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England shaped Altaf’s political consciousness as well as his persona. He engaged in the anti-apartheid demonstration at Trafalgar Square held against the imprisonment of Nelson Mandela; a peaceful protest at the American Embassy opposing the bombing in North Vietnam; the Aldermaston March against the nuclear bomb; the Campaign for Nuclear Disarmament; he became a member of the Youth Wing of the Communist Party of Great Britain (CPGB) and the Young Communist League (YCL). Any examination of the theoretical aspect of Altaf’s work must start with the knowledge that the work in question exemplified an element of ‘existentialist’ thought. 

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A hop-in hop-off trail through the Calcutta underground metro rail, exploring the story of the murals that adorn the metro stations and enliven the everyday commute of millions of people.

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This exhibition takes us on a journey into the lives and works of artists from a diverse range of traditions and practices. Despite differences in technique, philosophy and politics, they are united by an attempt to forge a new language of Indian art which rebels against existing visual vocabularies while seamlessly combining influences from European modernism and the rich history of visual arts from South Asia. This assimilation is achieved in different ways. From M. F. Husain’s figurative renditions of Indian deities to the many languages of abstraction developed by artists like Ram Kumar, Ganesh Haloi and others—we see artists responding variously to the socio-cultural problems of a post-colonial nation.

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The showstoppers at the entrance of the DAG booth at the India Art Fair 2020 included a poignant painting of Draupadi’s saree being unfurled in the Kaurava court painted by M. V. Dhurandhar, alongside a work by an unknown artist in the style of the Early Bengal School—the oldest work on display. Together, they were a pointer to the masterpieces on display at the DAG booth, covering over roughly a century of art practice in India. DAG’s representation included some fine artworks such as a huge canvas by K. H. Ara, a ceramic sculpture by Mrinalini Mukherjee, a stunning canvas by Sohan Qadri, colourful abstract paintings by J. Swaminathan, Shanti Dave and G. R. Santosh, a masterful work by S. H. Raza, a lovely Jamini Roy, and paintings by M. F. Husain, Krishen Khanna, Paritosh Sen, J. Sultan Ali, Madhvi Parekh and others—each of unparalleled quality. J. SULTAN ALI BIKASH BHATTACHARJEE G. R. SANTOSH PARITOSH SEN EARLY BENGAL OIL K. C. S. PANIKER MADHVI PAREKH S. H. RAZA KRISHEN KHANNA SHANTI DAVE K. H. ARA PRABHAKAR BARWE M. V. DHURANDHAR M. F. HUSAIN HEMEN MAZUMDAR KSHITINDRANATH MAJUMDAR MRINALINI MUKHERJEE SOHAN QADRI JAMINI ROY J. SWAMINATHAN

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Khagen Roy hailed from Medinipur in present-day West Bengal and came to Calcutta to study art. However, he left the Government School of Art in Calcutta as well as the College of Arts and Crafts in Lucknow dissatisfied with their curriculum. A chance encounter with painter and sculptor D. P. Roy Chowdhury convinced him to join the Government College of Art and Craft, Madras. Learn More

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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

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What is the role of collectors and collections or archives in the world of art today? Does it simply allude to practices of producing a consumable past today or does it also aspire to question the ways in which history has been shaped by powerful interventions in the form of artworks, performances and installations?  In this series of conversations, we wanted to explore the idea of collecting recent or contemporary art—and how it inevitably takes us back to the moderns who influenced such practices heavily. 

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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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