Tazeen Qayyum: Difference between revisions

Tazeen Qayyum
Tazeen Qayyum
Born	1973 (age 51–52); Karachi, Pakistan
Alma mater	National College of Arts
Occupation	Conceptual artist
Spouse	Faisal Anwar

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Tazeen Qayyum is a Pakistani-born Canadian conceptual artist working in a variety of media including miniature painting, drawing, sculpture, performance, and video. Her work explores issues of identity, immigration, socio-political conflict, and her Muslim identity.^[1]^[2]

Biography

Born in Karachi, Pakistan, in 1973, Tazeen Qayyum studied miniature painting at the National College of Arts in Lahore, Pakistan, graduating in 1996 with a BFA.^[3]

As a response to the 9/11 attacks, Qayyum began using the cockroach as a metaphor to connote the loss of life in the subsequent wars connected to the attacks,^[2]^[4] as well as fear and misunderstanding of other cultures.^[5] While the cockroach first appeared as part of her miniature painting practice, it would evolve into sculpture and installation work including A Holding Pattern, a multi-media piece that was installed at Toronto's Pearson International Airport in 2013.^[6]

Qayyum's more recent circular text pieces are performative based and originate from her work with installations of the repeated forms of cockroaches. Recurring singular phrases written in the Urdu (the artist's mother tongue) are drawn from the centre of the paper or canvas, concentrically moving out. These performances have been as long as twenty-four hours in duration.^[5] These drawing performances often result in joint pain.^[7]^[8]

Along with her artistic practice, Qayyum has offered workshops in miniature painting.^[2] She co-founded Offset Portfolio Centre in 1997, a gallery and resource centre for artists in Pakistan.^[9]

Exhibitions

Solo exhibitions

Qayyum's work has been shown internationally in solo exhibitions including Miniature Paintings, Gallery Jutner, AIR Program, Vienna, Austria (2000), The Human Dichotomy, Aicon Contemporary (2008),^[10] A Holding Pattern at Toronto's Pearson International Airport (2013),^[6] (IN) Surge (NT) at the Canvas Gallery, Karachi (2015),^[11] Tazeen Qayyum: Descent at Canvas Gallery, Karachi (2018),^[5] and Sakoon at Zalucky Contemporary, Totonto (2022).^[12]

Group exhibitions

Qayyum's work has been shown in numerous group exhibitions. These include: Elusive Realities: recent works by Tazeen Qayyum and Sumaira Tazeen, Chawkandi Gallery, Karachi, Pakistan (2008)^[10] Art in Review: Farida Batool, Adeela Suleman and Tazeen Qayyum, Aicon Gallery (2009),^[13] Veiled: Andrew McPhail, Grace Ndiritu, Tazeen Qayyum, Textile Museum, Toronto (2012),^[14] and Beyond Measure: Domesticating Distance, The Robert McLaughlin Gallery, Oshawa, 2015^[15] among others.

Performances

Qayyum's drawing based performances include Unvoiced held at the 1st Karachi Biennale, Pakistan in 2017,^[16] and 'We do not know who we are where we go’, which was part of the Mixer Project at The Royal Conservatory of Music, Toronto (2016).^[17] She has also directed performance work including Double Date in 2007 produced by SAVAC (South Asian Visual Arts Collective) at Lennox Contemporary Gallery, Toronto and AKA Gallery, Saskatoon, and A Feast in Exile held in 2009 and produced by VASL Artist's Collective.^[9]

Personal life

Qayyum is married to digital media artist Faisal Anwar and lives in Oakville, Ontario.^[3]

Bibliography

Mitra, Srimoyee (2015). Border Cultures. Art Gallery of Windsor and Black Dog Publishing (Windsor, ON; London, UK). ISBN 978-1-910433-44-7
Siddiqui, Ambereen (2015). Beyond Measure: Domesticating Distance. The Robert McLaughlin Gallery, (Oshawa, ON). ISBN 978-1-926589-88-6
Akhter, Asim (2009). ‘Artificial Paradise,’ Discretion is Advised. Gandhara-art, (Karachi, Pakistan).
Sivanesan, Haema (2008). 'Stories for the Moment.' Urban Myths & Modern Fables. Doris McCarthy Gallery (Toronto, ON), SAVAC (Toronto, ON). ISBN 9780772754073
Hashmi, Salima and Dalmia, Yashodhara (2007). Memory, Metaphor, Mutations, Contemporary Art of India and Pakistan. Oxford University Press (New Delhi, India). ISBN 0195673476
Hashmi, Salima (2006). ‘Spinning Stories, The Art of Pakistani Women Miniaturists,' A Thousand and One Days: Pakistani Women Artists. Honolulu Academy Of Art (Honolulu, Hawaii). ISBN 978-0937426739
Malik, Murtaza (2003). Unveiling the Visible: Lives and Works of Women Artists of Pakistan. Actionaid (Pakistan). ISBN 978-9693513615

References

^ Ahmad, Habiba (9 October 2013). "Interview :: Tazeen Qayyum on her latest art installation 'A Holding Pattern'". My Bindi. Archived from the original on 23 February 2021. Retrieved 25 January 2021.
^ ^a ^b ^c Siddiqui, Ambereen (September 4, 2015). "Beyond Measure: Domesticating Distance". The Robert McLaughlin Gallery. Retrieved January 25, 2021 – via Issuu.
^ ^a ^b Thompson, Tiffany (13 February 2013). "Artists in the GTA: Tazeen Qayyum's miniatures tell bigger political stories". YongeStreet. Archived from the original on 16 June 2021. Retrieved 25 January 2021.
^ Qizilbash, Talib (February 2010). "Interview: Tazeen Qayyum". Newsline. Archived from the original on 24 August 2020. Retrieved 1 February 2023.
^ ^a ^b ^c Sandals, Leah (26 February 2018). "Into the Deep". Canadian Art. Archived from the original on 15 February 2022. Retrieved 26 January 2021.
^ ^a ^b Kurd, Nadia (6 July 2020). "Profiles on Practice: Tazeen Qayyum". Femme Art Review. Archived from the original on 5 December 2022. Retrieved 25 January 2021.
^ "Why Tazeen Qayyum suffers joint pain for her art". CBC. 19 November 2015. Archived from the original on 8 July 2019. Retrieved 1 February 2023.
^ "Why Tazeen Qayyum is Willing to Suffer Joint Pain For Her Art". YouTube. CBC Arts. 8 September 2016. Archived from the original on 1 February 2023. Retrieved 1 February 2023.
^ ^a ^b "Tazeen Qayyum artist profile". Saffron Art. Archived from the original on 1 February 2023. Retrieved 26 January 2021.
^ ^a ^b "Tazeen Qayyum: artist biography". Aicon Contemporary. 2008. Archived from the original on 4 December 2022. Retrieved 26 January 2021.
^ Mirza, Quddus (3 May 2015). "Fate of a cockroach". The News on Sunday. Archived from the original on 1 February 2023. Retrieved 25 January 2021.
^ Fournier, Lauren (21 March 2022). "Tazeen Qayyum". Galleries West. Archived from the original on 3 October 2022. Retrieved 1 February 2023.
^ Rosenberg, Karen (2 January 2009). "Art in Review: Farida Batool, Adeela Suleman and Tazeen Qayyum". The New York Times. Archived from the original on 1 February 2023. Retrieved 25 January 2021.
^ "Veiled: Andrew McPhail, Grace Ndiritu, Tazeen Qayyum". Textile Museum of Canada. 2011. Archived from the original on 10 December 2022. Retrieved 26 January 2021.
^ "Beyond Measure: Domesticating Distance". The Robert McLaughlin Gallery. 2015. Archived from the original on 3 October 2022. Retrieved 25 January 2021.
^ "Tazeen Qayyum: Unvoiced". Karachi Biennale, 2017. Universes in Universe. 2017. Archived from the original on 1 February 2023. Retrieved 26 January 2021.
^ Mignone, Christof (2016). "Mixer". Christof Mignone. Archived from the original on 5 July 2022. Retrieved 26 January 2021.

External links

[1] Ahmad, Habiba (9 October 2013). "Interview :: Tazeen Qayyum on her latest art installation 'A Holding Pattern'". My Bindi. Archived from the original on 23 February 2021. Retrieved 25 January 2021.

[:3-2] Siddiqui, Ambereen (September 4, 2015). "Beyond Measure: Domesticating Distance". The Robert McLaughlin Gallery. Retrieved January 25, 2021 – via Issuu.

[:2-3] Thompson, Tiffany (13 February 2013). "Artists in the GTA: Tazeen Qayyum's miniatures tell bigger political stories". YongeStreet. Archived from the original on 16 June 2021. Retrieved 25 January 2021.

[4] Qizilbash, Talib (February 2010). "Interview: Tazeen Qayyum". Newsline. Archived from the original on 24 August 2020. Retrieved 1 February 2023.

[:4-5] Sandals, Leah (26 February 2018). "Into the Deep". Canadian Art. Archived from the original on 15 February 2022. Retrieved 26 January 2021.

[:0-6] Kurd, Nadia (6 July 2020). "Profiles on Practice: Tazeen Qayyum". Femme Art Review. Archived from the original on 5 December 2022. Retrieved 25 January 2021.

[7] "Why Tazeen Qayyum suffers joint pain for her art". CBC. 19 November 2015. Archived from the original on 8 July 2019. Retrieved 1 February 2023.

[8] "Why Tazeen Qayyum is Willing to Suffer Joint Pain For Her Art". YouTube. CBC Arts. 8 September 2016. Archived from the original on 1 February 2023. Retrieved 1 February 2023.

[:5-9] "Tazeen Qayyum artist profile". Saffron Art. Archived from the original on 1 February 2023. Retrieved 26 January 2021.

[:1-10] "Tazeen Qayyum: artist biography". Aicon Contemporary. 2008. Archived from the original on 4 December 2022. Retrieved 26 January 2021.

[11] Mirza, Quddus (3 May 2015). "Fate of a cockroach". The News on Sunday. Archived from the original on 1 February 2023. Retrieved 25 January 2021.

[12] Fournier, Lauren (21 March 2022). "Tazeen Qayyum". Galleries West. Archived from the original on 3 October 2022. Retrieved 1 February 2023.

[13] Rosenberg, Karen (2 January 2009). "Art in Review: Farida Batool, Adeela Suleman and Tazeen Qayyum". The New York Times. Archived from the original on 1 February 2023. Retrieved 25 January 2021.

[14] "Veiled: Andrew McPhail, Grace Ndiritu, Tazeen Qayyum". Textile Museum of Canada. 2011. Archived from the original on 10 December 2022. Retrieved 26 January 2021.

[15] "Beyond Measure: Domesticating Distance". The Robert McLaughlin Gallery. 2015. Archived from the original on 3 October 2022. Retrieved 25 January 2021.

[16] "Tazeen Qayyum: Unvoiced". Karachi Biennale, 2017. Universes in Universe. 2017. Archived from the original on 1 February 2023. Retrieved 26 January 2021.

[17] Mignone, Christof (2016). "Mixer". Christof Mignone. Archived from the original on 5 July 2022. Retrieved 26 January 2021.

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@@ Line 2: / Line 2: @@
 {{Infobox person
 | name               = Tazeen Qayyum
-| birth_date         = 1973
+| birth_date         = {{birth year and age|1973}}
 | birth_place        = Karachi, Pakistan
-| education          = Bachelor's degree, Fine Arts
+| education          =
-| alma_mater         = National College of Art, Lahore, Pakistan
+| alma_mater         = [[National College of Arts]]
+| occupation         = Conceptual artist
 | spouse             = Faisal Anwar
 }}
-[[File:Tazeen Qayyum's exhibition at Museum Siam for Bangkok Art Biennale 2022 01.jpg|thumb|An artwork by Qayyum displayed at [[Museum Siam]] for ''Bangkok Art Biennale 2022'', featuring her iconic cokroaches]]
+[[File:Tazeen Qayyum's exhibition at Museum Siam for Bangkok Art Biennale 2022 01.jpg|thumb|An artwork by Qayyum displayed at [[Museum Siam]] for ''[[Bangkok Art Biennale]] 2022'', featuring her iconic cokroaches]]
-'''Tazeen Qayyum''' is a Pakistani-Canadian conceptual artist working in a variety of media including miniature painting, drawing, sculpture, performance, and video. Her work explores issues of identity, immigration, socio-political conflict, and her Muslim identity.<ref>{{Cite web|last=Ahmad|first=Habiba|date=October 9, 2013|title=Interview :: Tazeen Qayyum on her latest art installation 'A Holding Pattern'|url=http://www.mybindi.com/interview-tazeen-qayyum-on-her-latest-art-installation-a-holding-pattern/|url-status=live|archive-url=|archive-date=|access-date=January 25, 2021|website=mybindi.com}}</ref><ref name=":3">{{Cite web |last=Siddiqui |first=Ambereen |date=September 4, 2015 |title=Beyond Measure: Domesticating Distance |url=https://issuu.com/thermg/docs/beyond_measure_final_screen_singles |url-status=live |archive-url= |archive-date= |access-date=January 25, 2021 |website=The Robert McLaughlin Gallery |via=[[Issuu]]}}</ref>
+'''Tazeen Qayyum''' is a Pakistani-born Canadian conceptual artist working in a variety of media including miniature painting, drawing, sculpture, performance, and video. Her work explores issues of identity, immigration, socio-political conflict, and her Muslim identity.<ref>{{Cite web |last=Ahmad |first=Habiba |date=9 October 2013 |title=Interview :: Tazeen Qayyum on her latest art installation 'A Holding Pattern' |url=http://www.mybindi.com/interview-tazeen-qayyum-on-her-latest-art-installation-a-holding-pattern/ |url-status=dead |archive-url=https://web.archive.org/web/20210223163821/https://mybindi.com/interview-tazeen-qayyum-on-her-latest-art-installation-a-holding-pattern/ |archive-date=23 February 2021 |access-date=25 January 2021 |website=My Bindi}}</ref><ref name=":3">{{Cite web |last=Siddiqui |first=Ambereen |date=September 4, 2015 |title=Beyond Measure: Domesticating Distance |url=https://issuu.com/thermg/docs/beyond_measure_final_screen_singles |access-date=January 25, 2021 |website=The Robert McLaughlin Gallery |via=[[Issuu]]}}</ref>
 == Biography ==
-Born in [[Karachi, Pakistan]], in 1973, Tazeen Qayyum studied miniature painting at the National College of Art in Lahore, Pakistan, graduating in 1996 with a BFA.<ref name=":2" />
+Born in [[Karachi, Pakistan]], in 1973, Tazeen Qayyum studied miniature painting at the [[National College of Arts]] in Lahore, Pakistan, graduating in 1996 with a BFA.<ref name=":2" />
-As a response to the [[September 11 attacks|9/11]] attacks, Qayyum began using the cockroach as a metaphor to connote the loss of life in the subsequent wars connected to the attacks,<ref name=":3" /> as well as fear and misunderstanding of other cultures.<ref name=":4" /> While the cockroach first appeared as part of her miniature painting practice, it would evolve into sculpture and installation work including ''A Holding Pattern'', a multi-media piece that was installed at Toronto's [[Pearson International Airport]] in 2013.<ref name=":0">{{Cite web |last=Kurd |first=Nadia |date=6 July 2020 |title=Profiles on Practice: Tazeen Qayyum |url=https://femmeartreview.com/2020/07/06/profiles-on-practice-tazeen-qayyum/ |url-status=live |archive-url=https://web.archive.org/web/20221205180646/https://femmeartreview.com/2020/07/06/profiles-on-practice-tazeen-qayyum/ |archive-date=5 December 2022 |access-date=25 January 2021 |website=Femme Art Review}}</ref>
+As a response to the [[September 11 attacks|9/11]] attacks, Qayyum began using the cockroach as a metaphor to connote the loss of life in the subsequent wars connected to the attacks,<ref name=":3" /><ref>{{Cite web |last=Qizilbash |first=Talib |date=February 2010 |title=Interview: Tazeen Qayyum |url=https://newslinemagazine.com/magazine/interview-tazeen-qayyum/ |url-status=live |archive-url=https://web.archive.org/web/20200824175034/https://newslinemagazine.com/magazine/interview-tazeen-qayyum/ |archive-date=24 August 2020 |access-date=1 February 2023 |website=[[Newsline_(magazine)|Newsline]] |language=en}}</ref> as well as fear and misunderstanding of other cultures.<ref name=":4" /> While the cockroach first appeared as part of her miniature painting practice, it would evolve into sculpture and installation work including ''A Holding Pattern'', a multi-media piece that was installed at Toronto's [[Pearson International Airport]] in 2013.<ref name=":0">{{Cite web |last=Kurd |first=Nadia |date=6 July 2020 |title=Profiles on Practice: Tazeen Qayyum |url=https://femmeartreview.com/2020/07/06/profiles-on-practice-tazeen-qayyum/ |url-status=live |archive-url=https://web.archive.org/web/20221205180646/https://femmeartreview.com/2020/07/06/profiles-on-practice-tazeen-qayyum/ |archive-date=5 December 2022 |access-date=25 January 2021 |website=Femme Art Review}}</ref>
-Qayyum's more recent circular text pieces are performative based and originate from her work with installations of the repeated forms of cockroaches. Recurring singular phrases written in the Urdu (the artist's mother tongue) are drawn from the centre of the paper or canvas, concentrically moving out. These performances have been as long as twenty-four hours in duration.<ref name=":4">{{Cite web |last=Sandals |first=Leah |date=26 February 2018 |title=Into the Deep |url=https://canadianart.ca/features/into-the-deep/ |url-status=live |archive-url=https://web.archive.org/web/20220215130342/https://canadianart.ca/features/into-the-deep/ |archive-date=15 February 2022 |access-date=26 January 2021 |website=[[Canadian Art Magazine|Canadian Art]]}}</ref>
+Qayyum's more recent circular text pieces are performative based and originate from her work with installations of the repeated forms of cockroaches. Recurring singular phrases written in the Urdu (the artist's mother tongue) are drawn from the centre of the paper or canvas, concentrically moving out. These performances have been as long as twenty-four hours in duration.<ref name=":4">{{Cite web |last=Sandals |first=Leah |date=26 February 2018 |title=Into the Deep |url=https://canadianart.ca/features/into-the-deep/ |url-status=live |archive-url=https://web.archive.org/web/20220215130342/https://canadianart.ca/features/into-the-deep/ |archive-date=15 February 2022 |access-date=26 January 2021 |website=[[Canadian Art Magazine|Canadian Art]]}}</ref> These drawing performances often result in joint pain.<ref>{{Cite web |date=19 November 2015 |title=Why Tazeen Qayyum suffers joint pain for her art |url=https://www.cbc.ca/arts/exhibitionists/why-tazeen-qayyum-suffers-joint-pain-for-her-art-1.3326550 |url-status=live |archive-url=https://web.archive.org/web/20190708084607/https://www.cbc.ca/arts/exhibitionists/why-tazeen-qayyum-suffers-joint-pain-for-her-art-1.3326550 |archive-date=8 July 2019 |access-date=1 February 2023 |website=[[Canadian Broadcasting Corporation|CBC]]}}</ref><ref>{{Cite web |date=8 September 2016 |title=Why Tazeen Qayyum is Willing to Suffer Joint Pain For Her Art |url=https://www.youtube.com/watch?v=cPUeQ4XSBMU |url-status=live |archive-url=https://web.archive.org/web/20230201050256/https://www.youtube.com/watch?v=cPUeQ4XSBMU |archive-date=1 February 2023 |access-date=1 February 2023 |website=[[YouTube]] |publisher=[[CBC Arts]]}}</ref>
 Along with her artistic practice, Qayyum has offered workshops in miniature painting.<ref name=":3" /> She co-founded Offset Portfolio Centre in 1997, a gallery and resource centre for artists in Pakistan.<ref name=":5" />
+== Exhibitions ==
-== Selected solo exhibitions ==
-Qayyum's work has been shown internationally in solo exhibitions including ''Miniature Paintings'', Gallery Jutner, AIR Program, Vienna, Austria (2000), ''The Human Dichotomy'', Aicon Contemporary (2008),<ref name=":1" /> ''A Holding Pattern'' at Toronto's [[Toronto Pearson International Airport|Pearson International Airport]] (2013),<ref name=":0" /> ''(IN) Surge (NT)'' at the Canvas Gallery, Karachi (2015),<ref>{{Cite web |last=Mirza |first=Quddus |date=3 May 2015 |title=Fate of a cockroach |url=https://www.thenews.com.pk/tns/detail/558533-fate-of-a-cockroach-in-tazeen-qayyum-paintings-and-installations |url-status=live |archive-url=https://web.archive.org/web/20230201223654/https://www.thenews.com.pk/tns/detail/558533-fate-of-a-cockroach-in-tazeen-qayyum-paintings-and-installations |archive-date=1 February 2023 |access-date=25 January 2021 |website=[[The News on Sunday]]}}</ref> and ''Tazeen Qayyum: Descent'' at Canvas Gallery, Karachi (2018).<ref name=":4" />
-== Selected group exhibitions ==
+=== Solo exhibitions ===
+Qayyum's work has been shown internationally in solo exhibitions including ''Miniature Paintings'', Gallery Jutner, AIR Program, Vienna, Austria (2000), ''The Human Dichotomy'', Aicon Contemporary (2008),<ref name=":1" /> ''A Holding Pattern'' at Toronto's [[Toronto Pearson International Airport|Pearson International Airport]] (2013),<ref name=":0" /> ''(IN) Surge (NT)'' at the Canvas Gallery, Karachi (2015),<ref>{{Cite web |last=Mirza |first=Quddus |date=3 May 2015 |title=Fate of a cockroach |url=https://www.thenews.com.pk/tns/detail/558533-fate-of-a-cockroach-in-tazeen-qayyum-paintings-and-installations |url-status=live |archive-url=https://web.archive.org/web/20230201223654/https://www.thenews.com.pk/tns/detail/558533-fate-of-a-cockroach-in-tazeen-qayyum-paintings-and-installations |archive-date=1 February 2023 |access-date=25 January 2021 |website=[[The News on Sunday]]}}</ref> ''Tazeen Qayyum: Descent'' at Canvas Gallery, Karachi (2018),<ref name=":4" /> and ''Sakoon'' at Zalucky Contemporary, Totonto (2022).<ref>{{Cite web |last=Fournier |first=Lauren |date=21 March 2022 |title=Tazeen Qayyum |url=https://www.gallerieswest.ca/enwiki/api/content/e20a0370-a250-11ec-9938-12f1225286c6/ |url-status=live |archive-url=https://web.archive.org/web/20221003085034/https://www.gallerieswest.ca/magazine/stories/tazeen-qayyum/ |archive-date=3 October 2022 |access-date=1 February 2023 |website=Galleries West |language=en-ca}}</ref>
+=== Group exhibitions ===
 Qayyum's work has been shown in numerous group exhibitions. These include:  ''Elusive Realities: recent works by Tazeen Qayyum and Sumaira Tazeen,'' Chawkandi Gallery, Karachi, Pakistan (2008)<ref name=":1">{{Cite web |last= |first= |date=2008 |title=Tazeen Qayyum: artist biography |url=https://www.aiconcontemporary.com/exhibitions/the-human-dichotomy/press-release-old |url-status=live |archive-url=https://web.archive.org/web/20221204143232/https://www.aiconcontemporary.com/exhibitions/the-human-dichotomy/press-release-old |archive-date=4 December 2022 |access-date=26 January 2021 |website=Aicon Contemporary}}</ref> ''Art'' ''in Review: Farida Batool, Adeela Suleman and Tazeen Qayyum'', Aicon Gallery (2009),<ref>{{Cite web |last=Rosenberg |first=Karen |date=2 January 2009 |title=Art in Review: Farida Batool, Adeela Suleman and Tazeen Qayyum |url=https://archive.nytimes.com/query.nytimes.com/gst/fullpage-9B02E6DB1E3CF931A35752C0A96F9C8B63.html |url-status=live |archive-url=https://web.archive.org/web/20230201221218/https://archive.nytimes.com/query.nytimes.com/gst/fullpage-9B02E6DB1E3CF931A35752C0A96F9C8B63.html?mtrref=undefined&gwh=F0FB65A194B30ABB8B846CD0B9EED0C8&gwt=pay&assetType=PAYWALL |archive-date=1 February 2023 |access-date=25 January 2021 |website=[[The New York Times]]}}</ref> ''Veiled: Andrew McPhail, Grace Ndiritu, Tazeen Qayyum'', [[Textile Museum of Canada|Textile Museum]], Toronto (2012),<ref>{{Cite web |last= |first= |date=2011 |title=Veiled: Andrew McPhail, Grace Ndiritu, Tazeen Qayyum |url=https://textilemuseum.ca/event/veiled-andrew-mcphail-grace-ndiritu-tazeen-qayyum/ |url-status=live |archive-url=https://web.archive.org/web/20221210080146/https://textilemuseum.ca/event/veiled-andrew-mcphail-grace-ndiritu-tazeen-qayyum/ |archive-date=10 December 2022 |access-date=26 January 2021 |website=[[Textile Museum of Canada]]}}</ref> and ''Beyond Measure: Domesticating Distance'', [[Robert McLaughlin Gallery|The Robert McLaughlin Gallery]], Oshawa, 2015<ref>{{Cite web |last= |first= |date=2015 |title=Beyond Measure: Domesticating Distance |url=http://rmg.on.ca/exhibitions/beyond-measure-domesticating-distance/ |url-status=live |archive-url=https://web.archive.org/web/20221003004445/https://rmg.on.ca/exhibitions/beyond-measure-domesticating-distance/ |archive-date=3 October 2022 |access-date=25 January 2021 |website=The Robert McLaughlin Gallery}}</ref> among others.
@@ Line 32: / Line 35: @@
 == Personal life ==
-Tazeen Qayyum is married to digital media artist Faisal Anwar and lives in Oakville, Ontario.<ref name=":2">{{Cite web |last=Thompson |first=Tiffany |date=13 February 2013 |title=Artists in the GTA: Tazeen Qayyum's miniatures tell bigger political stories |url=http://www.yongestreetmedia.ca/features/artprofilestazzenqayyum02132013.aspx |url-status=live |archive-url=https://web.archive.org/web/20210616161322/https://www.yongestreetmedia.ca/features/artprofilestazzenqayyum02132013.aspx |archive-date=16 June 2021 |access-date=25 January 2021 |website=YongeStreet}}</ref>
+Qayyum is married to digital media artist Faisal Anwar and lives in Oakville, Ontario.<ref name=":2">{{Cite web |last=Thompson |first=Tiffany |date=13 February 2013 |title=Artists in the GTA: Tazeen Qayyum's miniatures tell bigger political stories |url=http://www.yongestreetmedia.ca/features/artprofilestazzenqayyum02132013.aspx |url-status=live |archive-url=https://web.archive.org/web/20210616161322/https://www.yongestreetmedia.ca/features/artprofilestazzenqayyum02132013.aspx |archive-date=16 June 2021 |access-date=25 January 2021 |website=YongeStreet}}</ref>
 == Bibliography ==
-Mitra, Srimoyee (2015). ''Border Cultures''. Art Gallery of Windsor and Black Dog Publishing (Windsor, ON; London, UK). {{ISBN|978-1-910433-44-7|}}
-Siddiqui, Ambereen (2015). ''Beyond Measure: Domesticating Distance''. [[Robert McLaughlin Gallery|The Robert McLaughlin Gallery]], (Oshawa, ON). {{ISBN|978-1-926589-88-6|}}
+* Mitra, Srimoyee (2015). ''Border Cultures''. Art Gallery of Windsor and Black Dog Publishing (Windsor, ON; London, UK). {{ISBN|978-1-910433-44-7|}}
+* Siddiqui, Ambereen (2015). ''Beyond Measure: Domesticating Distance''. [[Robert McLaughlin Gallery|The Robert McLaughlin Gallery]], (Oshawa, ON). {{ISBN|978-1-926589-88-6|}}
-Akhter, Asim (2009). ‘Artificial Paradise,’ ''Discretion is Advised''. Gandhara-art, (Karachi, Pakistan).
+* Akhter, Asim (2009). ‘Artificial Paradise,’ ''Discretion is Advised''. Gandhara-art, (Karachi, Pakistan).
+* Sivanesan, Haema (2008). 'Stories for the Moment.' ''Urban Myths & Modern Fables''. Doris McCarthy Gallery (Toronto, ON), SAVAC (Toronto, ON). {{ISBN|9780772754073|}}
+* Hashmi, Salima  and Dalmia, Yashodhara (2007). ''Memory, Metaphor, Mutations, Contemporary Art of India and Pakistan''. Oxford University Press (New Delhi, India). {{ISBN|0195673476|}}
-Sivanesan, Haema (2008). 'Stories for the Moment.' ''Urban Myths & Modern Fables''. Doris McCarthy Gallery (Toronto, ON), SAVAC (Toronto, ON). {{ISBN|9780772754073|}}
+* Hashmi, Salima (2006). ‘Spinning Stories, The Art of Pakistani Women Miniaturists,'  ''A Thousand and One Days: Pakistani Women Artists''. Honolulu Academy Of Art (Honolulu, Hawaii). {{ISBN|978-0937426739|}}
-Hashmi, Salima  and Dalmia, Yashodhara (2007). ''Memory, Metaphor, Mutations, Contemporary Art of India and Pakistan''. Oxford University Press (New Delhi, India). {{ISBN|0195673476|}}
+* Malik, Murtaza (2003). ''Unveiling the Visible: Lives and Works of Women Artists of Pakistan''. Actionaid (Pakistan). {{ISBN|978-9693513615|}}
-Hashmi, Salima (2006). ‘Spinning Stories, The Art of Pakistani Women Miniaturists,'  ''A Thousand and One Days: Pakistani Women Artists''. Honolulu Academy Of Art (Honolulu, Hawaii). {{ISBN|978-0937426739|}}
-Malik, Murtaza (2003). ''Unveiling the Visible: Lives and Works of Women Artists of Pakistan''. Actionaid (Pakistan). {{ISBN|978-9693513615|}}
 == References ==
 {{Reflist}}
+== External links ==
+*[https://karachiartdirectory.com/art-professionals/tazeen-qayyum/ Karachi Art Directory]
+*[https://vaslart.org/tazeen-qayyum/ Vasl Artists Association]
+*[https://www.saichicago.org/dialogues/tazeen-qayyum South Asia Institute]
 {{Authority control}}
@@ Line 60: / Line 63: @@
 [[Category:Artists from Karachi]]
 [[Category:National College of Arts alumni]]
+[[Category:Pakistani artists]]
+[[Category:Pakistani painters]]