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Christie's First Auction in India Makes Inr 96,59,37,500
PRESS RELEASE | MUMBAI FOR IMMEDIATE RELEASE | 19 December 2013 CHRISTIE’S FIRST AUCTION IN INDIA MAKES INR 96,59,37,500 /US$15.4 MILLION DOUBLING PRE-SALE ESTIMATES UNTITLED BY VASUDEO S. GAITONDE SELLS FOR INR 23,70,25,000 (US$3.7MILLION) HIGHEST PRICE FOR A MODERN WORK OF ART SOLD IN INDIA WORKS FROM THE GANDHY ESTATE TOTALS INR 26,10,70,000 (US$4.1 MILLION) Auctioneer, Dr. Hugo Weihe, International Director of Asian Art, sells Vasudeo S. Gaitonde‟s Untitled work for INR 23,70,25,000 (USD$3,792,400) at Christie‟s first auction in India. Mumbai – This evening in Mumbai, Christie‟s first auction in India totaled INR 96,59,37,500 (USD$15,455,000), doubling pre-sale expectations and selling 98% by lot. This auction marks an historic moment for Christie‟s, building on a 20-year history in India, and a decade of global market leadership in Modern Indian Art through sales in New York and London. At this evening‟s auction buying came from around India, across Asia, the US and Europe, reflecting both the world-wide interest in this category and Christie‟s global reach. The pre-sale exhibitions during the past two weeks in New Delhi and Mumbai attracted many visitors and interest from both new and existing clients was so great at this evening‟s auction that an extra room had to be prepared to accommodate clients. The sale was held at The Taj Mahal Palace, Mumbai. “It has been a true privilege to be in India where we have been honoured by the warm welcome. -
Nasreen Mohamedi: Untitled, Undated
Milton Keynes Gallery Nasreen Mohamedi: Untitled, Undated. Pen, pencil and ink on paper (49.5cm x 69 cm) Courtesy Glenbarra Art Museum Collection, Japan Nasreen Mohamedi 5 September – 15 November 2009 Preview: Friday 4 September 18.00-20.00 Milton Keynes Gallery Nasreen Mohamedi 5 September – 15 November 2009 Preview: Friday 4 September 18.00-20.00 Media Partner: ArtAsia Pacific Magazine Exhibition supported by The Charles Wallace Trust India, The Red Hot World Buffet, The Nehru Centre and the Nasreen Mohamedi Circle of Friends, including Modern Art and those who wish to remain anonymous Milton Keynes Gallery is delighted to announce a major solo exhibition of work by important Indian artist Nasreen Mohamedi. Her diary pages, drawings and photographs combine Western influences such as Paul Klee and Kasimir Malevich with Islamic architectural forms and a South Asian sensibility, resulting in an intensely personal body of work. Born in Karachi, India (now Pakistan) in 1937, Mohamedi created a highly developed language from the 1950s to the 1980s. Early drawings often suggest plants and trees, before the artist focused on creating variations around the grid format; later works present free-floating geometric forms that evoke futuristic, mechanical or architectural devices. These abstract forms were often developed in intricately detailed diaries, written throughout the artist’s life, where the written word morphs into personalised symbols, grids and diagonals. The artist traces or weaves regular patterns in her drawings, as if mapping a pulse or internal flow onto external phenomena. Her tightly cropped photographs seek out elemental forms such as the repetitive patterns found in the sea or landscapes as well as in the constructed world, in architecture and urban design. -
CUBISM and ABSTRACTION Background
015_Cubism_Abstraction.doc READINGS: CUBISM AND ABSTRACTION Background: Apollinaire, On Painting Apollinaire, Various Poems Background: Magdalena Dabrowski, "Kandinsky: Compositions" Kandinsky, Concerning the Spiritual in Art Background: Serial Music Background: Eugen Weber, CUBISM, Movements, Currents, Trends, p. 254. As part of the great campaign to break through to reality and express essentials, Paul Cezanne had developed a technique of painting in almost geometrical terms and concluded that the painter "must see in nature the cylinder, the sphere, the cone:" At the same time, the influence of African sculpture on a group of young painters and poets living in Montmartre - Picasso, Braque, Max Jacob, Apollinaire, Derain, and Andre Salmon - suggested the possibilities of simplification or schematization as a means of pointing out essential features at the expense of insignificant ones. Both Cezanne and the Africans indicated the possibility of abstracting certain qualities of the subject, using lines and planes for the purpose of emphasis. But if a subject could be analyzed into a series of significant features, it became possible (and this was the great discovery of Cubist painters) to leave the laws of perspective behind and rearrange these features in order to gain a fuller, more thorough, view of the subject. The painter could view the subject from all sides and attempt to present its various aspects all at the same time, just as they existed-simultaneously. We have here an attempt to capture yet another aspect of reality by fusing time and space in their representation as they are fused in life, but since the medium is still flat the Cubists introduced what they called a new dimension-movement. -
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. -
Guide to International Decorative Art Styles Displayed at Kirkland Museum
1 Guide to International Decorative Art Styles Displayed at Kirkland Museum (by Hugh Grant, Founding Director and Curator, Kirkland Museum of Fine & Decorative Art) Kirkland Museum’s decorative art collection contains more than 15,000 objects which have been chosen to demonstrate the major design styles from the later 19th century into the 21st century. About 3,500 design works are on view at any one time and many have been loaned to other organizations. We are recognized as having one of the most important international modernist collections displayed in any North American museum. Many of the designers listed below—but not all—have works in the Kirkland Museum collection. Each design movement is certainly a confirmation of human ingenuity, imagination and a triumph of the positive aspects of the human spirit. Arts & Crafts, International 1860–c. 1918; American 1876–early 1920s Arts & Crafts can be seen as the first modernistic design style to break with Victorian and other fashionable styles of the time, beginning in the 1860s in England and specifically dating to the Red House of 1860 of William Morris (1834–1896). Arts & Crafts is a philosophy as much as a design style or movement, stemming from its application by William Morris and others who were influenced, to one degree or another, by the writings of John Ruskin and A. W. N. Pugin. In a reaction against the mass production of cheap, badly- designed, machine-made goods, and its demeaning treatment of workers, Morris and others championed hand- made craftsmanship with quality materials done in supportive communes—which were seen as a revival of the medieval guilds and a return to artisan workshops. -
One Or Several Rationalisms
One or Several Rationalisms DAVID RlFKlND Columbia University In the Jvears between the two world wars. Italian archtects. critics (Architettura, Casabella, Quadrante, Dedalo, etc.). Such classification, and historians vigorously debated the proper role and form of however, is misleadmg.The major polemical figures of this period often architecture.The stakes in these debates were hgh -polemicists from found themselves collaborating with the same people whom they had, all camps saw architecture as part of a broader project of cultural renewal or would later, criticize strongly. A prime example is Pagano's and tied to the political program of fascism, and argued that archtecture Piacentini's work together at the City University and E'42 .Though the must represent the goals and values of the fascist regime. As such, they former's functionalist modernism and the latter's stylized neoclassicism addressed the issues of modernization, technology, functionalism and seem incomoatible.I both architects shared an exoressedI interest in structural expression raised by international modernism alongside developing an appropriate architectural expression of Italianitri. soecificallv Italian concerns. such as the tradition of classicism and i Eventually, however, Pagano would join the attack on Piacentini's architecture's relationship to the urban fabric. persistent use of classical ornament .2 Ths paper is part of my ongoing dssertation research into the role To some degree the level of collaboration in interwar Italv was also 0 J of the magazine Quadrante, one of the key vehicles of interwar Italian the result of a pragmatism among its architects, who were practitioners architectural discourse, and its relationship to other journals, such as as well as theorists, and thus found compromise a neccesary step toward Casabella. -
The Road to Swiss International Design the Road to Swiss International Design
The Road to Swiss International Design The Road to Swiss International Design Examples of Victorian Advertising The Road to Swiss International Design Swiss International Style was in the “works” for a long time. A variety of historic events factored into the development of this international style, they are: Futurism, De Stijl, Constructivism, The Bauhaus, The School of Design Basel Futurism In 1909, Italian writer, Filippo Tommaso Marinetti founded Futurism with the publication of his Manifesto of Futurism. The Futurist Manifesto was read and debated all across Europe. Futurism as a revolutionary movement in which all the arts were to text their ideas and forms against the new realities of scientific and indus- trial society. The manifesto voiced enthusiasm for war, the machine age, speed, and modern life. Marinetti and his follows produced an explosive and emotionally charged poetry that defied correct syntax and grammar. Right: Sound Poem by Filippo Tommaso Marinetti The Road to Swiss International Design Suprematism 1915 The term implied the su- premacy of this new art in relation to the past. Malevich saw it as purely aesthetic and concerned only with form, free from any political or social meaning. He stressed the purity of shape, particularly of the square, and he regarded Suprematism as primar- ily an exploration of visual language comparable to contemporary developments in writing. KazmirI Malevich The Road to Swiss International Design Suprematist painting comprised abstract coloured shapes set against light grounds in order to convey feel- ings of ascending, floating, and falling, a visual vocabulary that was subsequently ap- plied to theatre settings and costumes, ceramics, street propaganda, and architecture. -
Marcel Breuer Papers
Marcel Breuer Papers An inventory of his papers at Syracuse University Finding aid created by: MBD Date: 22 Mar 2012 Revision history: 10 Jan 2013 minor revisions and additional project inventories added (MBD) 27 Aug 2013 Gatje slides added (MRC) 19 Jan 2016 updated interview location (MRC) 22 Mar 2016 updated content of oversize 13, 23, 26, 30 (SM) Overview of the Collection Creator: Breuer, Marcel, 1902-1981. Title: Marcel Breuer Papers Dates: 1921-2001 Quantity: 684 linear feet Abstract: NOTE: THIS FINDING AID IS VERY LARGE. If your browser has difficulty loading it, return to this page and go to http://library.syr.edu/digital/guides/b/breuer_m.pdf to open a PDF version. Papers of the Modernist architect and designer, includes architectural drawings, photographs and slides, project files, writings, correspondence and other materials related to every phase of Marcel Breuer's career. Language: Majority in English, some items in French, German, Hungarian, Spanish, Italian, Japanese Repository: Special Collections Research Center, Syracuse University Libraries 222 Waverly Avenue Syracuse, NY 13244-2010 http://scrc.syr.edu Biographical History Marcel Lajos Breuer (1902-1981) was a Hungarian-born American Modernist architect and designer. Marcel Breuer was born on May 21, 1902 in the southwestern Hungarian city of Pécs. His family home at 4 Irgalmasok Boulevard near Szechenyi square may have afforded a view of the nearby Pasha Qasim mosque (built from the ruins of a Gothic church), or the four landmark towers of the nearby Pécs Cathedral. Noted historically for its diverse ethnic population, Pécs had long been a regional cultural center and a university town (home of the 5th oldest university in Europe), as well as an important religious center. -
Art & Architecture Design Cultural Studies
ART & ARCHITECTURE DESIGN CULTURAL STUDIES NEW AND RECENT TITLES THE MIT PRESS Muriel Cooper David Reinfurt and Robert Wiesenberger Foreword by Lisa Strausfeld Afterword by Nicholas Negroponte Muriel Cooper (1925–1994) was the pioneering designer who created the iconic MIT Press colophon (or logo)— seven bars that represent the lowercase letters “mitp” as abstracted books on a shelf. She designed a modernist monument, the encyclopedic volume The Bauhaus (1969), and the graphically dazzling and controversial first edition of Learning from Las Vegas (1972). She used an offset press as an artistic tool, worked with a large-format Polaroid camera, and had an early vision of e-books. Cooper was the first design director of the MIT Press, the cofounder of the Vis- ible Language Workshop at MIT, and the first woman to be granted tenure at MIT’s Media Lab, where she developed software interfaces and taught a new generation of design- ers. She began her four-decade career at MIT by designing vibrant printed flyers for the Office of Publications; her final projects were digital. This lavishly illustrated volume documents Cooper’s career in abundant detail, with prints, sketches, book covers, posters, mechanicals, student projects, and photographs, from her work in design, teaching, and research at MIT. A humanist among scientists, Cooper embraced dynamism, simultaneity, transparency, and expressiveness across all the media she worked in. More than two decades after her career came to a premature end, Muriel Cooper’s legacy is still unfolding. This beautiful slip-cased volume, designed by Yasuyo Iguchi, looks back at a body of work that is as contemporary now as it was when Cooper was experimenting with IBM Selectric typewriters. -
A Fragile Inheritance
Saloni Mathur A FrAgile inheritAnce RadicAl StAkeS in contemporAry indiAn Art Radical Stakes in Contemporary Indian Art ·· · 2019 © 2019 All rights reserved Printed in the United States o America on acid- free paper ♾ Designed by Matthew Tauch Typeset in Quadraat Pro by Tseng Information Systems, Inc. Library o Congress Cataloging- in- Publication Data Names: Mathur, Saloni, author. Title: A fragile inheritance : radical stakes in contemporary Indian art / Saloni Mathur. Description: Durham : Duke University Press, 2019. | Includes bibliographical references and index. Identi£ers: ¤¤ 2019006362 (print) | ¤¤ 2019009378 (ebook) « 9781478003380 (ebook) « 9781478001867 (hardcover : alk. paper) « 9781478003014 (pbk. : alk. paper) Subjects: ¤: Art, Indic—20th century. | Art, Indic—21st century. | Art—Political aspects—India. | Sundaram, Vivan— Criticism and interpretation. | Kapur, Geeta, 1943—Criticism and interpretation. Classi£cation: ¤¤ 7304 (ebook) | ¤¤ 7304 .384 2019 (print) | ¤ 709.54/0904—dc23 ¤ record available at https://lccn.loc.gov/2019006362 Cover art: Vivan Sundaram, Soldier o Babylon I, 1991, diptych made with engine oil and charcoal on paper. Courtesy o the artist. Duke University Press gratefully acknowledges the ¤ Academic Senate, the ¤ Center for the Study o Women, and the ¤ Dean o Humanities for providing funds toward the publication o this book. ¶is title is freely available in an open access edition thanks to the initiative and the generous support o Arcadia, a charitable fund o Lisbet Rausing and Peter Baldwin, and o the ¤ Library. vii 1 Introduction: Radical Stakes 40 1 Earthly Ecologies 72 2 The Edice Complex 96 3 The World, the Art, and the Critic 129 4 Urban Economies 160 Epilogue: Late Styles 185 211 225 I still recall my £rst encounter with the works o art and critical writing by Vivan Sundaram and Geeta Kapur that situate the central concerns o this study. -
The South Asian Art Market Report 2017
The South Asian Art Market Report 2017 ° Colombo The South Asian Art Market Report 2017 INTRODUCTION It’s 10 years ago since we published our first art market report Yes, the South Asian art market still lacks government support on the South Asian art market, predominantly focusing on India, compared to other Asian art markets (China’s for instance), but and I am very excited to see a market that is in a new, and I private foundations are gradually filling the vacuum. What the would argue, much healthier cycle. Samdani Art Foundation in Dhaka has managed to achieve with the Dhaka Art Summit is a great example. The South Asian art The South Asian art market boom between 2004 and 2008 market needs more champions like this, and with South Asian was exciting, because it made this regional art market gain economies being among the fastest growing in the world, the proper international attention for the first time, and laid the requisite private wealth would appear available to support it. foundation for much of the contemporary gallery, art fair and I am very excited to publish this report after 10 years of auction infrastructure we see today. However, there was also monitoring and following this market as, for the first time since a destructive side to these boom years, felt shortly after the 2008, I sense a different type of optimism. Unlike the sheer financial crisis in 2009, when the top 3 auction houses market euphoria of 2008, this is something more tangible; recorded a 66% drop in sales of modern and South Asian biennials and festivals are getting more contemporary art and the share of contemporary international attention; initiatives are being set art dropped from 41% in 2008 to 12% in 2009; up to support artists and artistic exchange; and the dangers of speculation were manifested. -
Marcel Breuer Design and Architecture
Marcel Breuer 1928 Breuer Marcel Marcel Breuer Design and Architecture A Vitra Design Museum Travelling Exhibition Considered the “inventor” of tubular steel furniture, the designer and architect Marcel Breuer (1902–1981) is one of the most influential designers of the 20th century. Born and raised in Hungary, he studied at the Bauhaus where he went on to head the furniture workshop from 1925 to 1928. During this period, he produced numerous tubular steel furniture pieces, including the legendary Wassily club chair that brought him international renown. With his furniture in aluminum and molded plywood in the 1930s, he continued to make design history until immigrating to the USA in 1937. First working as a professor at Harvard University, Breuer began a second, highly successful career as an architect. Owing a great deal to modernism, his buildings – primarily single-family homes, university and office buildings as well as museums – were internationally recognized in the 1950s and 1960s for their exemplary character. The retrospective produced by the Vitra Design Museum pays tribute to Breuer’s well-known contributions to 20th century design history. Yet it also brings renewed attention to his architectural works, which have fallen somewhat into oblivion in the past decades. In so doing, it is the first exhibition to give proper attention to both areas of Marcel Breuer’s work. Marcel Breuer Design and Architecture He was an artist. He was the best teacher I ever had. All the others were Bauhaus ideologues. Philip Johnson on Marcel Breuer A Vitra Design Museum Travelling Exhibition 1. Introduction 2. Concept 3.