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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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Art Lab by DAG’s Museums Programme is a pop-up art exhibition of facsimiles of works from the DAG Museum Collection that travels to schools and introduces students to modes of visual learning. After two successful iterations in CBSE and ICSE schools in Kolkata, Art Lab travelled to its first Bengali medium West Bengal Board school—Barisha Janakalyan Vidyapith for Girls. Through three days of workshops spread across two weeks, the students interacted with the artworks, learnt the basics of research, delved into historical material, and developed their own creative projects. Take a peek at some of the wonderful projects they curated as they took over the exhibition and made it their own.

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It was in the 1970s that the government of India declared nine artists as National Treasures, attesting to the significance of their contribution to the shaping of modern Indian art identity. ‘Navratna: Nine Gems of Indian Art’ was a unique opportunity to see seminal works by all the nine together, to understand the uniqueness of their collective contribution, at Drishyakala, a joint collaboration between DAG and the Archaeological Survey of India. Learn More

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Henry Singleton’s The Last Effort and Fall of Tippoo Sultaun belongs to a genre known as history painting: the depiction of important historical events, usually on a large scale, as if they were playing out in front of one’s eyes. Author and parliamentarian Shashi Tharoor and art historian Giles Tillotson explain the lively imagination deployed in Singleton’s painting that depicts the British assault on Seringapatam and the killing of its ruler, Tipu Sultan—himself the source of so many stories that it was difficult to unravel the truth from the many falsities spun by the biased colonial administration and historians of the time.

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Samuel Bourne (1834—1912) was a British photographer known for his prolific seven years' work in India, from 1863 to 1870. Landing first at Madras, then Calcutta, he travelled across the subcontinent—leading some of the earliest photographic trips to the Himalayas—and wrote about his first impressions of the places he visited.

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A well-known poet and essayist, Prayag Shukla is also one the foremost writers on art in Hindi. He has authored monographs on artists like J. Swaminathan, M. F. Husain and Ambadas, expanding upon these artists’ relationships with local institutions and contexts of art-making in India since the 1960s.

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What wonder it must have been for the people in England to ‘see’ India for the first time, the exotica that they had only heard of until then! The artists who made this possible through their paintings and aquatints were the uncle-nephew duo of Thomas Daniell and William Daniell, whose magnum opus, Oriental Scenery, was the subject of this landmark exhibition at Drishyakala, a joint collaboration between DAG and the Archaeological Survey of India.

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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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When we launched the Silver Series in May 2020 as our attempt to stay engaged with art-lovers no longer able to visit our galleries, we were unsure of the response. But the feedback we received was heartening, and it was backed by commensurate sales to prove that the art-loving fraternity supported the initiative and gave it a resounding thumbs-up. J. Sultan Ali Altaf Amit Ambalal Amitava Anonymous (Early Bengal) Anonymous (Kalighat Pat) Anonymous (Portraiture) K. H. Ara Prabhakar Barwe Bikash Bhattacharjee Nikhil Biswas Nandalal Bose Eric Bowen Shobha Broota Sakti Burman Avinash Chandra Jogen Chowdhury Sunil Das Prodosh Das Gupta Shanti Dave Rajendra Dhawan M. V. Dhurandhar K. Laxma Goud Satish Gujral Zarina Hashmi K. K. Hebbar M. F. Husain George Keyt Krishen Khanna K. S. Kulkarni Ram Kumar Rabin Mondal S. Nandagopal Laxman Pai Gogi Saroj Pal Madhvi Parekh Jeram Patel Ganesh Pyne Sohan Qadri A. A. Raiba S. H. Raza P. T. Reddy Rekha Rodwittiya Jamini Roy G. R. Santosh Paritosh Sen F. N. Souza Anupam Sud Ramgopal Vijaivargiya

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The India International Centre at New Delhi, in collaboration with the Amar Nath Sahgal Trust, presented a large suite of works by Amar Nath Sahgal (1922—2007), one of post-independent India’s foremost sculptors, in order to celebrate his centenary year in March 2023. 

 

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This exhibition is significant as it marks one of the largest-ever shows of the Progressives and their associate members. It also celebrates the genesis of the Progressive Artists’ Group in Bombay in 1947 and its continued link with the city. Akbar Padamsee Bal Chhabda F. N. Souza H. A. Gade K.H. Ara Krishen Khanna M. F. Husain Mohan Samant Ram Kumar S. H. Raza S. K. Bakre Tyeb Mehta V. S. Gaitonde

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