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Shuvaprasanna Bhattacharya — Concise Bio
Shuvaprasanna Bhattacharya — Concise Bio Major Solo Exhibitions − 2011 'Shuvaprasanna: Recent Works', Centre of International Modern Art (CIMA), Kolkata − 2011 Traveling Retrospective at Lalit Kala Akademi; Art Indus; Gallery Nvya, New Delhi; Tao Art Gallery, New Delhi − 2008 ‘Night Watch’, Art Alive Gallery, New Delhi − 2007 ‘Madhura: The Golden Flute’, organized by Indian Contemporary at Visual Arts Centre, Hong Kong − 2006 ‘Evocative Expressions: In Quest of Krishna’, Art Alive Gallery, New Delhi − 2006 ‘Evocative Expressions: In Quest of Krishna’, ITC Sonar Bangla Art Gallery, Kolkata − 2006 ‘The Divine Flute’, Aicon Gallery, USA − 2005 ‘The Golden Flute’, organized by Indian Fine Art at Cymroza Art Gallery, Mumbai − 2004 ‘Lila’, organized by Art Indus, New Delhi at Shridharni Art Gallery, New Delhi − 2004 ‘The Divine Flute’, Gallery ArtsIndia, New York − 2002 ‘Icons and Illusions’, Gallery Arts India, New York − 2002 ‘Madhura’, Art Indus, New Delhi − 2000 ‘Shuvaprasanna’s Icon and Retrospective’, organized by Art Indus at Indira Gandhi National Centre for the Arts, New Delhi − 2000 Fine Art Company, Mumbai − 2000 Gallery Sumukha, Bangalore − 2000 Art world, Chennai − 1998 ‘An Appreciation of Ted Hughes’, Exhibition of Crow Paintings, British Council, Kolkata − 1998 Art Indus, New Delhi − 1995 Painters Home Gallery, Kolkata − 1995 Gallery Sanskritii, New Delhi − 1994 Vadhera Art Gallery, New Delhi − 1994 Galerie Grewal Mohanjeet, Paris, France − 1993 ‘Metropolis’, Portraits of Calcutta, Centre for International Modern Art (CIMA), Kolkata -
Artists' Statement on Growing Political and Religious Intolerance
ISSN (Online) - 2349-8846 Artists' Statement on Growing Political and Religious Intolerance SAHMAT Vol. 50, Issue No. 44, 31 Oct, 2015 The artist community of India stands in firm solidarity with the actions of our writers who have relinquished awards and positions, and spoken up in protest against the alarming rise of intolerance in the country. We condemn and mourn the murders of MM Kalburgi, Narendra Dabholkar and Govind Pansare, rationalists and free thinkers whose voices have been silenced by rightwing dogmatists but whose “presence” must ignite our resistance to the conditions of hate being generated around us. The artist community of India stands in firm solidarity with the actions of our writers who have relinquished awards and positions, and spoken up in protest against the alarming rise of intolerance in the country. We condemn and mourn the murders of MM Kalburgi, Narendra Dabholkar and Govind Pansare, rationalists and free thinkers whose voices have been silenced by rightwing dogmatists but whose “presence” must ignite our resistance to the conditions of hate being generated around us. We will never forget the battle we fought for our pre-eminent artist MF Husain who was hounded out of the country and died in exile. We remember the rightwing invasion and dismantling of freedoms in one of the country’s best known art schools in Baroda. We witness the present government’s appointment of grossly unqualified persons to the FTII Society and its disregard of the ongoing strike by the students of this leading Institute. We see a writer like Perumal Murugan being intimidated into declaring his death as a writer, a matter of dire shame in any society. -
Major Exhibition Poses Tough Questions and Reasserts Fluxus Attitude
Contact: Alyson Cluck 212/998-6782 or [email protected] Major Exhibition Poses Tough Questions And Reasserts Fluxus Attitude Fluxus and the Essential Questions of Life and Fluxus at NYU: Before and Beyond open at NYU’s Grey Art Gallery on September 9, 2011 New York City (July 21, 2011)—On view from September 9 through December 3, 2011, at New York University’s Grey Art Gallery, Fluxus and the Essential Questions of Life features over 100 works dating primarily from the 1960s and ’70s by artists such as George Brecht, Robert Filliou, Ken Friedman, George Maciunas, Yoko Ono, Nam June Paik, Mieko Shiomi, Ben Vautier, and La Monte Young. Curated by art historian Jacquelynn Baas and organized by Dartmouth College’s Hood Museum of Art, the exhibition draws heavily on the Hood’s George Maciunas Memorial Collection, and includes art objects, documents, videos, event scores, and Fluxkits. Fluxus and the Essential Questions of Life is accompanied by a second installation, Fluxus at NYU: Before and Beyond, in the Grey’s Lower Level Gallery. Fluxus—which began in the 1960s as an international network of artists, composers, and designers―resists categorization as an art movement, collective, or group. It also defies traditional geographical, chronological, and medium-based approaches. Instead, Fluxus participants employ a “do-it-yourself” attitude, relating their activities to everyday life and to viewers’ experiences, often blurring the boundaries between art and life. Offering a fresh look at Fluxus, the show and its installation are George Maciunas, Burglary Fluxkit, 1971. Hood designed to spark multiple interpretations, exploring Museum of Art, Dartmouth College, George Maciunas Memorial Collection: Gift of the Friedman Family; the works’ relationships to key themes of human GM.986.80.164. -
Philip Pearlstein
PHILIP PEARLSTEIN 1924 Born in Pittsburgh, PA on May 24 1942-49 B.F.A. from Carnegie Institute of Technology, Pittsburgh, PA 1955 M.A. from New York University, Institute of Fine Arts, New York, NY 1959-63 Instructor, Pratt Institute, Brooklyn, NY 1962-63 Visiting Critic, Yale University, New Haven, CT 1963-88 Professor of Fine Art, Brooklyn College, Brooklyn, NY 1988 Distinguished Professor Emeritus, Brooklyn College, Brooklyn, NY 2003-06 President, American Academy of Arts and Letters, New York, NY The artist lives and works in New York City. Solo Exhibitions 2018 Philip Pearlstein, Today, Betty Cuningham Gallery, New York, May 10 – June 17 Philip Pearlstein, Paintings 1990- 2017, Saatchi Gallery, London, United Kingdom, January 17 – April 29 2017 Facing You, Betty Cuningham Gallery, New York, May 5 – June 30 Philip Pearlstein: Seventy –Five Years of Painting, Susquehanna Museum of Art, Harrisburg, PA, February 11 – May 21 2016 G.I. Philip Pearlstein, World War II Captured on Paper, Betty Cuningham Gallery, New York, September 14 – October 15 2015-16 Pearlstein | Warhol | Cantor: From Carnegie Tech to New YorK, Betty Cuningham Gallery, New York, NY, Dec. 3 – March 5, 2016 2015 Pearlstein | Warhol | Cantor : From Pittsburgh to New YorK, Andy Warhol Museum, Pittsburgh, PA May 30- September 6 2014 Philip Pearlstein, Betty Cuningham Gallery, New York, NY, May 8 – July 27 Pearlstein at 90, Russell Bowman Art Advisory, Chicago, IL, April 4 – May 31 Philip Pearlstein: Six Paintings, Six Decades, National Academy of Art, New York, NY, Feb. 27 – May 11 Philip Pearlstein – Just The Facts, 50 Years of Looking and Drawing and Painting, Curated by Robert Storr, New York Studio School, New York, NY, January 16 – February 22 2013 Philip Pearlstein’s People, Places, Things, Museum of Fine Arts, St. -
Raja Ravi Varma 145
viii PREFACE Preface i When Was Modernism ii PREFACE Preface iii When Was Modernism Essays on Contemporary Cultural Practice in India Geeta Kapur iv PREFACE Published by Tulika 35 A/1 (third floor), Shahpur Jat, New Delhi 110 049, India © Geeta Kapur First published in India (hardback) 2000 First reprint (paperback) 2001 Second reprint 2007 ISBN: 81-89487-24-8 Designed by Alpana Khare, typeset in Sabon and Univers Condensed at Tulika Print Communication Services, processed at Cirrus Repro, and printed at Pauls Press Preface v For Vivan vi PREFACE Preface vii Contents Preface ix Artists and ArtWork 1 Body as Gesture: Women Artists at Work 3 Elegy for an Unclaimed Beloved: Nasreen Mohamedi 1937–1990 61 Mid-Century Ironies: K.G. Subramanyan 87 Representational Dilemmas of a Nineteenth-Century Painter: Raja Ravi Varma 145 Film/Narratives 179 Articulating the Self in History: Ghatak’s Jukti Takko ar Gappo 181 Sovereign Subject: Ray’s Apu 201 Revelation and Doubt in Sant Tukaram and Devi 233 Frames of Reference 265 Detours from the Contemporary 267 National/Modern: Preliminaries 283 When Was Modernism in Indian Art? 297 New Internationalism 325 Globalization: Navigating the Void 339 Dismantled Norms: Apropos an Indian/Asian Avantgarde 365 List of Illustrations 415 Index 430 viii PREFACE Preface ix Preface The core of this book of essays was formed while I held a fellowship at the Nehru Memorial Museum and Library at Teen Murti, New Delhi. The project for the fellowship began with a set of essays on Indian cinema that marked a depar- ture in my own interpretative work on contemporary art. -
Catalogue Fair Timings
CATALOGUE Fair Timings 28 January 2016 Thursday Select Preview: 12 - 3pm By invitation Preview: 3 - 5pm By invitation Vernissage: 5 - 9pm IAF VIP Card holders (Last entry at 8.30pm) 29 - 30 January 2016 Friday and Saturday Business Hours: 11am - 2pm Public Hours: 2 - 8pm (Last entry at 7.30pm) 31 January 2016 Sunday Public Hours: 11am - 7pm (Last entry at 6.30pm) India Art Fair Team Director's Welcome Neha Kirpal Zain Masud Welcome to our 2016 edition of India Art Fair. Founding Director International Director Launched in 2008 and anticipating its most rigorous edition to date Amrita Kaur Srijon Bhattacharya with an exciting programme reflecting the diversity of the arts in Associate Fair Director Director - Marketing India and the region, India Art Fair has become South Asia's premier and Brand Development platform for showcasing modern and contemporary art. For our 2016 Noelle Kadar edition, we are delighted to present BMW as our presenting partner VIP Relations Director and JSW as our associate partner, along with continued patronage from our preview partner, Panerai. Saheba Sodhi Vishal Saluja Building on its success over the past seven years, India Art Senior Manager - Marketing General Manager - Finance Fair presents a refreshed, curatorial approach to its exhibitor and Alliances and Operations programming with new and returning international participants Isha Kataria Mankiran Kaur Dhillon alongside the best programmes from the subcontinent. Galleries, Vip Relations Manager Programming and Client Relations will feature leading Indian and international exhibitors presenting both modern and contemporary group shows emphasising diverse and quality content. Focus will present select galleries and Tanya Singhal Wol Balston organisations showing the works of solo artists or themed exhibitions. -
10-0406 NYU Map.Indd
NEW YORK UNIVERSITY SCHOOL OF LAW 16 Alumni Hall (C-2) 33 3rd Avenue 52 Alumni Relations (B-2) 25 West 4th Street 17 Barney Building (C-2) W. 16TH STREET E. 16TH STREET 34 Stuyvesant Street IRVING PLACE IRVING 60 Bobst Library (B-3) CHELSEA 1 UNION SQUARE GRAMERCY 70 Washington Square South 48 Bookstore (B-2) W. 15TH STREET E. 15TH STREET 18 Washington Place 13 Brittany Hall (B-2) 55 East 10th Street 2 13 Broadway Windows (B-2) W. 14TH STREET E. 14TH STREET 12 Bronfman Center (B-2) 7 East 10th Street 4 3 8 5 Broome Street Residence (not on map) 400 Broome Street W. 13TH STREET E. 13TH STREET THIRD AVENUE 34 Brown Building (B-2) SIXTH AVENUE FIFTH AVENUE UNIVERSITY PLACE BROADWAY AVENUE SECOND AVENUE FIRST 6 FOURTH AVENUE 29 Washington Place 7 26 Cantor Film Center (B-2) 36 East 8th Street W. 12TH STREET E. 12TH STREET 67 Card Center (C-2) 9 14 383 Lafayette Street 15 1 Carlyle Court (B-1) 25 Union Square West W. 11TH STREET E. 11TH STREET 9 Casa Italiana Zerilli-Marimò (A-1) 24 West 12th Street 11 12 13 80 Coles Sports and Recreation Center (B-3) 181 Mercer Street W. 10TH STREET E. 10TH STREET 32 College of Arts and Science (B-2) 10 33 Washington Place 16 17 College of Dentistry (not on map) 345 East 24th Street W. 9TH STREET E. 9TH STREET 41 College of Nursing (B-2) 726 Broadway STUYVESANT ST. CHARLES ST. GREENWICH VILLAGE EAST VILLAGE 51 Computer Bookstore (B-2) 242 Greene Street W. -
Armajani Home Page
Reflections on Works by Siah Armajani in the Grey Gallery’s Collection Shiva Balaghi, December 2008 A textured black background merges into two abstract spheres—one layered in cold hues of blue and white, the other in warm hues of ochre and brown—evoking a night sky that contains within it the celestial bodies. Closer inspection of the surface of Siah Armajani’s painting Prayer for the Sun (1962) reveals barely legible Persian letters and numbers etched onto the image of the sun and the moon. The contemplative work quietly references the mystical astrology of Sufism. “All Persian art, all Persian poetry,” Armajani has said, “comes out of Sufism, which is not a sect but an alternative human strategy. It is a civilizing and humanizing influence that works very quietly and without calling attention to itself.”(1) Siah Armajani, Prayer for the Sun, 1962 oil on canvas, 48 1/4 x 32 inches (122.6 x 81.3 cm) Grey Art Gallery, New York University Art Collection Gift of Abby Weed Grey, G1975.81 Works by Siah Armajani featured in the Grey Art Gallery’s collection date from the first decade of his artistic career, some created while he was still a college student in Minneapolis. It was there that Abby Grey met the artist and collected half a dozen works that reveal the early intellectual and artistic experimentation of Armajani, now recognized as one of the leading public artists in the United States. Armajani was born and raised in Tehran. His father, Agha Khan Armajani, a successful merchant who imported European textiles, sent his children to a Presbyterian missionary school and provided them a comfortable, book-filled home. -
HANNAH WILKE Born in New York, NY, 1940 Died in Houston, TX
HANNAH WILKE Born in New York, NY, 1940 Died in Houston, TX, 1993 EDUCATION 1962 BA Fine Arts, BS Education, Stella Elkins Tyler School of Art, Temple University, Philadelphia SOLO EXHIBITIONS 2012 Hannah Wilke, Gallery Paule Anglim, San Francisco, CA 2011 Permanent Collection Gallery, Museum of Modern Art, New York, NY Hannah Wilke: Selected work from the '60s &' 70s, Alison Jacques Gallery, London, UK 2010 Early Drawings, Ronald Feldman Fine Arts, New York, NY Hannah Wilke: Elective Affinities, Alison Jacques Gallery, London, UK 2008 Hannah Wilke: Gestures, Neuberger Museum of Art, Purchase, NY 2007 Hannah Wilke, Alison Jacques Gallery, London, UK Intra-Venus Tapes 1990-1993, Ronald Feldman Fine Arts, New York, NY 2006 Exchange Values, Atrium-Centro Museo Vasco de Arte Contemporaneo, Vitoria, Spain Hannah Wilke: Advertisement for Living, Hannah Wilke Collection & Archive, Solway Jones, Los Angeles, CA 2005 The Rhetoric of the Pose: Rethinking Hannah Wilke, Mary Porter Sesnon Art Gallery, Santa Cruz, CA 2004 Hannah Wilke, Selected Work 1960 - 1992, Hannah Wilke Collection and Archive, SolwayJones, Los Angeles, CA 2000 Interrupted Careers: Hannah Wilke 1940-1993, Neue Gesellschaft für bildende Kunst, Berlin, Germany (catalogue) 1999 Hannah Wilke: Sculpture & Other Work, Ronald Feldman Fine Arts, New York, NY 1998 Hannah Wilke - A Retrospective, Nikolaj Contemporary Art Center, Copenhagen, Denmark, and traveled to BildMuseet, Umea, Sweden, Helsinki City Art Museum, Helsinki, Finland (catalogue) 1997 Hannah Wilke: Intra-Venus, Woodruff -
Nerve Studio Residency.Indd 2 28/06/13 10:52 PM
nerve trend Residencies have been part of most vocations – and art is one of them. India has recognised its scope only recently, offering an optimistic platform for many Sleeping With Your Art hen you drive past the long stretch of shanties on Wadibunder Road, WMumbai, you begin to wonder if the essence of art really does linger close by. Your GPS beeps just then, instructing you to take a left turn into a big iron gate. A watchman unquestioningly lets you in as you hoot an impatient honk. Yet, your doubt persists because heavy labour and heavy machinery is all you see around you. It seems like people know the purpose of your visit. A man waves at you to take a turn at the end of the sprawling compound. And just as you do, Space 118 comes into view. In front of you are three occupied studios and to your left stands a cosy-looking cottage of sorts under a brick roof. This is Saloni Doshi’s office. It is cluttered with small sized sculptures and a neat stack of paintings against its walls. With an enthusiastic interest in art’s offerings, this thirty something collector revamped part of an industrial space for the purpose of studio residencies for artists – budding and bloomed. Like most spaces in 2009, it was inaugurated with the intention of focussing on artists with limited exposure to the creative realm’s ecosystem. Graduates and those from smaller towns deem it an honour to be accepted for a residency. Sometimes they need to pay a fee, and at other times it’s a barter of one of their creations. -
Five Decades of Black Performance Art to Electrify New York City from Greenwich Village to Harlem Radical Presence: Black Performance in Contemporary Art
MEDIA RELEASE CONTACT: Laurie Duke, Press Officer, Grey Art Gallery [email protected] | 212.998.6782 Liz Gwinn, Communications Manager, The Studio Museum in Harlem [email protected] | 646.214.2142 Five Decades of Black Performance Art to Electrify New York City from Greenwich Village to Harlem Radical Presence: Black Performance in Contemporary Art NYU’s Grey Art Gallery | September 10–December 7, 2013 The Studio Museum in Harlem | November 14, 2013–March 9, 2014 New York City (July 8, 2013)—This fall, New York University’s Grey Art Gallery and The Studio Museum in Harlem will co-present Radical Presence: Black Performance in Contemporary Art, the first comprehensive survey of more than five decades of performance art by black visual artists. The exhibition, organized by Valerie Cassel Oliver for the Contemporary Arts Museum Houston, will be presented in New York in two parts: Part I will be on view September 10 to December 7, 2013, at NYU’s Grey Art Gallery; Part II will take place November 14, 2013 to March 9, 2014 at The Studio Museum in Harlem. The exhibition will be accompanied by more than a dozen live performances and public programs throughout its six-month run. These include a series of performances co- organized with Performa 13, New York’s celebrated performance- art biennial (November 1–24, 2013). Providing a critical history beginning with Fluxus and Conceptual art in the early 1960s through present-day practices, Radical Presence chronicles the emergence and development of black performance art over three generations, presenting a rich and Maren Hassinger performing in Senga Nengudi’s RSVP (1975–77/2012) at Contemporary Arts complex look at this important facet of contemporary art. -
Indian Portraiture INDIAN PORTRAITS the FACE of a PEOPLE
Indian Portraiture 22nd March-15th April, 2009 Bikash Bhattacharya, Akbar Padamsee, Krishen Khanna, Jogen Chowdhury,Suhas Roy, Subrato Ganghopadya, Maharaja Ranjit Sigh Gaekwad, Hemen Mazumdar, Shankar Palsikar, Prabhakar Kolte, Bose Krishnamachari, Abir Karmakar, Sunil Padwal,Ajay De,Alok Bal, Jagganath Mohapatra., Mahendra Pandya, Vikram Bawa Indian Portraiture ia a dialogue between Prabhakar Kolte (Veteran Artist) and Jayaram Poduval (Art historian) on portraiture making. On the spot portraiture for all patrons and visitors on the day of the preview Indian Portraiture Fascination of figurative style Miniature style portraiture – Mughal emperors’ patronage – in portrait making and court room painting During British rule artists from European countries came to India for Nawabs’ patronage and painted a lot of portraits of the kings, their families and the nobles in oil – a new medium and the new realistic style in Indian art scenario. Raja Ravi Varma – portraiture painting British art schools in Bombay , Calcutta and Madras – a generation of Indians learnt the skill of realistic painting Influence of European movement and stylistic portraiture INDIAN PORTRAITS THE FACE OF A PEOPLE The art of modern portraiture came to India three centuries ago as part of a new, unexplored tradition brought in by colonial artists from Europe. Indian art till then had tended to depict attributes rather than particularities by way of portraits. The change was led by eighteenth century European artists who came in search of sitters and commissions for portraits in Madras and Calcutta, and later in Bombay. They found enough work in British India but were increasingly drawn to paint the princes among whom the Nawabs of Arcot and Awadh became major patrons.