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Art Lab is travelling pop-up exhibition on Indian modern art, that transforms classrooms into museums and creates an immersive, participatory learning environment for learners.

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Chittaprosad Bhattacharya (1913-1978) was a versatile artist and a lifelong adherent of the socialistic worldview. In 1943, he traveled across the famine-stricken villages of Bengal and produced realistic sketches of human suffering that were regularly published in the pages of the Communist Party journal 'People’s war'. These sketches were later compiled and published as a booklet under the title 'Hungry Bengal'. Fascinated by his artistic skills, the General Secretary of Communist Party of India, Puran Chand Joshi took Chittaprosad to the Party’s headquarters in Bombay (now Mumbai). 

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Born in Devakottai in Tamil Nadu, Rm. Palaniappan often incorporates the syntax of the sciences such as diagrammatic notations, and symbols, in his work. The memory of the first sight of the earth from above, while on a flight, also appears frequently in the form of maps, grids, and aerial terrain. Another important trope in his works has been imagery associated with the flying machine, inspired by his fascination with Second World War cinema. Learn More

A founder-member of the Progressive Artists’ Group, Sadanandji K. Bakre was born in Baroda, Gujarat, on 10 November 1920. He obtained a diploma in modelling and stone carving from Sir J. J. School of Art, Bombay, following which he was a pilot with the Air Force during the Second World War. Learn More

Prabhakar Barwe (1936-95) could well have ended up a theoretician whose book 'Kora Canvas' (Blank Canvas) was a manifesto that established the multi-dimensional relationship between an artist, the object on which he paints, and his subjects. That he was not just an intellectual scholar but an artist whose work speaks for him, is evident through a range of works in which Barwe dissects our understanding of the world and how we view it. Taking commonplace objects and our perception of their existence in the space they occupy, he shifts the dialogue to a point of discomfiture that makes us question our understanding of them. Using scale, discordant juxtapositions, and displacements, he reimagines the everyday in a manner that is thought-provoking, even provocative, as alternate realities—whether perceived or imagined.

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In a career spanning four decades, Amitava’s location as an artist has determined the authority that he brings to his practice. As an artist studying and working in the 1960s, Amitava Das experienced a decade of fragmented locii. The ’60s, the period of his education at the College of Art, was the decade of wars, fiscal difficulty and an uncertain polity in the wake of the death of Jawaharlal Nehru. Further, as a second generation pravasi (non-residing Indian) Bengali, the roiling political violence of West Bengal’s Naxal movement came to him through the filter of poetry, film and art—much as he would have received the existential writing of Camus, Genet and Rilke. Through the 1960s and ’70s, small groups of artists and filmmakers in different pockets in India had a heightened response: the state of the nation found an uncanny echo in the language of modernism, of the artist’s isolation and purity even within a state of uncertainty.

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Alita Chandra, daughter of the artist Avinash Chandra reflects on the transcultural influences on his painting and his preoccupation with female subjects.

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