Search results for: 'This man says ChatGPT sparked a ‘spiritual awakening.’ His wife says it threatens their marriage'

Sudhir Ranjan Khastgir was born on 24 September 1907 in Chittagong in present-day Bangladesh, and studied at Kala Bhavana, Santiniketan, under Nandalal Bose. Like his classmate, Ramkinkar Baij, he took up sculpture as a subject, continuing its pursuit in Lucknow under Hiranmoy Roychaudhuri in 1932, and under Ganpath Kashinath Mahatre, in Bombay, in 1933. The same year, he joined Scindia School, Gwalior, as a teacher and, later, Doon School in Dehradun. Learn More

Diana Campbell is the Artistic Director of the Samdani Art Foundation, now in its 10th year, and chief curator of the prestigious Dhaka Art Summit, whose sixth edition starts on February 3, 2023. She spoke with the DAG Journal’s editorial team to discuss her own curatorial process and how she makes room for experimentation, and unpacks the intriguing thematic of this new edition: ‘flood’, or bonna.

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G. R. Santosh created a hugely accomplished career without formal training in art. His abstract paintings made in the early 1960s had Kashmir as his muse, and often used encaustic and beeswax—a process he learned from Shanti Dave. Architect and designer Pinakin Patel shares his views about In the Snows of Kashmir, Santosh’s masterful painting with textural relief in a monochrome palette.

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S. H. Raza had begun to paint using oils, moving away from his impressionistic watercolours, on his way to winning the prestigious critics’ award in 1956. Just a year before, he completed a stunning painting of Parisian rooftops, revealing not a daylight scene but one of the night, only yellow lamplight from the streets dimly silhouetting the chimneys and sloping roofs. This period of Raza’s career is somewhat lesser known than his later, tantra-inspired works, as Ashok Vajpeyi and Aman Nath explain to us.

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A creative workshop for young people, from ages 12 to 14 years, interacting with the narratives depicted in history paintings, inspired by a special viewing of artworks from the museums’ vaults.

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What do you make of a work of art? What was the artist attempting to communicate? These video shorts offer brief overviews on artists and their work in the way of expert opinions by scholars, curators art writers—and by the artists themselves. Learn More

What do you make of a work of art? What was the artist attempting to communicate? These video shorts offer brief overviews on artists and their work in the way of expert opinions by scholars, curators art writers—and by the artists themselves. Learn More

What do you make of a work of art? What was the artist attempting to communicate? These video shorts offer brief overviews on artists and their work in the way of expert opinions by scholars, curators art writers—and by the artists themselves. Learn More

A guided walk of the first free circulating public library of India—Uttarpara Public Library—with researcher Sarbajit Mitra, traversing the history of regional literary cultures, and sifting through their vast archive to delve into the vibrant world of illustrated periodicals in colonial Bengal, followed by a poetry reading by Sujoy Prasad Chatterjee. 

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A guided walk by urban history researcher Sujaan Mukherjee, uncovering the forgotten histories of monuments and sites around the Indian Museum, and their changing fates after Independence.

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How did the multiple trajectories of visual arts develop in the subcontinent? Where did they originate and how did their paths converge? Drishyakala offers a sweeping journey into the heterogenous histories of visual arts in India, from the first European travelling artists who drew landscapes to popular prints of the earliest woodcuts and lithographs evolving into the thriving advertising visuals of the 20th century. The exhibition is broadly divided into four categories, each exploring an unique area of development—the art of portraiture through photography and painting, oriental sceneries drawn by European travelling artists, popular prints from the late eighteenth century to post-independence and artworks of the nine National Treasure Artists. Together, these sections give brief glimpses into the dizzying variety of forms, styles and languages of South Asian art.

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Laxman Narain Taskar’s paintings mirror the ideals of academic realism introduced by the British within their art education system. Indian artists were trained in naturalism, with lessons in soft effects of chiaroscuro and the three-dimensionality of the external world. History painting, perspective, and the copying of Victorian portraits became a vital ingredient within these art schools. Learn More