)’ (detail), 2019, Iranian ink & paper collage on wasli, 5.5 x 4.5 in.

Photo 4: Ghulam Mohammad, ‘Saraab I (Mirage),’ 2019, Perforated pages, 12 x 15 x 3.5 in.

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Tuesday	10am - 6pm
Wednesday	10am - 6pm
Thursday	10am - 6pm
Friday	10am - 6pm
Saturday	10am - 6pm