A look at five women artists who redefined womanhood as a subject of enquiry.Read more ›
A look at five women artists who redefined womanhood as a subject of enquiry.Read more ›
WATCH NOW: The sculptor famed for his recent public installation Dabbawala, discusses his Buffalo series and the philosophy behind his art during a studio visit with Saffronart.Read more ›
We’ve put together a very, very concise guide on Modern and Contemporary Indian Art for our StoryLTD customers
If you’ve visited our sister site, StoryLTD by Saffronart, and spent hours (or minutes, for the impatient) sifting through our pages, this might come as some handy information for you. We’ve introduced succinct essays on most of our categories, going by genre and medium, to guide you on what each category has to offer. If you find yourself fancying some of the folk and tribal art paintings, or any of the landscapes for sale, browse through our collection and scroll to the bottom to learn more about them.
Here, we’ve summed up the Modern and Contemporary art movements, talking about the circumstances that shaped each generation’s approach to art.
An Overview of Modern Indian Art
We cover a broad spectrum of prints of Modern Indian paintings by Raja Ravi Varma, Sakti Burman, S. H. Raza, M. F. Husain, and other artists active in the early-to-mid 20th century.
During the early and mid 1900s, the dilemma for many artists centred around interrogating Western influences on artistic expression, establishing a distinct identity and idiom for Indian art, and engaging with the role and function of the artist in a country like India. The British encouraged a Western approach to art; a realistic, trompe l’oeil work was more valued than the practices previously favoured. As a knee-jerk reaction, different schools of thought, such as the Bengal School, cropped up to check colonialism and Western ideals.
Following India’s independence, artists addressed themes ranging from the everyday and trivial to the social and political, from the late forties through succeeding decades. Sculptors also experimented with different materials and techniques to lend a more personal and reflective quality to their work. By the 1970s, a number of social and political events unfolding across the country left an impression on artists. The role of the artist in a developing country and the need for social responsiveness were interrogated by these practitioners. This decade also saw many more women artists come forward on the artistic scene, the majority of them delineating a point of view that combined the feminist and the subjective.
Indian Contemporary art has come to include art made from the mid-80s onwards. Our section on StoryLTD features original paintings by contemporary artists for sale.
The modernism of the preceding decades set the tone of Indian artistic practice in the late eighties and nineties. The new generation had long moved on from the concerns that plagued artists in the earlier half of the century. During the 1990s, a pluralist and fragmentative mood dominated the creation of contemporary art. Artists had to respond to a plethora of stimuli, trying to address a new age of information, and the emergence and novel concerns of the ‘global Indian’. The Indian art market has ever since opened up abroad. Art galleries within the country have increased in number, and the Indian artist is now faced with the challenge of speaking to a more diffuse audience.
Today, the work of artists from the Indian diaspora, the blurring of design and art, and the videos, installations and digital spaces of an even younger generation of artists have all added new dimensions to Indian contemporary art, a vague and undefined concept ever-receptive to growth and change.
To buy Indian paintings and prints online, visit www.storyltd.com
Josheen Oberoi chats with Meera Sethi about identities, processes and her forthcoming projects
New York: Meera Sethi is a Toronto based artist of Indian origin. With a graphics design background and an artist’s curiosity. Meera’s art straddles many worlds; fine art and design, Indian and diaspora. Her work has been featured widely in publications like Vogue India, CNNgo and MTV Desi. Some of her works are now available on StoryLTD.
Her recent work has tackled complex questions about identity and migration with pictorially vivid imagery. She makes these questions accessible through her visual images in ways that allow us viewers to engage and celebrate them. As an admirer of her work, I was very happy to have an opportunity to learn more about her art. In our conversation below, Meera Sethi will trace the contours of her life as an artist and tell us how she creates her vibrant body of work.
Q: Meera, let’s start with the question of how your engagement with art began.
A: Although art was always my favourite subject growing up, I never planned to be an artist. I entered university interested in cultural studies, anti-colonial and feminist studies. I followed this through by completing a BFA in Art Theory and a Master’s in Interdisciplinary (Cultural) Studies. However, during my entire academic education, I was quietly working away as a self-taught graphic designer, accepting occasional freelance design projects.
Little did I realize at the time that it was the making of imagery, as opposed to its study, that would emerge as my passion. After graduate school, I went from working as an arts researcher, to being employed as a graphic designer, to eventually working full-time for myself as a freelance designer and now a visual artist. My life as a professional artist began unexpectedly after I spontaneously embarked on what was to become my first and most influential series – Firangi Rang Barangi – in the evenings after returning home from my 9-5 day job. What I saw surprised me: I had a natural inclination to combine colour with form.
Q: Where do you feel you are, as an artist, and what has brought you here?
A: It’s certainly been a journey. Now, when I look back at some of my earliest drawings and sketches, I see an interest in portraiture and depicting clothing. In fact, the only surviving artwork I have from when I was a child is a self-portrait done at age 5, in which I have attempted with much detail to convey the texture, colour and pattern of my plaid dress. When I rediscovered this drawing, I was shocked to see the similarity in my choice of subject 30 years on! Today, I find myself drawn to the cultural, political and spiritual lives of diasporic South Asians and the hybridity of our identities as expressed
Q: That is an interesting point because your work appears to function at the intersections of art and design to a great extent. Could you tell us about your approach and process?
A: I tend to look at things through the lens of design. What I mean by this is that I look at work for its aesthetic appeal and function before I enter the deeper meaning it conveys. I tend to use this approach in the making of my own work where I am as much concerned with the beauty and the function as I am with the story it is telling. I think this comes from my long history as a graphic designer who never fully fit into the art world. Not to discredit the important conversations happening within artistic communities, but I would still rather pick up a Creative Review or Eye than an ArtReview or Frieze. At the same time, I make art, not design. My work is not solving a problem or responding to a client brief. There is of course sometimes a fine line between the two disciplines. I am most comfortable on this edge. My research for new projects increasingly involves a combination of reading popular and academic articles, looking at art, design and craft sources, and meditating.
Q: You have also worked with large scale formats like murals. Please tell us about the work.
A: In late 2013, I completed my first large-scale public outdoor mural. It is a massive 44 feet x 39 feet wall-painting called “Intersections” that commemorates the cultural, social and political intersections made by LGBTQ South Asian communities in Canada. It’s a giant celebration of our organizing and partying, our identities, diversity and presence. The mural itself references Rabari mirrorwork from Rajasthan as a symbol of the unifying power of incredibly diverse South Asian textile traditions.
Q: Along with the large scale format, you actively work with prints and creating two different scales of the same visual images. Could you speak to that choice a little bit?
A: Much of my work is quite large in format, making the work difficult to transport and higher in cost. At the same time, the quality of line, colour and form in my work is quite even and sharp, so it translates well into a print medium. I like to make high quality, limited edition small-size prints available of some pieces as a matter of accessibility. In my mind, a simple but important intention is to have my work inspire the hearts and lives of others. To have my art seen by multiple people in daily life is one way to do this. Perhaps, indebted again to design, before making work, I often imagine it in someone’s home, where it makes a small but consistent impact on everyday life decisions by inviting a sense of beauty and joy.
Q: Tell us what comes next. Are you working on new projects?
A: I am in the process of working on three different projects. The most immediate is a new series of acrylic paintings on canvas called “On the Margins of the Divine” that look to Mughal miniature albums as a starting point. Next, is an international, collaborative performance art piece called “Unstitched” that takes a sari and creates a line of community and continuity among 108 people. And lastly, a two-part photography and mixed-media painting project called “Upping the Aunty” that celebrates our elders and their fabulousness!
Josheen Oberoi visits AICON Gallery’s expansive Sadequain exhibition
New York: It’s been a quiet month in the New York art world. With half the community decamping to Art Basel and the rest distracted by the blessed warm weather (we had a tough winter here!); interesting shows have been relatively thin on the ground. Not for South Asian art, thankfully. AICON Gallery is showing a mini retrospective of the Pakistani artist Syed Sadequain (1930-1987) and I was excited to see it not only for the quality of art but also the rarity of having access to such a body of work.
Occupying the entire expansive space of AICON’s Lower East Side gallery, this exhibit shows the gamut of Sadequain’s oeuvre. One of Pakistan’s most celebrated modernist artists, Sadequain was born in 1930 in Amroha, east of Delhi, in a family of calligraphers. He subsequently moved to Pakistan after his graduation from Agra University in 1948. He shot to fame at the young age of 31, when his work won recognition at the 1961 Paris Biennale.
A self-taught artist, he is most commonly identified with the development of a uniquely idiomatic calligraphic aesthetic. However, his visual language is in fact one of the most variegated and complex of the South Asian modernists working post 1947. He simultaneously worked through a variety of calligraphic, narrative, abstract registers, with artistic influences that ranged from multiple mediums; poetry, Western and South Asian historical artistic traditions. His compatriot, collaborator and famed poet Faiz Ahmed Faiz stated about his work, “In spite of his considerable pre-occupation with the solution of technical formal problems, Sadequain has never been purely a formal painter. Recordist, abstractionist, social critic, emotional visionary, within a few short years, Sadequain has sped from one role or compulsion to another with equal impetuosity.”
Sadequain’s engagement with language was seminal to his work and this is visible in this exhibition. Comprising twenty seven paintings and three drawings, the show is dominated by a collection of paintings from the 1960s, when Sadequain lived and worked in Paris. Titled The Lost Exhibition, this set of eight paintings are dancing figures of calligraphy; lyrical despite their scale. These works are considered examples of what the artist called “Calligraphic Cubism”. Employing the scratched surface technique on the background, the texture produces volume and three- dimensionality. Seemingly caught in action, the elongated movement of the script along the vertical axis make these works appear monumental in viewing. Sadequain described himself as a figurative painter and the dramatic execution of the Arabic Kufic script in these works, the ensuing conversations that are taking place on the canvas, did bring home that idea to me. These are the strongest works in the exhibit and definitely worth a dekko.
Some of Sadequain’s formally figurative works are also part of this exhibition and these underline the remarkable range of his visual vernacular. Line, form, perspective – I was hard won to find a singly unifying element among these paintings. One of the more striking of these was Man With Dagger, showing a man holding a dagger in one hand and a head that resembles his own in the other, accompanied by a smaller figure of a woman holding a leaf. These muscular renderings, so different from The Lost Exhibition, are echoed in another set of calligraphic paintings in the exhibition, Untitled (Abstract Formation I and II). Interestingly, the image of a severed head is repeated in one of the works on paper, Untitled, Headless Self-Portrait. It clearly shows the headless artist in a studio, with a work of calligraphy in the background.
In 1962, an edition of the Parisian newspaper Le Figaro rightly noted, “Sadequain adds up the impression of space, density, volume and the reality of matter, which transforms an abstract thought into a material fact in plastic.” He shifted the paradigms of calligraphy, especially in his realization of its abstracted and stylized forms. This post cannot effectively capture the entire spectrum of his languages and so I would strongly recommend a trip down to the gallery to see them yourself if you’re in New York.