5 Ways to View Amazing Art Online

As the ongoing pandemic across the world ensures that most of us are confined to our couches, the art world is finding creative ways to deal with the situation. Since we can’t go to museums, galleries or fairs, they are being brought to us instead. Here are our top five recommendations for art that you can view safely and virtually.

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8 Themes in Miniature Paintings

Our upcoming exhibition, Living and Inspired Traditions, features works by contemporary artists that draw from the various schools of Rajput and Mughal miniature painting, and portray iconic themes and subjects including the Ragamalas, Baramasa, Gita Govinda, royal portraiture, mythology and more.

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Postwar: Art Between the Pacific and the Atlantic, 1945-1965

Guest contributor Ananya Mukhopadhyay reviews the exhibition, on view at Haus der Kunst, Munich, until 26 March 2017

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Image courtesy Grosvenor Gallery

Haus der Kunst’s ongoing exhibition Postwar: Art Between the Pacific and the Atlantic, 1945 – 1965 takes as its premise the ruptured discourses of nationalism and humanism which were sharply brought to light during and following the Second World War. The exhibition traces the global artistic response to the cataclysmic events of the Holocaust, the atomic bombs of Hiroshima and Nagasaki, and the enduring political schisms of the Cold War. In addition to rehabilitating waning and Nazified ‘degenerate’ European modernisms, Postwar surveys the contributions of artists from pan-Asian, African and American backgrounds. In doing so, curators Katy Siegel, Okwui Enwezor and Ulrich Wilmes follow in the footsteps of Rasheed Araeen, whose seminal exhibition The Other Story: Afro-Asian Artists in Post-War Britain was held at the Hayward Gallery in 1989. In another sense however, Haus Der Kunst goes further than to simply subvert the hegemony of Western Modernism. ‘Postwar’ becomes a condition that is not topographically constrained: it is a global consciousness of a violent modernity which counts partition conflicts, decolonisation and the rise of new technologies among its various geopolitical faces. Indian and Pakistani artists are featured prominently in this recent survey of alternative voices.

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Image courtesy Grosvenor Gallery

Baroda artist Jeram Patel is on view alongside Araeen, Anwar Jalal Shemza and Mohan Samant in a section of the exhibition dealing with materialism, entitled ‘Form Matters’. Patel is perhaps most well-known for his experimental brutalisations of the picture surface with a blowtorch, and also for his black abstractions on paper which are seen as in-betweeneries, or illustrations for the interstitial spaces of experience. Postwar, however, exhibits a dark, highly textured oil-on-board composition. A luminous window floats atop the murky abstraction which dominates the picture plane. The curious referentiality of this window element suggests a beyond, a concealed au-delà which emphasises the very instrument of its obscurity: the material blackness of the foreground. The physically ruined postwar landscape had prompted a concern with this kind of material manipulation, with the surface transformed from mediating membrane into the primary site of expression. Highly prized by Alfred Barr, Mohan Samant’s tactile Green Square (1963) is also presented as an embodiment of this trope.

Another area of the exhibition focuses on ‘New Images of Man’, highlighting the major crisis of humanism which characterised the postwar period. Existential questions are combined with a concern for nation building in the works on view here, including Man (1951) by M.F. Husain and Head of a Man Thinking (1965) by F.N. Souza. Husain’s monumental canvas is largely articulated in the colours of the Indian flag, featuring folk dancers, nude female bodies and the sacred cow. The central character of Man is a pensive black figure, drawing the eye by virtue of its chromatic negativity, and raising the question of identity in a newly independent India. Souza’s Head is a similarly charged work of dappled blackness, a stigmatised colour in the context of ubiquitous racial conflicts and migratory movements across not only Indian but global borders.

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Image courtesy Grosvenor Gallery

In the context of modernity as cosmopolitanism, Postwar posits the work of Krishen Khanna, Avinash Chandra and Pakistani artist Sadequain. Chandra’s typical blurring of the line between abstraction and figuration permits the entwinement of various different figures, distinguished by their varied colours and rotund, interlocking forms. While Chandra’s Early figures (1961) is decidedly erotic in its staging of heterogeneous characters, Krishen Khanna’s News of Gandhiji’s Death (1948) uses depicted newspapers to divide up and isolate the various figures on the canvas, thematising separateness within a community, despite their unifying interest in a tragic event.

Krishen Khanna, News of Gandhiji's Death (1948) Image courtesy Grosvenor Gallery

Krishen Khanna, News of Gandhiji’s Death (1948). Image courtesy Grosvenor Gallery

Postwar: Art Between the Pacific and the Atlantic, 1945-1965 is on view at Haus der Kunst, Munich, until 26 March 2017.

Retracing Ribeiro

Guest contributor Ananya Mukhopadhyay reviews Indian modernist Lancelot Ribeiro’s London exhibition

An exhibition at the Burgh House & Hampstead Museum in London marks the beginning of a year-long programme of events to explore and celebrate the work of the late Indian painter Lancelot Ribeiro. As part of the 2017 UK-India Year of Culture, Retracing Ribeiro is a Heritage Lottery-funded project which will examine the artist’s vibrant and often understudied oeuvre through a series of exhibitions and talks.

Having first travelled to the UK in 1950 to study accounting, Ribeiro quickly became disenchanted with both the London weather and his chosen vocation. While living in London Ribeiro acted as studio assistant to his half-brother, Francis Newton Souza, and also started to create his own works. He eventually abandoned his accountancy course and enrolled in St. Martin’s School of Art. Shortly after his graduation however, the artist was required to leave London for his National Service in the Royal Air Force, somewhat interrupting his artistic development. Following his discharge, Ribeiro returned to India and held several successful solo exhibitions before returning to England in mid-1962.

untitled-blue-and-green-landscape-1961Untitled (Blue and Green Landscape), 1961
Image courtesy Grosvenor Gallery

Renowned gallerist Nicholas Treadwell was to be a great champion of the Indian artists who had settled in post-war London, selling their work door-to-door from his furniture van-cum-gallery space. As part of Asian Art in London 2016, Treadwell gave a talk at the British Museum recalling his dealings with Ribeiro and contemporaries Bakre and Souza as he trundled up and down the country in his mobile gallery. All three artists featured in Grosvenor Gallery’s show Indian Modernist Landscapes 1950-1970: Bakre, Ribeiro, Souza, on view 3 – 12 November at 32 St. James’s Street, London.

rib-untitled-white-landscape-1964Untitled (Red Landscape with Dome), 1966
Image courtesy Grosvenor Gallery

Retracing Ribeiro is a chance to experience the extraordinary range of painterly styles practiced by the late modernist, from rare, naturalistic watercolours of Hampstead Heath, to expressionistic Goan landscapes punctuated with the spires and domes of his childhood. The artist’s pioneering use of PVA mixed with fabric dyes in the early 1960s presaged the widespread uptake of acrylic paints in the years that followed, a feat with which Ribeiro is rarely credited. His careful oil compositions have equally received little attention, in spite of their enduring vibrancy and strength of expression.

The Retracing Ribeiro exhibition will be on view at Burgh House & Hampstead Museum until 19 March 2017, while a heritage display from the Ribeiro archive will be on show at the Camden Local Studies and Archives Centre from 6 February 2017 – 31 March 2017. Forthcoming events include talks by David Buckman, author of Lancelot Ribeiro: An Artist in India and Europe, and an evening of lectures and music at the Victoria & Albert Museum early next year. For more information and a full calendar of events, visit www.lanceribeiro.co.uk/news.htm.

Art and Activism at Broad Art Museum

Amit Kumar Jain reflects on The Artist as Activist, a joint exhibition by Bangladeshi artists Tayeba Begum Lipi and Mahbubur Rahman

The Eli and Edythe Broad Art Museum opened a landmark exhibition on two leading Bangladeshi artists, Mahbubur Rahman and Tayeba Begum Lipi, earlier this month. Considered as the forerunners of contemporary art practice in Bangladesh, Rahman and Lipi are also well-known for having co-founded, and currently running, the Britto Arts Trust, a non-profit organisation supporting young artists, since 2002. Their first major museum exhibition, The Artist as Activist brings together an extensive body of the duo’s collective work under one roof, which has “emerged from their shared journey as a husband and wife, and reflect their continual interchange of ideas and pursuit of like-minded themes,” according to curator Caitlin Doherty.

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The Eli and Edythe Broad Museum, Michigan, USA. Image courtesy: Amit Kumar Jain

Doherty transforms the museum space effectively, by dedicating a gallery to each artist and showcasing works from various periods of their career. Lipi’s section is designed as a quiet, intimate and personal space, making the viewer look inwards to the role of the women in the Bangladeshi society. Her works look at the domestic, and how the woman negotiates the constant tussle of her personal ambitions and societal demands. As one moves through the gallery, one moves through her body, culminating in a womb-like, protective environment, where she secludes her innermost desires and emotions from the taxing outer world. This is the space where My Daughter’s Cot, an empty cradle made of stainless steel razors, signifies the vast contradiction between the personal and the societal, and gives a sense of longing in what is supposed to be a beautiful, but threatening symbol of motherhood.

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My Daughter’s Cot, Tayeba Begum Lipi, 2012. Image courtesy: Amit Kumar Jain

Contrary to Lipi’s gallery, Rahman’s artworks speak for the abject, dissatisfied man, beginning with a self-portrait series of charcoal drawings that depict the artist screaming in frustration, in response to his own helplessness and inability to fight the political and social failure of his country. He approaches activism through social commentary, highlighting the plight of the indigo farmer through an ongoing performance piece titled Transformations. In Sounds from Nowhere-8, Rahman symbolically captures the pain and the loss that followed the collapse of the eight-storied Rana Plaza building in Dhaka, which caused death and injury to thousands of garment factory workers. He navigates his own identity in the contemporary political history of Bangladesh, a nation still recovering from two wars. Rahman’s gallery becomes more vocal and versatile as he adapts to multiple mediums in highlighting the struggles he shares with his fellow citizens in a postcolonial, developing country.

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Charcoal drawings by Mahbubur Rahman. Image courtesy: Amit Kumar Jain

The last gallery brings together the works of Lipi and Mahbub under a common endeavour. Through their non-profit organisation, they initiated a project to work with the transgender community in Dhaka. Reversal Reality, a solo project by Lipi, compares the living realities of the artist and co-collaborator Anonnya, a transgender woman, while focussing on the struggles of the latter. While Lipi’s project takes on the individual, Rahman’s video project Time in a Limbo looks at the transgender community through their rituals, dialogues and practices. The museum has proposed to use this gallery with the LGBT community of East Lansing, and hopes to bring Anonnya to the United States to share her experience.

The Artist as Activist is the first major exhibition from South Asia at the Broad Art Museum, and will continue till 7 August 2016. Previously, the museum had showcased a project by Mithu Sen and an exhibition of works by Imran Qureshi and Naiza Khan.

—Amit Kumar Jain, Curatorial Consultant for The Artist as Activist

 

Exhibition details:
The Artist as Activist
Featuring: Tayeba Begum Lipi and Mahbubur Rahman

Dates:
5 March – 7 August 2016

Venue:
Eli and Edythe Broad Art Museum
Michigan State University
547 East Circle Drive
East Lansing, MI 48824
USA

 

 

 

 

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