Poetics of Color Natvar Bhavsar

Sundaram Tagore Gallery Poetics of Color Natvar Bhavsar Acknowledgements

Ajay Bhavsar Janet Bhavsar Rajeev Bhavsar Janice Bouley First published in the United States of America in 2006 Rebecca Costanzo by Sundaram Tagore Gallery 547 West 27th Street Devika Daulet-Singh New York, New York 10001 Rukminee Guha Thakurta Tel 212 677 4520 Fax 212 677 4521 Barbara Eagle Email [email protected] Faina Goldstein www.sundaramtagore.com

Gina Im Text © Sundaram Tagore Gallery Aranka Israni Photographs © Natvar Bhavsar Susan McCaffrey All rights reserved under international copyright conventions. Carter Ratcliff No part of this book may be reproduced or transmitted Naomi Rivas in any form or by any means, electronic or mechanical, George Schmidt including photocopy, recording, or any other information Emily Steiger storage and retrieval system, without prior permission in writing from the publisher. Kelly Tagore Sundaram Tagore Design Rukminee Guha Thakurta/Photoink Gad Zehavi Printer Pragati Offset Pvt. Ltd. Gallery Statement

Since our inception in 2000, we have devoted ourselves to bringing together artists of various disciplines who are exploring the confluence of Western and non-Western cultures. In addition to showing the work of our international roster of visual artists, we have been privileged to host numerous nonprofit cultural events. We strongly believe in the inseparable nature of art and will continue to stimulate the exchange of ideas and push intellectual, artistic and cultural boundaries by helping artists of all kinds exhibit, perform, and produce their work.

Sundaram Tagore Executive Director

7 Natvar Bhavsar

To say how Natvar Bhavsar’s paintings look, you have to say what his colors do. In Y-Tira, 1971, yellow floats in the middle of the canvas, expanding like a cloud. Or is it contracting, impinged upon by darker hues moving in from the edges? AARUV V, 2005, raises the same question: is the yellow expanding or contracting? Suspending the endless alternation of light and dark at a moment of optimum complexity, Bhavsar invokes flux with a static image. Charging the image with intimations of all that preceded it, all that will follow it, he immerses us in the fullness of time.

At this point, a certain sort of viewer can be relied upon say, “Is that really what he does? Isn’t it the case, rather, that he covers the canvas with pigment?” As annoying as it may be, the deflationary voice of the skeptic should not be ignored. Paintings are, after all, physical objects, not impalpable emanations of mind or spirit, and so they pose a problem: how do mere things acquire exalted meanings? Because this problem is so difficult to solve, one is tempted to set it aside and go directly to the exaltations. For nearly four decades, writers have been praising Bhavsar’s paintings for their immensity of scale, for a luminosity that seems to hint at ultimate things. In Western terms, Bhavsar is an artist of the sublime—of “grandeur, magnificence, and urgency,” to borrow a flurry of words from Longinus, the Roman writer whose treatise “On Sublimity” was rediscovered in early modern times and did much to clear the way for the large ambitions of the Romantic artists and poets. It was Bhavsar’s version of the sublime that drew me to his paintings in the early 1970s.

In his studio, Bhavsar plays the part of the artist isolated with his own intentions. That he has sustained those intentions over the decades should not distract us from a harsh truth: every artist lives on the verge of desperation, for past success provides no guarantees about the future. To face a blank canvas is to look into an emptiness that could easily become an abyss. And yet, despite his willingness to endure the loneliness and risks of the studio, Bhavsar’s art has been consistently joyous, even rapturous. It is worth remembering that his dry pigments, which he scatters with precision, have a more than incidental resemblance to the brightly colored powder that Indian celebrants throw at one another, along with buckets of tinted water, during the festival of Holi. Bhavsar is at once a thoroughly American painter and product of Indian culture.

This is not paradoxical, for no culture is entirely enclosed by its own traditions. If that were so, Bhavsar never would have been drawn to the United States from his birthplace in , on the western coast of . If cultures were impermeable, Bhavsar could never have arrived at his early style, which blends the fragmentation of with the precision of Indian miniatures. In 1959 he received a Government Diploma in Art, having received an Art Masters degree at the C. N. School of Art, in the Gujarati capital of , the year before. The year after, he was awarded a Bachelor of Arts degree from the English literature department of Gujurat University.

Bhavsar came to America in 1962, at the age of twenty-eight. After a semester at the Philadelphia College of Art, he moved on to the Tyler School of Art, also in Philadelphia. Within a year, he had been accepted into the graduate art department of the University of Pennsylvania. There Bhavsar’s teachers included the painter Piero Dorazio, who often invited leading figures from New York to address his seminars. Over the next few years, Bhavsar met Robert Motherwell, David Smith, , and other artists of their stature. These figures confirmed his faith in the high purpose of

8 9 art. And when he confronted the canvases in a Clyfford Still exhibition at Philadelphia’s Institute for Contemporary Art, in modulation of hues so subtle one is tempted to say that Bhavsar shows us not shapes but their evolution. Being is infused 1963, Bhavsar was suddenly sure that the time had come to leave behind all traces of the figure and every last remnant with becoming—and the feelings we find in Bhavsar’s paintings take on a tinge of metaphysics. of Cubist structure. For him, to turn toward the future was to enter the expansive spaces of contemporary field painting. Ultimately, though, the gorgeous complexities of his works permit only one certainty: they are sending us no By 1965 Bhavsar had settled in New York, where he gravitated toward the field-painters painters who were carrying on messages. However intense the emotions they stir up in us, they express no feelings. Nor do they illustrate any the legacy of Still, Newman, and . At that point, these veterans were still alive. For Bhavsar, they are still theorems about states of being, whatever they may prompt us to speculate about such matters. At this point, one alive, and his painting can be seen as a contribution to the tradition they launched in the late 1940s. This is the tradition may embrace the always available ideal of beauty. Yet his canvases are too intricately textured, too demanding, to be of a specifically American Sublime, which uses color and gesture to invoke a sense of unbounded space and light. When seen as merely beautiful. When I saw this in 1972, I concluded that Bhavsar’s images “invite an uninterrupted flow I first saw Bhavsar’s work, in 1970, I understood him as an heir of Still and Rothko—and of Jackson Pollock, for there is a of perception, inflecting it so subtly and focusing it so intensely that looking finally becomes its own purpose.” I was similarity between Pollock’s paint-slinging and Bhavsar’s method of dusting a horizontal canvas with dry pigments. getting at a kind of autonomy that, paradoxically enough, addresses itself to the world beyond the boundaries of its self-enclosure—an autonomy that engages us instead of turning inward on itself. An autonomy that is not aloof, as in Writing about his work in 1972, I argued that he was of his time but not confined by it. In those days, critics liked to talk so much art of the past century, but endlessly inviting. of process and materiality and “objecthood.” Having gained currency in the struggle to account for , these terms were ready to hand when Bhavsar’s paintings first went on view in New York, at the Max Hutchinson Gallery. Is an Decades went by and all that I intuited early on about the fecundity of Bhavsar’s art become, amazingly enough, art object—a Minimalist box, for example—to be understood as a consequence of the way it was made? This possibility more vivid. As he increased his already impressive command over his medium, the early premises of his imagery led by a labyrinthine path to “process art,” so-called. Because it included scatter pieces by Barry Le Va, Robert Morris, went through astonishing elaborations. Vast cycles of invention appeared, faded away, and reappeared transformed. and others, this new category took some of its legitimacy from Pollock’s drip and spatter method. Looked at a certain A few years ago, in an essay that traced the patterns of Bhavsar’s inventiveness, I found myself at a point to which way, the meaning of a dripped canvas by Pollock lies in the evidence it gives about the artist’s process. Materials strewn I have returned in these remarks—the point of feeling nearly overwhelmed by all that his paintings evoke. For his over gallery floors by Le Va and other process artists supplied even franker testimony along the same lines. So it was textures buzz, they vibrate and surge, with suggestions of light, weather, physical energy, the urgency of emotions, natural that certain critics of the early 1970s focused sharply on Bhavsar’s method, which is complex and yet deducible. and the unstoppable currents of thought—or, if you like, of consciousness. Bhavsar’s paintings can be seen micro- Look closely at the surfaces of his paintings and you can see how he has applied his pigments, layer upon layer, though or macroscopically. At once cosmological and determined to preserve the scale of the human gesture, they are his subtlety often makes it difficult to track the sequence of colors. The textures of Bhavsar’s paintings fascinate. Yet one unreservedly expressive and exuberantly formal. doesn’t begin to see his art until one looks past the evidence testifying to the process that produced those textures. What is one to do with all this meaning? The lush and endless shifting grain of Bhavsar’s colors makes it impossible Something similar could be said about materiality and “objecthood,” those other topics of criticism current at the time to settle on one interpretation at the expense of another, so why not say that all of them are not only permissible of Bhavsar’s debut. They apply to his art but are nowhere near adequate to it. Of course, his canvases are flagrantly, but worth elaborating? Most art criticism tries to regulate the range of permissible readings. Bhavsar is among those gorgeously material. Given that, one can’t deny their strong charge of “objecthood.” For even though they preserve artists who convince me that no such limitations are legitimate. His paintings open onto a zone of potentially endless painting’s traditional format, his works are no less physical than the Minimalist pieces that prompted critics to talk of interpretation. This endlessness has a meaning of its own, and I don’t think I got at it—or not completely—when I said art-as-object in the first place. Yet Bhavsar never treated materiality or “objecthood” or process as ends in themselves, as that, as we engage his art, looking becomes its own purpose. If this meant anything, it meant that the experience of Minimalists and process artists did. Some of us saw this from the start. Nonetheless, caught up in the grand pulsations of gazing at Bhavsar’s work is so absorbing that it is somehow sufficient in itself. This makes sense only if we stipulate Bhavsar’s imagery, we found it easier to dismiss the prevailing jargon as deficient than to come with language of our own. a speculative gaze that generates metaphors of the kind I mentioned at the outset, and yet there is one more thing to say. The point is not just to invent metaphorical readings, as pleasurable as that is, but to stay alert to the drift of one’s In my early essay on the artist, I said that readymade notions of expression and empathy are more congenial to Bhavsar’s inventions. Seeing what Bhavsar’s paintings might mean, we begin to see who we are. Interpretation becomes self- art than the ones generated by Minimalism and its aftermath. Yet these, too, have only a weak grip on the quietly roiling interpretation, as his art brings us face to face with ourselves. intricacies of particular paintings. We could say of Yakshi, 1971, that, as blue surges into its field of red, the painting expresses a sensuous melancholy. That is plausible enough, as such readings go. Yet it is just as plausible to say that Carter Ratcliff Yakshi elaborates joy in all its nuances, as quietly ecstatic feelings seep across the chromatic range, from cool to warm and from dark to bright. MANTHAN III, 2005, is happy, without a doubt, until one sees its play of blue against orange and red as an evocation of serenity persisting against the pressure of gloom. This range of readings is possible because so much is happening, pictorially, in each of Bhavsar’s canvases. Forms are not delineated. They emerge from the layering of colors, and if one looks very closely it appears that there are no forms at all. Rather, as I have suggested, there is a

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Captions

Cover Angataa V 2005 16-17 Sorath 1971 29 Aaruv V 2005 40 Dhyanaa IV 2005 50 Sangam 2005 62 Manthan IV 2005 23 x 21” 54 x 108” 38 x 28” 23 x 21” 52 x 48” 40 x 38” Private collection 2 Shamanaa 2005 31 Bhadraa III 2004 41 Dhyanaa VIII 2005 51 Sumerpun 2003 63 Manthan V 2005 52 x 48” 19 Yakshi 1971 75 x 68.5” 23 x 21” 54 x 54” 40 x 38” 108 x 90” 5 Installation 33 Veerag 2005 42-43 Pr-kritee 2005 52-53 Gunthan II 2005 64-65 Alaap 2005 Veerupa (left), 2002-2005 21 Y-tira 1971 75 x 68.5” 45 x 90” 38.5 x 16.5” 54 x 108” 108 x 54” 108 x 90” Mira Godard Gallery Private collection Vesakh (right), 1975 34 Veedhee 2005 54-55 Gunthan III 2005 137 x 149” 22-23 Alag 1983 75 x 68.5” 44-45 Akheela 2005 38.5 x 16.5” 66 Angataa II 2005 69 x 108” 46 x 90” 23 x 21” 6 Megha 1969 35 Vahenna 2005 56-57 Gunthan IV 2005 81.5 x 96” 24-25 Kartyaa 1975-95 54 x 54” 46 Mugdhaa 2005 38.5 x 16.5” 67 Angataa IV 2005 45 x 108” 66 x 57.5” 23 x 21” 8 Reeshee 2004 Private collection 36-37 Sumvayaa 2005 58 Manthan I 2005 75 x 68.5” 45.75 x 90” 47 Gurvaa 2005 40 x 38” 68-69 Sankalpaa 2005-2006 26-27 Gat III 2001-2002 60 x 54” 54 x 90” 13 Untitled 1968 45 x 108”” 38 Dhyanaa I 2005 59 Manthan II 2005 38.25 x 42” Private collection 23 x 21” 48 Neegum 2005 40 x 38” 70-71 Alpaa 2006 40 x 38” 45 x 108” 15 Untitled 1968 28 Aaruv III 2004 39 Dhyanaa III 2005 61 Manthan III 2005 38.25 x 42” 38 x 28” 23 x 21” 49 Andhare 2005 40 x 38” 72-73 Avadhee 2006 75 x 68.5” Private collection 57 x 108” Private collection

74 75 Chronology

NATVAR BHAVSAR 1984 Getler/Pall/Saper Gallery, New York, N.Y. 1978 Painting and Sculpture Today, Indianapolis Museum of Art, Indiana Institute of Contemporary Art, Sydney University, Australia 1979 Color Experiences, The Wichita Art Museum, Wichita, Kansas 1974 Ruth S. Schaffner Gallery, Los Angeles, California Rose Art Museum, Brandeis University, Waltham, Massachusetts Education 1978 Max Hutchinson Gallery, New York Eight from New York, Reed College, Portland, Oregon State University of Delaware, Newark, Delaware 1965 M.F.A., Graduate School of Fine Arts, University of Pennsylvania Max Hutchinson Gallery, Houston 1973 Works on Paper, Max Hutchinson Gallery, New York University of Delaware, Newark, Delaware 1960 B.A. Gujarat University, Amdavad, India 1978 Gloria Luria Gallery, Miami American Academy of Arts and Letters Art Gallery, New York Whitney Museum of American Art, New Jersey 1959 Mumbai State Higher Art Examination, Mumbai, India 1977 Max Hutchinson Gallery, New York 1971 New York Survey, Purdue University, Lafayette, Indiana Wichita Art Museum, Wichita, Kansas 1958 Mumbai State Higher Art Examination, Mumbai, India Kingpitcher Gallery, Pittsburgh Beaux Arts, Columbus Gallery of Fine Arts, Ohio Ulrich Museum of Art, Wichita State University, Wichita, Kansas Suzette Schochet Gallery, Newport Aspects of Current Painting, University of Rochester, New York Honors - Awards 1974 Kenmore Gallery, Philadelphia 1970 Insights - 1970, Parker Street 470, Boston, Massachusetts Selected Corporate Collections 2000 2002 Invited as Participant as Cultural Leader to the World Max Hutchinson Gallery, New York Some New York Painting, Reese Palley Gallery, San Francisco, CA AT&T, Longlines, New Jersey Economic Forums in Davos, Switzerland and New York 1972 Max Hutchinson Gallery, New York (works on paper) 1970 Selections by Guest Curator, School of Visual Arts Art Gallery, New Amstar Corporation, New York 1987 Vishva Gurjari, Gujarat, India Gallery A, Sydney, Australia York American Express Company, New York 1980, 1983 Invited as Participant in Executive’s Seminars at the Aspen 1971 Max Hutchinson Gallery, New York Beautiful Painting and Sculpture, Jewish Museum, New York Beneficial Life Insurance Company, New York Institute for Humanistic Studies at Aspen, Colorado 1970 Max Hutchinson Gallery, New York Whitney Annual, Whitney Museum of American Art, New York Central Trust Bank, Jefferson City, Missouri 1975-76 John Simon Guggenheim Memorial Foundation Fellowship, Gallery A, Sydney, Australia Painting and Sculpture Today, Indianapolis Museum of Art, Indiana Chase Manhattan Bank, New York and abroad New York Gallery Chemould, Bombay, India Highlights of the Season, Larry Aldrich Museum of Art, Ridgefield, CT Ciba-Geigy Corporation, Ardsley, New York 1965-66 John D. Rockefeller III Fund Fellowship, New York 1969 Obelisk Gallery and Parker 470, Boston Recent Acquisitions, Whitney Museum of American Art, Federal, New Jersey 1968 Obelisk Gallery, Boston Two Generations of color Painting, Institute of Contemporary Art, Commercial Union Insurance Company, Boston, Massachusetts Teaching 1967 University of Delaware, Newark University of Pennsylvania Continental Grain Corporation, New York 1967-69 University of Rhode Island, Kingston, Art Instructor University of Rhode Island, Kingston Recent Acquisitions, Power Institute, University of Sydney, Australia Depository Trust Company, New York 1957-62 Seth C.N. School of Fine Arts, Amdavad, Gujarat India, Art 1964 Art Alliance of Philadelphia YM-YMHA Art Council, Philadelphia 1969 Concept, Vassar College of Art Gallery, Poughkeepsie, New York Davis, Polk and Wardwell, New York Instructor 1963 Kenmore Gallery, Philadelphia 1966 Contemporary Indian Arts, American Society for Eastern Arts, Estee Lauder Inc., New York 1954-57 Chanasma High School, Chanasma, Gujarat, India Art Teacher Lincoln Center, New York Ethicon, Somerville, New Jersey Selected Group Exhibitions Fifteenth Biennial Print Exhibition, Brooklyn Museum, New York Exxon Chemical Company, Darien Connecticut Solo Exhibitions 2005 Sundaram Tagore Gallery, New York City 1964 Pennsylvania Academy of Fine Art, Regional Painting and Sculpture, Exxon Office Systems Company, Stamford, Connecticut 2005 Sundaram Tagore Gallery, Small Scale Paintings 2004 Time and Material, Sundaram Tagore Gallery, New York City PA Fourth National Bank, Wichita, Kansas 2005 Mira Godard Gallery, Toronto, Canada 2003 Continuous Connection, Sundaram Tagore Gallery, New York City 1961 National Art Exhibition, Amritsar, India Freeport Mineral Corporation, New York 2004 Sundaram Tagore Gallery, Small Scale Paintings Seeing Red, Hunter College TimesSquare Gallery, New York City Progressive Painters of Amsavad, India - Organized Show Freeport Sulphur, New Orleans, Louisiana 2003-2004 ACP Viviane Ehrli Gallery, Zurich, Switzerland art-garage, Group Show, Sundaram Tagore Gallery, New York City Gujarat State Art Exhibition, Amdavad, India General Signal Corporation, New York Zug, Switzerland 2002 India: Contemporary Art from Northeastern Private Collections, Gujarat Sahitya Sabha, Amdavad, India Goldman Sachs, New York 2003 Sundaram Tagore Gallery, New York Jane Voorhees Zimmerli Art Museum, Rutgers, State Univ. of NJ Rabindra Shatabdi Exhibition, Calcutta, India Hilton Hotels, Munich, Germany 2002 Sundaram Tagore Gallery, New York Compass Points, Sundaram Tagore Gallery, New York City 1960 Mumbai Art Society Annual Art Exhibition, Mumbai, India - Special Ihilani Collection, Honolulu, Hawaii 2001 Sundaram Tagore Gallery, New York 2001 The Inner World, Sundaram Tagore Gallery, New York City Mention Ingredient Technology Corporation, New York 2000 art-garage, Zug, Switzerland Asian American Art Center, New York City 1956 Mumbai State Art Exhibition, Mumbai, India - Prize Kaye, Scholer, LLP, New York Celebration Colors: Three Decades of Painting, Art Cologne, International Art Fair, ACP Vivian Ehrli Galerie, Zurich, Kendall Corporation, Boston, Massachusetts Dialectica Gallery, New York Cologne, Germany Selected Public Collections Lake Shore National Bank, Chicago, Illinois World Economic Forum, Annual Meeting 2000, Davos, Switzerland 1998 “Immerzeit”, ACP Viviane Ehrli Galerie, Zurich; Forum Konkrete Australian National Gallery, Canberra, Australia Lipton Company, New Jersey 1998,1999 Art Cologne, International Art Fair, ACP Viviane Ehrli Galerie, Kunst, Erfurt, Germany Bell Gallery, Brown University, Providence, Rhode Island Lowenstein, Sandler, Brochin, Kohl, Fisher, Boylan, Roseland, New Cologne, Germany 1997 Abstraction INDEX, Condeso/Lawler Gallery, New York New York Bermuda National Gallery, Hamilton, Bermuda Jersey 1997 ACP Viviane Ehrli Galerie, Zurich, Switzerland - Paintings 1995 La Raccolta D’Arte Contemporanea, Le Nuove Donazioni, Museo Boca Raton Museum of Art, Boca Raton, Lonray Incorporated, New York 1996 Bose-Pacia Modern Gallery, New York, N. Y. - Pastels and paintings Civico, Taverna, Italy Boston Museum of Fine Arts, Boston, Massachusetts Mars McLennen International, New York on paper 1991 Nel Piu’Ampio Cerchio, Angolazioni E Prospettive Della Visione Fine Arts Museum of Long Island, Long Island, New York Massachusetts General Hospital, Boston, Massachusetts 1992 Gloria Luria Gallery, Bay Harbor, Fl. Paintings Nell’ Arte Contemporanea, Centro Museografico, Taverna, Italy Solomon R. Guggenheim Museum, New York Mobile Corporation, Fairbank, Virginia 1988 Pundole Art Gallery, Bombay, Pastels - Paintings on Paper Il Sud Del Mondo, L’Altra Arte Contemporanea, Galleria Civica D’Arte, Herbert F. Johnson Museum, Cornell University, Ithaca, New York N.B.C., New York Contemporary Art Gallery, Ahmedabad, Pastels - Paintings on Paper Pizzo, Italy Metropolitan Museum of Art, New York Olympia and York, Toronto, Canada 1985 Pembroke Gallery, Houston, Texas 1981 Fifth Triennial, New Delhi, India Massachusetts Institute of Technology, Cambridge, Massachusetts Peat Marwick Mitchell International Insurance Company, Miami, Florida Twenty Years of Work on Paper, The Wichita Art Museum, Wichita, Kansas 1979 Works on Paper U.S.A., Rockland Center for the Arts, West Nyack, N.Y. Philadelphia Museum of Art, Philadelphia J.C. Penney Collection

76 77 Prudential Insurance Company, New Jersey Zurcher March 1977 Post-Gazette, February 1970 The Australian, “Outlines of ‘70s Art,”, December Readers Digest, Pleasantville, New York 2000 Handelszeitung, April 1977 Art International, “The Palpably Immateral: New Works by 1969 Christian Science Monitor, “Whitney Annual Painting ‘69”, Re Societe Generale De Banque, New York, New York 2000 Neue Luzeitung, “Farbe als Aussage und Erlebnis”, August N.Bhavsar”, March December Rosenthal-Baum Levin, New York 1999 Indian Express, “A View of the World, The United Colours of Natvar 1977 Arts Magazine, April Securities Pacific Bank, Los Angeles, California Bhavsar”, April 1974 Philadelphia Inquirer, February Selected Biographical References and Other Publications Shearson/American Express, New York 1997 The New India Digest, March-April 1974 Arts Magazine, March 2000 Outstanding Artists and Designers of the 20th Century Sonnesta Hotel Corporation 1997 “Renaissance Man” March 1974 Artforum, April 1998 LEARNING In the fine arts and industrial relations Southeast Banks, Florida 1997 Malayala Manorama, August 1974 SoHo Weekly News, April 1987 New York Art Review, 3rd ed. Southeast Bank, Miami, Florida 1997 Times of India, “In touch with his Gujarat origins through painting”, 1974 Art International, May 1985 Marquis Who’s Who in the East, 20th ed. Swiss Bank Corporation, New York August 1974 Art in America, September-October 1982-83 Marquis Who’s Who in the World, since 6th ed. Transaction Technology Incorporated, California 1997 Deccan Herald, “Colour at Work,” Bangalore, August 1972 ARTnews, May 1980 Marquis Who’s Who in American, since 41st ed. Union Carbide, New York 1997 India Abroad, “Two European Shows for N.Y. Based Artist,” 1972 Arts Magazine, May 1974 Dictionary of International Biographies, since 7th ed. Union Bank of Switzerland Paine Weber, New York October 1972 Art International, “Natvar Bhavsar: The Purpose of Looking,” May United California Bank, California 1997 Schweizer Illustrierte, “Kunst nebenan, Bad Ragaz/Zurich”, 1972 Sunday Telegraph, September Monograph Ventron Corporation, Boston, Massachusetts November 1972 National Review, September 2004 Natvar Bhavsar Color-Poetic Reverberations, Interview by Irving Volvo Corporation of America, Rockleigh, New Jersey 1997 Sarganserlander, “Ein Meister der reinen Farbe”, November 1971 Art in America, “Visual Riches & Recessionary Blues,” March-April Sandler, Essay by Michael J. Amy, Sundaram Tagore Gallery Publishing, Westinghouse Corporation, Pennsylvania 1997 Tages-Anzeiger zuritip, “Extreme Stille”, November 1971 New York Times, “Downtown: ,” April New York Walden Books, New York 1996 India Today, “Beyond the Contours of Color”, January 1971 New York Times ,”The New Painting Returns to the Sublime,” April 2000 Natvar Bhavsar The Sound of Color, Robert C. Morgan, Mapin Wachtell Lipton Rosen and Katz, New York 1996 Art in Review, June 1971 ARTnews, May Publishing, Amdavad, India Young and Rubicon Incorporated, New York 1996 The Hindu, “Fireworks in a Dark Sky”, June 1971 Arts Magazine, “Reviews and Previews,”, May 1998 Natvar Bhavsar Painting and the Reality of Color, Irving Sandler, 1995 The Earth Times/Art, “BHAVSAR”, June30/July14 1971 Il Messagero/mercoledi, “L’art in America,” July publ.Craftsman House, G+B Arts Internat. Sydney 1998 Selected Bibliography 1994 Indian Artists Find Niche in New York, February 1971 The Australian, “Release from Banality,” August 2005 Toronto Star, “Vivid Art that Joins East and West”, Toronto, Canada, 1994 Little India, “Freedom from Past”, March 1970 The Nation, January Interview/Video October 1994 Asian Art News, “Natvar Bhavsar”, Jan/Feb 1970 Christian Science Monitor, January 1988 Tatsuya Komatsu, TV-NHK, Tokyo, Japan, “Life in New York,” June 5, 2004 India in New York, January 1994 Asian Art News, “Reflections of Two Cultures”, May/June 1970 Art Gallery, February 8, 12, 15, 26, 29 2004 Brooklyn Rail, “Natvar Bhavsar, Sundaram Tagore Gallery”, 1994 India Abroad, “SoHo’s Bhavsar Famed for Pigment”,June 1970 Arts Magazine, February 1985 Gail Levine, Manhattan Cable TV, “Midnight Muse,” New York as February 1988 Navbharat Times, January 1970 New York Times, March World Art Center, December 7 2003 India Abroad, “Profile:Natvar Bhavsar”, January 1988 The Sunday Observer, January 1970 ARTnews, March 2003 Neue Zuger Zeitung, “Zug: artgarage, Ein Langer Prozess”, 1987 Times of India, December 1970 Art International, March Switzerland, November 1985 Wichita Art Museum Catalog, “Natvar Bhavsar: Encounter with 1970 The Nation, “Art,” April 2003 Art in America, “Mutability and Metaphor”, December Color,” 1970 Christian Science Monitor, “Beautiful Painting and Beautiful 2003 News India-Times, “Bhavsar, Known for Grand Paintings will show 1985 The Times of India, “Portrait of a Native Painter”, November Sculpture,” April smaller ones”, December 1984 Getler/Pall/Saper Gallery Exhibition Catalogue, October 1970 New York Magazine, “A Thing of No Beauty,” April 2002 Magazine of the Corproate World, “Indian at He(art)”, June 1984 Arts Magazine, “Painting of Natvar Bhavsar, “ December 1970 Newsweek, “New Color Painters,”, May 2002 India Today, “The Global Indian, Society and Trends, Contemporary 1984 The Overseas Times, “Bhavsar’s New Painting”, December 1970 Art Forum, “Beautiful Painting and Beautiful Sculpture,” May Art, Rosy Picture”, July 1979 ARTnews, January 1970 Art in America, “Boston,” May-June 2002 News India-Times, “The Sound of Color Exhibition by Bhavsar in 1979 Arts Magazine, January 1970 “Power Bequest Exhibition” N.Y.”, November 1979 Art Gallery, September 1970 Art Gallery, June 2001 “Bhavsar’s Color Fest Opens at New Gallery”, India Abroad, May 1979 The Wichita Eagle, November 1970 The Bulleton, August 2001 India Abroad, “Soho, So Good”, October 1979 The Wichita Museum Catalogue, November 1970 Art Review, August 2001 Indian Express, “Art Like Music Penetrates the Heart”, August 1979 Skira Annual 1970 Sunday Morning Herald, “Cloudy Mysticism,” “The Arts,” August 2001 The Pioneer, “Bhavsar’s Cosmic ’, August 1979 Arts Magazine, February 1979. 1970 Sunday Telegraph, “Art,” August 2000 Art Deal, “Natvar Bhavsar’s Encounter with Expressive Color”, Jan/ 1978 Houston Chronicle, March 1970 Art International, “New Direction in Painterly Abstraction,”, Feb 1978 The Houston Post, March September 2000 Catalogue essay for ACP Vivian Ehrli Gal. Exhibition, “Encounters 1978 Art Voices/South, July-August 1970 Art Review, December with Colors”, March 1978 The Sydney Jewish News, “The New York Kickback,” August 1966 Philadelphia Inquirer, December 2000 Natvar Bhavsar - Kosmos der Farben, “ Kunst-Szenen”, Neue 1977 Arts Magazine, February 1970 Arts Magazine “Young Abstract Painters: Right On!”, February

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