Friday, May 24, 2019

RANJANI SHETTAR Earth Songs for a Night Sky@TalwarArtGallery

Talwar Gallery Wed, May 15, 3:03 AM (9 days ago) to Talwar RANJANI SHETTAR Earth Songs for a Night Sky The Phillips Collection Washington DC May 16 - August 25, 2019 Opening Preview – Thursday May 16, 6 – 8 pm | Artist Talk – 6.30 pm Earth Songs for a Night Sky is a multi-faceted project by Ranjani Shettar (b. 1977, Bangalore, India). Drawing from her environment in rural India—with changing skies, monsoon rains, and lush vegetation—and employing traditional materials such as teak wood and indigo pigment, and techniques of carving, dyeing, and lacquer, Shettar has created hand-carved wood sculptures, a multi-part piece that wraps up the gallery walls, and an ethereal installation made of thread and wax. Occupying two rooms and the staircase of the original Phillips House, the project is conceived in dialogue with Wassily Kandinsky and Paul Klee’s works in the Phillips’s collection, which will also be on view along with Shettar’s works. Undeniably, what the work of the three artists have in common is a tension between the material world and spiritual aspirations, observation and introspection, and the act of seeing, making, and reflecting. TALWAR GALLERY New York | New Delhi Rummana Hussain | INDIA Pavilion @58th Venice Biennale, Italy Alwar Balasubramaniam | Becoming Nature @ Talwar, New York Sheila Makhijani | This, That and The Other @ Talwar, New Delhi

Thursday, May 2, 2019

#AlwarBalasubramaniam #BECOMINGNATURE May 4 - August 23, 2019 @#TalwarGallery New York

Talwar Gallery Apr 19, 2019, 11:09 PM to Talwar Withhold (2018) Untitled (2018-19) Up in the air (2018-19) Alwar Balasubramaniam BECOMING NATURE May 4 - August 23, 2019 TALWAR GALLERY 108 East 16th Street New York, NY 10003 Talwar Gallery New York is thrilled to present Becoming Nature, an exhibition of recent works by Alwar Balasubramaniam. The works in Becoming Nature reflect the artist’s sustained and ever-deepening relationship with the natural world—not only its landscapes or physical elements, but the forces that surround us. Working across a range of media and materials, Balasubramaniam, known also as Bala, focuses these life-giving forces in ways that make them visible and tangible—bringing the geological and elemental to human-scale. Up in the air renders the invisible process of evaporation into delicate sculptural form, for example—concentric rings of bright blue pigment condensing many long, slow moments of exchange between the object and the atmosphere around it. In a similar way, unseen movements of wind and air are recorded viscerally in the stippled, textured reliefs of Wind Fieldwhile the seemingly cracked earth surface of I was like you, you will be like me speaks to the cyclical exchange among the most basic elements of our world. Perhaps most notably, a new series of paintings present elegant and vibrantly colored panels, light and fleetingly detectable as the patterns of a bird’s plumage. The result of several processes of accretion and erasure by Bala, these paintings make beauty a matter of constant movement and transformation. Bala invites nature into these works, as participant as much as raw material—and invites us to meditate on processes that blur the lines between art and life, the natural and the aesthetic. The works that result represent neither the total control of the artist, nor his subordination to the sublime power of nature—but rather a thoughtful negotiation of the forces that extend beyond the control of any individual. Modeling a patient, playful, wonder-filled relationship to the world we dwell within, the works here exist as states momentarily excised from the ongoing flux and flow of life—the swells and tides, soft breezes and sudden inundations, that make the living world a matter of constant, unending change. Bala’s interest in the natural world has sustained his artistic practice for decades, but it became particularly focused after the artist’s move from urban Bangalore to a rural part of south India over five years ago. The move allowed for an intimate, close-up engagement with nature—an understanding of its processes born of daily observation and lived, corporeal familiarity. This kind of bodily knowing has been critical to Bala’s work over the course of his career—work which seeks continuously to investigate the possibilities of the senses to capture and engage with that which extends beyond them. With searching, always-curious attention, Bala probes our perception, pushing past normal habits of seeing, feeling, and relating - making visible what we otherwise overlook in the course of our daily living. Working across media—from intimate and barely perceptible to room-size installations—Bala harnesses the potentiality of each material to work in new and unexpected ways. In every case, his interest remains steady: to open our eyes and minds, quite literally, to the world around us. Bala's works have been featured in exhibitions worldwide, including The Museum of Modern Art (MoMA), New York; The Phillips Collection, Washington, DC; Guggenheim Museum, New York; Mori Art Museum, Tokyo, Japan; Kiran Nadar Museum of Art, New Delhi, India; Seattle Art Museum, Seattle, Washington; École des Beaux Arts, Paris, France; Essl Museum, Austria; National Portrait Gallery, Canberra, Australia, 1st Singapore Biennale; and 18th Sydney Biennale. Bala has been a guest lecturer at the Art Department of Cornell University in Ithaca, NY and a featured speaker at TED. Bala was born in 1971 in Tirunelveli, India, to where he recently returned to live and work. UPCOMING @58th Venice Biennale, Italy | Rummana Hussain - Our Time for a Future Sharing @The Phillips Collection, Washington DC | Ranjani Shettar - Earth Songs for a Night Sky On View @ Talwar Gallery, New Delhi | Sheila Makhijani – This, That and The Other

Wednesday, May 1, 2019

#Sculpsit - Between Thought and Action at #TheGuild, Mandwa, Alibaug till 25th May '19, curated by #SashaAltaf.

#ArtistsEexhibited and their Work titles N. N. Rimzon Untitled Bronze 2016 N. N. Rimzon Mother at the Field Bronze 2017 T. V. Santhosh Untitled Bronze 2016 . T. V. Santhosh Untitled Bronze 2016 Gieve Patel Eklavya Bronze 2006 Gieve Patel Daphne Bronze 2006 K. G. Subramanyan Untitled Bronze K. G. Subramanyan Untitled Bronze Private Collection K. G. Subramanyan Untitled Bronze ‘SCULPSIT: Between Thought and Action’, a group exhibition curated by Sasha Altaf, is currently being exhibited at The Guild in Alibaug. Artists including Anupam Sud, Akbar Padamsee, Baiju Parthan, Gieve Patel, Gigi Scaria, Himmat Shah, Jyoti Bhatt, K. G. Subramanyam, N. N. Rimzon, Navjot Altaf, Rajkumar Korram, Shantibai, Sudhir Patwardhan, and T. V. Santhosh are showcasing their work. Sculpsit: Between Thought and Action featuring at The Guild is an honest attempt to focus on the transformation of ideas to form where the creative process is delineated by series of drawings, terracota types and eventually transformed into sculpture. Sculpsit, the Latin phrase, he (or she) who sculpted it, was frequently inscribed on sculptures, and was followed by the artist's name. It may also be punningly read as a diminution of sculpture's situation.The term 'Sculpsit' means He or She sculpted it.Upto the 1870's book illustrations required two steps: The artist drawing the design on paper, and then the engraver translating it to wood or copper. Taking from this dialogic relationship between drawing to sculptiure, this exhibition envisions sculpture not as an (abstarct) continuum but as a material envelope that grows organically from the original drawing , sketch, maquette or photograph...whereby the artist plays both the role of the artist and the engraver, emphasising change and transcience, material and materiality. The image and the form reveal the complex interchanges and the ensuing interactions between the artists' drawings and translation of it into form. This unique exhibition curated by #SashaAltaf attempts to document the process involved in contemporary modes of expression through the expanded field of sculpture. The Art works displayed here engage the viewer in understanding the artistic form in which hard materials are worked into three-dimensional art objects. The creative process may not be entirely detailed but The designs embodied in freestanding objects, in reliefs on surfaces,are emphatic of the artistic vision that ranges from the ancient to post-modern to the eclectic set in contexts that envelop the spectator.

Tuesday, April 9, 2019

Modern Indian Painting - Connoisseurship & the Passion of Art Collecting #AsiaSociety #Pundoles

#ModernIndianPainting – #pundoles #AsiaSocietyDiscussionArtSeries #BuntyChand Tuesday, April 9, 6:30 pm onwards A conversation on the motivations and experiences of collectors on their journey to building a personal art collection with #KitoDeBoer and #AkshayChudasama, moderated by #RobinDean A conversation on the motivations and experiences of collectors on their journey to building a personal art collection with Kito De Boer and Akshay Chudasama, moderated by Robin Dean. Register Now Asia Society India Centre and Pundole's cordially invite you to a panel discussion and book launch centered around the motivations and experiences of art collectors on their journey to building a personal collection. Collecting art and art patronage have been an integral part of the arts ecosystem for thousands of years. It is the support of collectors, to artists and arts institutions, that has enabled the development of artistic practice and excellence over the centuries. While some collect art as an investment, others buy art to build a collection like any other connoisseur. To be a collector is to educate oneself about a particular form and its practice, and through the act of collecting placing oneself in a historical continuum that carries on for generations. One takes on temporary stewardship of an object which has art historical significance that only deepens over time. Committed collectors can spend a lifetime working on their collections, investing their time and resources to maintain and care for these artworks, which, especially in the Indian context given the lack of well-managed and functioning arts institutions, is a very important role. Join us as we speak to Kito De Boer and Akshay Chudasama about their journey in collecting, their extensive art collections, and their passion for the arts which drives them to do the work they do, in a conversation moderated by Robin Dean, Specialist in Indian Art at Pundole’s. The programme will also include an introduction to the recent Mapin publication 'Modern Indian Painting' which presents a survey of Indian painting from the late 19th century to the present day, drawn from the private collection of Jane and Kito de Boer. Kito de Boer and Jane Gowers are noted collectors of Indian art. Their collection, located in New Delhi, London, and Dubai and numbering about 1,000 pieces, is one of the largest and most varied collections of modern Indian art in private hands. The collection includes works by Rameshwar Broota, Vasudeo Gaitonde, K. Laxma Goud, M. F. Husain, Francis Newton, Ganesh Pyne, A. Ramachandran, S. H. Raza, and F. N. Souza. Akshay Chudasama is a Managing Partner - Mumbai Region, at Shardul Amarchand Mangaldas, specialising in Mergers & Acquisitions, Joint Ventures, Cross Border Investments, Private Equity, Real Estate, Hospitality, Franchising and Media & Entertainment law, with a vast experience in Cross Border Mergers & Acquisitions advising both foreign companies entering India and Indian companies in their outbound acquisitions, particularly in the Real Estate sector. He has been collecting art for over twenty years with a collection that ranges from Bengali masters such as Jogen Chowdhury and Lalu Prasad Shaw to more contemporary Indian Artists such as Nalini Malani, Bharti Kher and Asim Waqif and has recently moved into collecting International Contemporary Art. Rob Dean has worked in the field of Modern Indian Art since 1998. He has worked as a specialist of Modern and Classical Indian Paintings for both Christies and Sotheby's and now works independently as a gallerist, lecturer, and art consultant. In 2011 Rob became a co-founder of a new auction house Pundole's in Mumbai and has been at the forefront of Indian Art Auctions for the past 18 years.

Saturday, March 16, 2019

OUTREACH: Medals & Bullets, Angeli Sowani | Jehangir Art Gallery, Kala Ghoda, Mumbai | Tuesday, March 19th, onwards

OUTREACH: Medals & Bullets, Angeli Sowani | Jehangir Art Gallery, Kala Ghoda, Mumbai | Tuesday, March 19th, onwards

Artist’s Portrait: L.C.Tiffany, the Master of Stained Glass- BabaMail

Artist’s Portrait: L.C.Tiffany, the Master of Stained Glass The word “Tiffany glass” is used casually by many English speakers as just another way of saying “stained glass”, but do you know why it’s called that way? It’s not because Tiffany was the inventor of stained glass, as it was invented much earlier in the Middle Ages, but one could definitely say that Tiffany reinvented it. Louis Comfort Tiffany was an American artist and entrepreneur, and definitely the greatest master of stained glass of the past century. His works are like paintings, but often better, because paint lacks the translucence, texture and dimension that can be achieved with glass. Synonymous with luxury and fame, his works are scattered everywhere in the United States: from the White House to, quite possibly, your nightstand. Now let’s examine some of his works and dive deeper into his life story. Right: Lida Mitchell Fenton Memorial Window (1900) Louis Comfort Tiffany was born in New York City on February 18, 1848. And if his last name rings a bell, it’s because his father, Charles Lewis Tiffany was the founder of Tiffany and Company, the world-famous American jewelry brand. Madonna of the Flowers, Sarah Guild Memorial Window (1899) Arlington Street Church, Boston, Massachusetts Louis was an exceptionally talented child, he began painting very early on, and after getting an education in the United States, he continued studying art in Europe, which is where he gained his individual style and continuously drew inspiration from. Garden Landscape, Mural and Mosaic (1905–15) In 1879, after working at several stained glass workshops in Brooklyn, Louis decides to open his own business. With so much talent and his father’s connections, his business thrives, and very soon, Tiffany started taking orders for many New York churches and private clients. From the Collection of The Charles Hosmer Morse Museum of American Art In 1881, Tiffany designed the interior of Mark Twain’s home in Hartford, Connecticut, and only a year later, he was commissioned to redesign the interior of the White House. Tiffany’s artistic reach was not limited to stained glass windows and large interior decorations, he is also known for his impeccable lamp designs, vases and glasses, and other small decor items. The decision to produce small and more affordable items for the home wasn’t only a very wise business decision, but also the artist’s conviction that everyone deserves to have beautiful, inspiring things in their home. As for the artist’s style, it is quite obviously inspired by the art deco movement in Europe, and one can easily draw a similarity between Tiffany, Gustav Klimt and Alphonse Mucha (the link will take you to an article about the artist). In his works, Tiffany tried to emulate nature, as can be seen from the beautiful window design below. Autumn Landscape (1923-24) In fact, he had a sizeable garden in his own home and catalogued entire books full of flower and plant samples, from which he and his co-workers drew inspiration. Tiffany believed that nature has the most perfect and aesthetically-pleasing shapes and colors, and he transferred that natural beauty into his own works. Stained Glass at the Chicago Cultural Center (1893) Even his lamp designs and home decor items repeat many natural forms, especially plants and flowers, both in shape and ornamentation. Left: Leaded Favrile Glass & Bronze Lamp (1904-15); Right: Favrile Glass Vase (1899) As we've mentioned, many of his works are very reminiscent of art deco paintings, but the addition of pearl and translucent elements add a very light and elegant feel to the masterpiece, which can be lacking in murals and paintings. Feeding the Flamingoes Leaded-Glass Window (1892) Below you can see a part of the enormous stained glass window Tiffany executed for the Chittenden Hall at Yale University. This is considered one of the masterpieces of the author. Today, Tiffany is remembered as a distinguished artist, whose works contributed to a countless extent to the art of stained-glass making and elevated its status once more. Education, Yale University (1890) Image source: plum leaves