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Ranjani Shettar, Seven ponds and a few raindrops, 2017, stainless steel, muslin, tamarind, natural dyes. Installation view, Metropolitan Museum of Art, New York, 2018.

Ranjani Shettar

The Metropolitan Museum of Art

Ranjani Shettar, Seven ponds and a few raindrops, 2017, stainless steel, muslin, tamarind, natural dyes. Installation view, Metropolitan Museum of Art, New York, 2018.

THE INDIAN ARTIST Ranjani Shettar first exhibited in the United States in 2003, just three years after getting her MFA in Bangalore, and has shown here steadily ever since. Among her New York appearances was a spectacular installation in the exhibition “On Line,” curated by Cornelia Butler and Catherine de Zegher at the Museum of Modern Art in 2010. I use the word spectacular, but what was most striking about the piece was its delicacy: A hanging net of small beads of pigmented wax strung on threads dyed in tea, it formed a voluminous but ethereal constellation in the show’s opening space. This tactful way of commanding volume with something almost immaterial yet vividly, sensually present has correlates in more familiar art: In the catalogue that accompanied the 2008 Carnegie International, essayist Max Andrews connected Shettar to the “‘alternative modernisms’ of pioneering

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