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India’s foremost printmaker, Anupam Sud is perhaps also the country’s most well-known. What has tethered her to the democratic medium of printmaking—against all odds, needless to say—is a reason worth discovering in this short video in which the artist muses over her motivations and practice. Learn More

The Devi or the female power in Hindu mythology appears in various avatars in our everyday lives—as idols during the puja, on covers of magazines, product labels, calendars and posters. The modern history of visualising the Devi goes back to naturalistic depictions in oil paintings by the Early Bengal artists, which were surpassed in popularity and fame by Raja Ravi Varma and his studio. His representation, however, was regarded as too human-like by artists of the Bengal School in the early twentieth century, who created idealised forms based on a synthesis of classical visual traditions. In the twentieth century, we find artists responding to distinctive traits of the goddess to portray specific aspects of her power, or to convey the artist's own relationship with divinity. Few artists who have turned to Hindu myths have been able to escape the temptation to interpret the female power in their own way, and the diversity in style, medium, and mood is a testament to that.

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As with its history, trade, and culture, so with its art, India has always stood at the crossroads of assimilation, adaptation, change, and experimentation. Ancient and medieval art practices have informed her artists in the 20th century—a point when European and Asian movements found acceptance before being turned into a vibrant lexicon that has remained central to the pursuit of art in the subcontinent. Singapore

AVINASH CHANDRA BIRESWAR SEN F. N. SOUZA G. R. SANTOSH GOGI SAROJ PAL GOPAL GHOSE J. SULTAN ALI LAXMAN PAI M. F. HUSAIN MADHVI PAREKH NATVAR BHAVSAR S. H. RAZA SHANTI DAVE SHOBHA BROOTA SOHAN QADRI Learn More

A participatory reading and activity session with researcher Shreya Mukherjee to explore analogue photography of the 19th and early 20th century and the revival or adaptation of the medium in contemporary art.

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An interactive presentation by artist Sarmistha Bose on her contemporary engagement with pulp and natural fiber as a creative medium.

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A workshop for high school teachers in collaboration with the Victoria Memorial Hall, based on a special viewing of selected history paintings from the museums’ vaults. The workshop investigated images as a medium for learning, introducing educators to tools for incorporating art into pedagogy.

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The medieval ages saw the rise in India and parts of Asia of philosophical, theological, cultural, literary and visual manifestations that derived from diverse faiths but with one aim—to attain enlightened liberation. Its resistance to Brahmanical texts and hegemony resulted in the creation of geometrical aesthetics that were interpreted by way of texts, paintings, and architecture and had a monumental impact on society. At the centre of its geometric configurations—the triangle, the square, and the circle—lay the idea of Creation itself, the source of primal energy that could to be diverted towards a higher consciousness, and all universe was manifest in this. Learn More

March to Freedom re-interprets the well-known story of the Indian freedom struggle and anticolonial movement through works of art and some historic artefacts. Drawn from the collections of DAG, they range from eighteenth and nineteenth century European paintings and prints, to lesser known works by Indian artists that merit greater recognition, alongside some iconic pieces. Rather than following the usual chronological path, the story is structured around eight themes. Each represents one arena, or stage, on which the anti-colonial struggle took place, to expand the story beyond politics, politicians, and battles (which also feature). Conceived to commemorate and celebrate the 75th anniversary of India’s independence, this visual journey seeks to do more. For even as we remember the struggles, the sacrifices, and the stories, such anniversaries are also occasions for reflection, including upon the scholarship that has developed on South Asian history. Some of the latter may be familiar to academics, or those with special interests. For most of the rest of us, our knowledge of this past is derived in large part from hazy memories of school lessons, which change from one generation to the next, and are influenced by concurrent national politics. We also learn from narratives on offer through public channels or in the media, to mark moments of national remembrance or controversy.

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DAG’s emphasis for the 2019 edition of India Art Fair was a rarity—a selection of works of the kind visitors had not before seen. These included a glass mural by Avinash Chandra, a medium the artist loved but which had never before been shown in India; a large mural by Mrinalini Mukherjee; an artist’s chair by Prabhakar Barwe; evocative works by Hemendranath Mazumdar, Manjit Bawa, and Tyeb Mehta; powerful paintings by F. N. Souza, M. F. Husain, Rabin Mondal, and Krishen Khanna; exemplary abstract paintings by Ram Kumar, Shanti Dave, Sohan Qadri, J. Swaminathan, and G. R. Santosh; and other equally powerful artworks including a double-sided sculpture by Meera Mukherjee.

Avinash Chandra F N Souza G R Santosh Hemendranath Majumdar J Swaminathan Krishen Khanna M F Husain Madhvi Parekh Manjit Bawa Meera Mukherjee Mrinalini Mukherjee Paritosh Sen Prabhakar Barwe Rabin Mondal Ram Kumar S H Raza S K Bakre Shanti Dave Sohan Qadri Tyeb Mehta

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DAG debuted at the prestigious London fair in its seventh edition held in 2016. The gallery exhibited a delectable range by modern Indian masters such as Hemen Mazumdar, Rabindranath Tagore, F. N. Souza, G. R. Santosh and Avinash Chandra. Works on display included expressionist paintings by Rabindranath Tagore, metal sculptures by S. K. Bakre, erotica-inspired art by Avinash Chandra and Hemen Mazumdar, and tantric meditations of S. H. Raza and G. R. Santosh. The museum-quality show was executed along with an event-specific publication. Avinash Chandra Bikash Bhattacharjee Dhanraj Bhagat F. N. Souza G. R. Santosh Hemendranath Mazumdar Kshitindranath Majumdar M. F. Husain Rabindranath Tagore Radha Charan Bagchi Ramkinkar Baij S. K. Bakre S. H. Raza F. N. Souza George Keyt Jehangir Sabavala K. K. Hebbar Krishen Khanna Natvar Bhavsar Ranbir Kaleka Rameshwar Broota Krishen Khanna Ram Kumar Tyeb Mehta Rabin Mondal Jamini Roy

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India Art Fair is South Asia’s largest platform for showcasing the best of modern and contemporary art from around the world, and DAG’s booth is the most looked forward to by connoisseurs of Indian art in India and overseas. They were not disappointed at this iteration of the fair where its lavish booth was set up to resemble public rooms in a large mansion with teak-panelled walls, pillars, portrait galleries, a private lounge, a media room for interviewing artists and important visitors that was streamed live, and special provisions for curated walks. It also published a daily art newspaper for the duration of the fair for distribution to all visitors. A large book accompanied the display at the booth. K. K. HEBBAR RABIN MONDAL HIMMAT SHAH SAILOZ MOOKHERJEA J. SULTAN ALI AMBADAS K. H. ARA RAMKINKAR BAIJ S. K. BAKRE PRABHAKAR BARWE DHANRAJ BHAGAT BIKASH BHATTACHARJEE NIKHIL BISWAS PESTONJI E BOMANJI NANDALAL BOSE AVINASH CHANDRA CHITTAPROSAD D. P. ROY CHOWDHURY SHANTI DAVE ADI DAVIERWALLA BIREN DE G. R. SANTOSH PARITOSH SEN HENRY SINGLETON M. F. HUSAIN FN SOUZA KALIGHAT J. SWAMINATHAN RABINDRANATH TAGORE L. N. TASKAR KRISHEN KHANNA RAMGOPAL VIJAIVARGIYA RAM KUMAR JEHANGIR SABAVALA HIMMAT SHAH EARLY BENGAL OIL H. A. GADE MOHAN SAMANT S H RAZA JAMINI ROY GEORGE KEYT B PRABHA PROKASH KARMAKAR K LAXMA GOUD RANBIR KALEKA P. KHEMRAJ DEVYANI KRISHNA VED NAYAR K C S PANIKER GIEVE PATEL PORTRAIT A. RAMACHANDRAN PROSANTO ROY V. VISWANADHAN RAM KUMAR RAVINDER REDDY

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Any new exhibition brings with it a frisson of excitement, but by any measure India Modern: Narratives From 20th Century Indian Art has been extra special. Most art lovers take Indian modernism for granted—but how many can truly claim to know what it really means. For too many years, the term has been loosely used, with very little awareness of what it includes, or omits. What the West understands and takes as a given is something that in India still remains a mystery, perhaps because art in India cannot strictly be viewed from the same trope as Western art. Perhaps this is true of most countries, but it is especially true of colonised nations where new engagements with art in the West were imposed without the benefit of growing their own local practices organically. This hybrid custom developed at various levels, which makes it exciting when viewed from some distance, but also imposes a challenge. Therefore the question: What does modernism in Indian art imply? Akbar Padamsee Ambadas Anjolie Ela Menon Avinash Chandra B. Prabha Bikash Bhattacharjee Bimal Dasgupta Biren De Dhanraj Bhagat Dharamnarayan Dasgupta F. N. Souza G. R. Santosh Ganesh Haloi Ganesh Pyne George Keyt Gieve Patel H.A. Gade Himmat Shah J. Sultan Ali J. Swaminathan Jehangir Sabavala Jeram Patel Jogen Chowdhury K. G. Subramanyan K. H. Ara K. K. Hebbar K. S. Kulkarni Krishen Khanna Laxman Goud Laxman Pai M. F. Husain Manjit Bawa P. Khemraj P.T. Reddy Rabin Mondal Ram Kumar S. K. Bakre S.H. Raza Sakti Burman Sohan Qadri Somnath Hore Sunil Das

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