Atreyee Gupta
Assistant Professor, History of Art Department

Atreyee Gupta’s area of specialization is global modernisms and contemporary art, with a special emphasis on South and Southeast Asia and its diaspora. Her research and teaching interests cluster around visual and intellectual histories of twentieth-century art; the intersections between the Cold War, the Non-Aligned Movement, and art after 1945; new media and experimental cinema; and the question of the global more broadly. 

Gupta is presently completing a monograph on abstraction in interwar and postwar painting, sculpture, photography, and experimental film in South Asia. Her coedited books include The Postwar Reader (with Okwui Enwezor and Ulrich Wilmes) and Global Modernism/s: Infrastructures of Contiguities, ca. 1905–1965 (with Hannah Baader and Patrick Flores). The former emerges from the international conference, Postwar - Art between the Pacific and the Atlantic, 1945–1965, co-convened at Haus der Kunst, Munich with Enwezor and Wilmes. The latter emerges from international conference co-convened at Haus der Kulturen der Welt (House of World Culture) in Berlin with Baader and Flores. Gupta's essays have appeared in edited volumes, exhibition catalogs, and journals such as Art Journal, Yishu, and Third Text. Her research has been supported by the Social Science Research Council, New York; the Getty Research Institute, Los Angeles; the Goethe Institut and Haus der Kunst, Munich; and, more recently, the Art Histories and Aesthetic Practices at Forum Transregionale Studien, Berlin, an initiative of the Kunsthistorisches Institut Florenz, Max-Planck-Institut. Before coming to Berkeley in 2017, Atreyee Gupta was the Jane Emison Assistant Curator of South and Southeast Asian Art at the Minneapolis Institute of Art. 

Select Publications: 

"Dwelling in Abstraction: Post-Partition Segues into Postwar Art," Third Text, Special Issue on Partition (Fall 2017): forthcoming.

"Delhi Silpi Chakra: Art and Politics after the Radcliffe Line," in Twentieth-Century Indian Art, edited by Partha Mitter, Parul Dave-Mukherji, and Rakhee Balaram (New York: Skira Rizzoli, 2018), 146–157.

"After Bandung: Transacting the Nation in a Postcolonial World," Postwar – Art between the Pacific and Atlantic 1945 – 1965, Exh. Cat., Haus der Kunst, Munich, 2016 (Munich: Prestel Verlag, 2016), 632–637.

"The Global, The Local, The Contemporary, The Collaborative," in Rethinking Place in South Asian and Islamic Art, 1500–Present, edited by Deborah S. Hutton and Rebecca M. Brown (London and New York: Routledge, 2016), 78–93.

"Belatedness and Simultaneity: A Short History of Photography from India," Postdate: Photography and Inherited History in India, Exh. Cat., San Jose Museum of Art, 2015 (Berkeley: University of California Press, 2015), 24–35.

"Ghar Pe/At Home in the Margins of Contemporary Art," Yishu: Journal of Contemporary Chinese Art 13, no. 2 (March/April 2014): 53–61.

"Kitchen Conversations," Prajakta Potnis: Store in a Cool and Dry Place, Exh. Cat., Künstlerhaus Bethanien, Berlin, 2014 (Bönen: Verlag Kettler, 2014), 52–57.

"In a Post-colonial Diction: Postwar Abstraction as Aesthetics of Modernization," Art Journal 72, no. 3 (Fall 2013): 30–47.

"On Territoriality, Temporality, and the Politics of Place," The And: An Expanded Questionnaire on The Contemporary, Field Notes, Asia Art Archive Journal 001 (2012): 73–80. (Published in Chinese and English)

"Is Art History Global? Responding from the Margins," in Is Art History Global? Edited by James Elkins (New York: Routledge, 2007), 348–357. Coauthored with Sugata Ray.

Ph.D., University of Minnesota, 2011