Search results for: 'maya the bee'

Photographer Nemai Ghosh has been the quintessential Satyajit Ray biographer through his decades-long close association with the master filmmaker. Over a lifetime of work, he has built up a vast and valuable photographic archive, now housed at DAG.

2020 marks a special year in mankind’s history and India’s destiny. Often used in reference to development goals, 2020 has taught us to never take things for granted. While humanity has made major leaps, even conquering outer space, nature has shown us how little we know about it, and how little we appreciate what we have. 2020 has taught us to review our values. We have suffered but also been comforted, and we have learned to acknowledge that irrespective of our joys and sorrows, our triumphs and our failures, the world will not stop, it will go on. Husain Rabin Mondal Santosh Jehangir Sabavala Mohan Samant Swaminathan Paramjit Paramjeet Ramgopal Vijaivargiya Seal Singh Dasgupta Haren Das Shanti Dave Jagadish Dhanapal Dhurandhar Bipin Behari Goswami Laxma Goud George Keyt Ara Nandalal Bose Jyoti Bhatt Natvar Bhavsar Eric Bowen Shobha Broota Avinash Chandra Sanat Chatterjee Shiavax Chavda Hebbar Khemraj Krishen Khanna Walter Langhammer Jeram Patel Aroomogam Pillay Raza Reddy Jamini Roy Vasudev Viswanadhan Manu Madhvi Parekh Laxman Pai Dhirendra Narayan Dharamanarayan.

India’s Rockefeller Artists showcases iconic works of the Indian painters and sculptors who travelled to the US on philanthropic grants from the JDR 3rd Fund (1963–1979) and later through the Asian Cultural Council. These artists were exposed to American art and shared their own learnings and experiences through these enriching cultural exchanges. The show examines how and why these artists were selected; their relationships with each other and the American art milieu; the impact of the experience on their work; and the creation of a community of Rockefeller artists.

For millennia, Banaras has captured the imagination of poets, writers, philosophers, and artists. Its sacredness, music, textiles, and food have been extensively explored and commented upon. It has been a muse for countless artists, who have found an abundance of inspiration on the ghats that skirt the Ganga, and in the city's narrow streets and crowded alleyways.

Gogi Saroj Pal, seen often as one of the first ‘feminist’ women painters in modern Indian art, has consistently explored the condition and inner life of women. Women’s lives, their desires and compulsions, and the complex and magical world of the feminine have been Gogi’s frequent subjects. In her work, Gogi explores and responds to the vast reserve of myths, fables and lore that abound in India, interested in excavating, in particular, its religious and literary traditions. She traces and frequently creates new mythical/celestial female beings of great strength and potency, such as the Hathyogini-Kali—skilled yoga practitioner and potent female force—who assert themselves in a modern landscape where women are frequently denied agency.

The exhibition Tantra on the Edge: Inspirations and Experiments in Twentieth Century Indian Art is a pioneering attempt to gather together works of sixteen prominent Indian artists under the single thematic rubric of the transient but least definable phases of contemporary art in the last century. The exhibition features the artworks, inspirations, and experiments, of artists that had a sustained relationship with tantra philosophy, its vivid, abstract, sacred symbols, or their personal spiritual illuminations. Biren De G. R. Santosh Gogi Saroj Pal J. Swaminathan Jyoti Bhatt K. C. S. Paniker Manu Parekh P. T. Reddy Prabhakar Barwe R. B. Bhaskaran S. H. Raza Satish Gujral Shobha Broota Sohan Qadri Sunil Das V. Viswanadhan

This exhibition looks at the diverse range, moods and styles that primitivism has taken in India, some artists practicing entirely in that style, while others experimenting with it in part, or sporadically. One can count simplicity and a move away from sophistication as key components, as also an inclination or at least a nod towards the folk. The exhibition does not attempt to be a comprehensive survey of India’s primitivists—there are others who would bear inclusion—but is an attempt to understand a body of work and how, given its Western countenance, it can be understood in the Indian context. More than anything else, it offers a clearer view than in the past of what primitivism might mean in the context of modern Indian art. Amrita Sher-Gil F. N. Souza George Keyt Himmat Shah J. Sultan Ali Jamini Roy Jogen Chowdhury K. G. Subramanyan K. S. Kulkarni M. F. Husain Madhvi Parekh Mohan Samant Rabin Mondal Rabindranath Tagore Ramkinkar Baij Sunayani Devi

The pinwheel of emotions is the genesis of our current exhibition, 'Navrasa: The Nine Emotions of Art'. This unique treatise of emotions and moods has formed the foundation for the performing and visual arts in India. As we researched deeper to explore the dynamics it shares with Indian modern art, we found that all emotions are intrinsically linked with each other, that they trigger actions and reactions and are catalysts for change. 'Navrasa' explores Indian modernism and looks at the works of masters through the nine primary emotions, and breaks new ground in the visualisation of Indian art. Raiba A. H. Muller A. Ramachandran Altaf Amal Nath Chakladar Amit Ambalal Anonymous Anonymous (Bengal ‘School’) Anonymous (Early Bengal School) Anonymous (Early Bengal, Kalighat Style) Anonymous (Kalighat Pat Anupam Sud Arpana Caur Arun Bose Arup Das Asit Haldar B. N. Arya B. Prabha Badri Narayan Bijan Choudhury Bikash Bhattacharjee Bireswar Sen C. Douglas Chintamoni Kar Chittaprosad D. P. Roy Chowdhury Dattatraya Apte Dharamanarayan Dasgupta F. N. Souza G. Reghu Gogi Saroj Pal Gopal Ghose Gopal Sanyal Haren Das Indu Rakshit J. Sultan Ali Jagadish Dey Jai Zharotia Jamini Roy Jaya Ganguly Jogen Chowdhury Jyoti Bhatt K. C. S. Paniker K. G. Subramanyan K. H. Ara K. K. Hebbar K. S. Kulkarni Kanchan Chander Kartick Chandra Pyne Krishen Khanna Kshitindranath Mazumdar Laxman Pai M. F. Husain Madhvi Parekh Mukul Dey Navjot Nemai Ghosh Nikhil Biswas P. S. Chander Shekar P. T. Reddy Paritosh Sen Prodosh Das Gupta Prokash Karmakar Rabin Mondal Radhacharan Bagchi Raja Ravi Varma Rameshwar Broota Ranbir Singh Kaleka S. Dhanapal Sakti Burman Sanat Chatterjee Sanat Kar Satish Gujral Satish Sinha Shyamal Dutta Ray Somnath Hore Stefan Norblin Subba Ghosh Sudhir Khastgir Sukhvinder Singh Sunil Das Sunil Madhav Sen Thota Vaikuntam Tyeb Mehta V. Nageshkar

This historic exhibition based on the association twenty-seven Indian artists had with art institutions, museums and art movements in Paris throws light on France as a cradle of modernism and what Indian artists gained from this relationship. Akbar Padamsee Amrita Sher-Gil Anjolie Ela Menon Arun Bose Chintamoni Kar Himmat Shah Jehangir Sabavala Jogen Chowdhury K. K. Hebbar Kanwal Krishna Krishna Reddy Laxman Pai Laxman Shrestha Nalini Malani Nasreen Mohamedi Nirode Mazumdar P. Khemraj Paritosh Sen Prodosh Das Gupta Prokash Karmakar Rajendra Dhawan Ram Kumar Sailoz Mukherjea Sakti Burman Sunil Das Syed Haider Raza V. Nageshkar V. Viswanadhan Zarina Hashmi

Sunayani Devi picked up a paintbrush in 1905 when she was thirty years old while supervising her kitchen duties, self-taught, but with enough talent to attract the critical attention of Stella Kramrisch who organised an exhibition of her paintings in Germany in 1927. It was in her worthy footsteps that India’s women artists followed. Devayani Krishna was born five years after Sunayani Devi began painting; Amrita Sher-Gil already had a career in Paris by the time India’s first art school-trained woman artist, Ambika Dhurandhar, earned her diploma in Bombay. B. Prabha followed next, her work reflecting the realities of the marginalised in a piquant language. By the time Nasreen Mohamedi and Zarina Hashmi, both born a decade before Independence, established their careers, women were joining art schools in greater numbers, validating their practice not on the basis of their gender but on its context. Anupam Sud Devayani Krishna Gogi Saroj Pal Latika Katt Madhvi Parekh Mrinalini Mukherjee Navjot Rekha Rodwittiya Shobha Broota Zarina Hashmi

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.

With the cultural calendar being packed till spring, join us as we travel through some of the most popular ongoing or upcoming art fairs and biennales. Take a close look at artists who bring modernist ideas to the contemporary art context. With some ubiquitous names from the twentieth century art world accompanied by a few of those that have been historically overlooked, discover how ideas around the Modern have evolved through these fairs and biennales, as we focus on notable artists from each art festival and delve into their practice.