Search results for: 'black and whi'

Artists have often formulated their theories and observations to analyse and become aware of the cognitive modes of art making, and to associate with broader contemporaneous art movements. These manifestos become a window into an artist’s process. Prabhakar Barwe’s seminal treatise, <i>Kora Canvas</I> (The Blank Canvas, 1989), exemplifies his deep understanding of the fundamental elements of art and keen observations of nature and his surroundings.

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Ghare Baire was a museum-exhibition showcasing over 200 years of art in Bengal. Presented by DAG in collaboration with the National Gallery of Modern Art and the Archaeological Survey of India, the exhibition was housed at the historic Currency Building, across twelve galleries featuring over 700 artworks. The exhibition was the largest showcase of Bengal Art, presenting a panoramic view of the evolution of art in a region that has been critical to the development of Indian modern art. The exhibition starts with the arrival of the travelling European artists at a time of exchange between Bengal and the world. This confluence of cultures stimulated new visual languages as we see in the Kalighat pat,  the Bengal School, and the subsequent emergence of artists who fearlessly and freely experimented with form and subject, reshaping the trajectory of art in India.

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The colours we see around us are a complex network of visual signifiers. Like spoken dialects, each colour contains multiple—at times conflicting—meanings that are moulded by a universal base and many regional variances. A. A. Almelkar A. H. Müller A. P. Santhanaraj Abalall Rahiman Abanindranath Tagore Ahmed Amir Altaf Ambadas Amit Ambalal Amitava Anonymous Anupam Sud Avinash Chandra Benode Behari Mukherjee Bijan Choudhary Biren De Bireswar Sen Bishamber Khanna Bishnupada Roy Chowdhury Chittaprosad D. C. Joglekar D. P. Roy Chowdhury Dattatraya Apte Devayani Krishna Devraj Dakoji Dharamanarayan Dasgupta F. N. Souza G. R. Iranna G. R. Santosh G. S. Haldankar Ganesh Haloi Gobardhan Ash Gogi Saroj Pal Hemanta Misra Himmat Shah Indra Dugar Indu Rakshit J. P. Gonsalves J. Sultan Ali Jamini Roy Jeram Patel Jogen Chowdhury Jyoti Bhatt K. C. S. Paniker K. K. Hebbar K. Laxma Goud K. S. Kulkarni Kanwal Krishna Kavita Nayar Krishna Reddy Lalit Mohan Sen Laxman Pai M. F. Husain M. K. Parandekar M. R. Acharekar M. S. Joshi Madhvi Parekh Manu Parekh Nand Katyal Nandalal Bose Natvar Bhavsar Navjot Nicholas Roerich Nikhil Biswas Om Prakash P. Khemraj Paramjit Singh Paresh Maity Paritosh Sen Partha Pratim Deb Prabhakar Barwe Prokash Karmakar Rabin Mondal Radha Charan Bagchi Ramendranath Chakravorty Ramgopal Vijaivargiya Ramkinkar Baij Ranen Ayan Dutta S. H. Raza S. K. Bakre S. L. Haldankar Sanat Chatterjee Sanat Kar Sankho Chaudhuri Satish Gujral Shanti Dave Shobha Broota Somnath Hore Sudhir Khastgir Sunayani Devi Sunil Das V. B. Pathare Vasundhara Tewari Broota Vivan Sundaram Walter Langhammer

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It is strange that Natvar Bhavsar, one of Indian art’s leading names, should never have been shown in India before. Having lived and worked in USA from 1962 onwards, it remains a mystery why his work has been seen in America but almost not at all in India. In spite of a few eminent collectors who have his work, Bhavsar has remained inexplicably ignored—an anomaly DAG is happy to correct with this seminal exhibition.

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Nemai Ghosh (1934-2020) is primarily remembered today as the photographer who, through his lens, composed a visual biography of Indian filmmaker, Satyajit Ray, for a period spanning close to three decades. This exhibition draws from DAG's extensive collection of Nemai Ghosh's ouevre to explore his work with Ray, while also exploring his contribution to documenting and immortalising the best of Indian cinema.

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This Untitled painting, created in the early-to-mid-1970s, reflects Shanti Dave's fervent experimentation during a prolific period marked by international recognition in mural making and exhibitions. Drawing inspiration from childhood memories of Badapura and nearby archaeological ruins, the abstract composition blends colour pigments, beeswax, and oil solutions in a dynamic interplay. Employing a reverse image technique with molten wax, the painting challenges perceptions and invites contemplation on the nature of truth. Noted fashion designer and art-collector Tarun Tahiliani explains the nuances of Shanti Dave’s work in a film specially created on the painting.

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Are the histories of art and fashion distinct from each other? Even a cursory glimpse at the contemporary art landscape—on view during occasions such as the India Art Fair, 2023—tells us otherwise. Fabrics, textiles and weaving practices are being increasingly incorporated into the body of works produced by artists today. They bring with them a host of connotations, historical narratives and sensorial memories that working with other media does not. Uthra Rajgopal, a curator and collection adviser for museums, spoke with DAG briefly on the practice of collecting textiles for museums, their historical significance as artworks as well as trading commodities from South Asia, and how contemporary artists are responding to this complex colonial legacy through their own interventions.  

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In February, Paris' Centre Pompidou--a premier centre for modern art since its construction in 1977--mounted an extensive solo show looking back at S. H. Raza’s career in painting. It represents a historic moment for Indian modern art’s international story as it unfolded over the twentieth century, and also marked Raza's own symbolic return to the place where he stayed for most of his working life. The fertile post-independent period saw cross-cultural connections being forged by Indian artists in Europe and America on their own terms and this show is a testament to Raza’s evolving encounters with land and mythology. The curators, Catherine David and Diane Toubert, spoke to DAG highlighting some of the takeaways from this major retrospective.

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'The City as a Museum' in an annual art and heritage festival by DAG's Museums Programme. The second edition returned to Kolkata to celebrate the city's rich history of artistic practices and exchange. We travelled across the city and beyond to heritage spaces, artists' homes, and rare collections through unique walks, workshops, talks, performances and more. Explore a snapshot of this journey through photographs by Parameshwar Halder.

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Let us take a moment to appreciate this magnificent riverside scene that can be instantly recognised as a view of Benares by the distinctive steep steps, or ghats, running down to the Ganga. American artist and Orientalist Edwin Lord Weeks had a remarkable ability to create an impression of a real-time scene unfolding before viewers, enhanced by the subtle plays of light and colour. A prolific artist who created a visual diary of his travels through his paintings—of which his India works are arguably his finest with an appeal that has transcended time.

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'Iconic Masterpieces of Indian Modern Art, Edition 2' opened on 11 February, featuring fifty artworks which shaped the trajectory of pre-modern and modern art in the country. As part of the exhibition, Lakshyaraj Singh Mewar explores arts patronage in Mewar under Maharaja Fateh Singh and reflects on artist Edwin Lord Weeks’ painting ‘Lake at Oodeypore’, capturing, in the Orientalist style, lake Pichola as the soul of Udaipur. Learn More