State of the Art

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Posts tagged with India

Can Site-Specific Artists Really Claim Space? The Georges Rousse Apnalaya Benefit Collection

June 28, 2014

Elizabeth Prendiville of Saffronart discusses appropriation in the site-specific work of artist Georges Rousse.

“Mumbai 2014/Shivaji Nagar IV” by Georges Rousse Photo Courtesy of StoryLTD

“Mumbai 2014/Shivaji Nagar IV” by Georges Rousse
Photo Courtesy of StoryLTD

Paris-based artist Georges Rousse is a master of layering perceptions for his viewers. Locations, shapes, and spaces that were once familiar are reformed and combined in unexpected ways forming a multi-dimensional work that presents itself as both familiar and foreign. This summer StoryLTD presents Rousse’s Apnalaya Benefit Collection. This location is an interesting choice for the artist who often works in ruins or forgotten architectural spaces. In contrast, the Apnalaya center’s mission focuses on rebuilding the lives and communities of individuals in the poorest slum neighborhoods of Mumbai. I see a noteworthy correlation between the artist’s dedication to revitalizing and repositioning locations through his work and the center’s goals for supporting and improving nearby communities. Both the artist and the center create change in seemingly bleak circumstances. But how does the artist’s process bring new life into a location while still honoring the true history of the space? Unlike deteriorating ruins or forgotten spaces, the Apnalaya center is alive and active, making it harder to find this appropriative balance. Can Rousse truly claim a space as his own when the singular purpose of the location is fostering greater communities? This brings forward an intriguing discussion in regards to site-specific work in general.

Georges Rousse and his team from the Apnalaya center Photo courtesy of Apnalaya

Georges Rousse and his team from the Apnalaya center
Photo courtesy of Apnalaya

 

Rousse’s work has been acclaimed internationally for his unique utilization of multiple mediums simultaneously molded together to create a single dynamic piece. His practice typically consists of creating a site-specific installation using paints and other traditional mediums to bring a new aesthetic to the space. In the case of the Apnalaya collection, large stars were painted in the space to create a playful effect of physical depth and perspective. After completing the space Rousse photographs it, creating a permanent and tangible testimony of the artistic occurrence. The photograph is intended to last, while the installation is temporary. Throughout his work we see the fleeting and liminal quality of public art installations in juxtaposition with the documented finality of photography.

 

Installation with the Apnalaya Team Photo courtesy of Apnalaya

Installation with the Apnalaya Team
Photo courtesy of Apnalaya

Although the pieces in this collection appear simple in composition and color scheme initially, they have an entrancing quality that invites you into a unique space that is only truly represented in the artist’s photographs. He achieves the perfect balance of removing viewers from the familiar and paying visual homage to an everyday location.  The familiarity and safety of a school works in dialogue with the slightly dizzying change of perspective. Rousse’s “Nagar” series (I, II, III, IV) allow viewer’s perspective to dictate how they take in the work. The iconography in these pieces is nothing new. However, the placement and technical choices both in the original installation and the photography create an open-ended product that gives viewers freedom to determine their own viewpoint. Simply viewing the work I found it difficult to determine what is a manipulated through photography and what is in the actual space. Rousse is successful in creating an engaging mysterious quality for his viewers; familiar landscapes are tweaked to transport you elsewhere. However, with this visceral appropriation in mind, is the original space truly honored or is it simply a stepping-stone to the artist’s final product?

The Apnalya Benefit Collection will be shown on StoryLTD through July 15th. However, limited edition prints are selling fast. Find out what pieces are still available for sale here. You can also learn more about Rousse’s process by watching a video by the artist here.

 

 

Campaign Furniture: Historical Function and Design

March 7, 2014

Elizabeth Prendiville of Saffronart shares a brief introduction to campaign furniture anticipating the upcoming sale “Elegant Design”.

Upcoming Saffronart Sale "Elegant Design"

Upcoming Saffronart Sale “Elegant Design”

 

New York: Campaign furniture has a distinct role in history due to its unique blend of beautiful aesthetic and simple usability. Born out of necessity, the construction of these furniture pieces was revolutionary. It can be distinguished by its ability to breakdown and fold into an easy to transport state. This quality is typically constructed with the help of brass hinges or foldable legs and sides, while still maintaining a beautiful and high quality design motif.

A piece from the upcoming Saffronart sale "Elegant Design"

A piece from the upcoming Saffronart sale “Elegant Design”

Historically these pieces were made popular by the British Army in the 18th and 19th century and were typically used by travelers and military officials in the pursuit of colonial efforts. The British Army required pieces that represented the warm luxuries of home, but would not burden or weigh them down while on their campaign. As the call for these “knock-down” styles increased, the finest furniture and luggage makers began to compete over who could make the most opulent pieces while still maintaining a light and malleable design. They ranged from full-scale living furniture to carrying cases for food and toiletry items.

A piece from the upcoming Saffronart sale "Elegant Design"

A piece from the upcoming Saffronart sale “Elegant Design”

This piece of history represents a very distinct time of global expansion including major explorations in the east. “The administrators and armies of the British Empire in the Indian subcontinent were perhaps the largest consumer of campaign furniture leading to high quality local manufacturing of durable, practical and elegant ‘knock-down’ chairs, tables, desks, bookcases and beds” (J and R Guram). Furniture fit for the leaders of the British Army proved to be successful in popular culture and still remains in style today due to its durability and utilitarian beauty. A number of contemporary craftsman still continue this tradition and it is often seen in outdoor furniture, indoor furniture and high end collectible items alike. From an interior design perspective Campaign Furniture offers a balance of graceful antiquity with modern functionality that will continue to be sought after for decades to come. While this design technique began out of necessity, in present day it represents a historical golden age of travel and global expeditions. Campaign furniture will be honored in the upcoming sale “Elegant Design” featuring items such as a desks, tables, luggage and travel accessories. For more information on the sale and the items shown in this article please visit the auction website here.

The Charm of Ebony

March 4, 2014

Saffronart’s forthcoming auction ‘Elegant Design’ features some amazing ebony furniture. Elisabetta Marabotto unearths the fascination with one of the most enduring and sought-after of woods

A Stunning Anglo Indian Ebony Table for Special Occasions Featuring in The Elegant Design, Saffronart, 25-26 March 2014

A Stunning Anglo Indian Ebony Table for Special Occasions Featuring in The Elegant Design, Saffronart, 25-26 March 2014

 London: Our upcoming Elegant Design auction features a collection of stunning furniture, as well as silverware and other rare finds. Quite often, silver takes over other pieces, perhaps because of its sheen and value. What about the appeal of less lustrous objects—wood, anyone? I’ve decided to dedicate this post to ebony—a wood that we all know is valuable, yet doesn’t pop in to our heads while talking about valuable objects.

Have you ever wondered why ebony has been so popular and sought after?

Let’s begin with the basics. Ebony (diospyros ebenum or Ceylon ebony) is a native wood of southern India and Sri Lanka. Its hardness allows for beautiful intricate carvings. The wood acts as a natural insect repellent and its smoothness— once polished—produces a black lustre similar to that of Chinese or Japanese lacquer, giving it a beautiful radiance.

The production of ebony furniture in India seems to have first begun along India’s Coromandel Coast, a textile-producing region where a number of East India company trading factories were based. Turnery (the art of making objects using the lathe) was and still is one of the most fundamental and outstanding of Indian arts. European visitors have expressed their admiration for this art form since the sixteenth century. A Dutch traveller, Georg Rumphius, recorded that “the Coromandel Coast ‘is exceptionally richly provided of this [ebony] as the natives make from it all kinds of curious works, as chairs, benches and small tables, carving them out with foliage, and sculpture”(Victoria & Albert Museum Collection, London). Also Francisco Pelsaert , a Dutch merchant who worked for the Dutch East Indies Company, noted in 1626 that in Tatta, Sindh, “Ornamental desks, draught-boards, writing cases, and similar goods are manufactured locally in large quantities; they are very prettily inlaid with ivory and ebony, and used to be exported in large quantities to Goa and the coast towns.” Writing at the close of the seventeenth century, Captain Cope, an officer of the East India Company,  confirmed that at Tatta, ‘They make fine Cabinets, both lack’d and inlaid with ivory'( Victoria & Albert Museum Collection, London).

Luxury Relaxation, An Ebony Chaise Lounge, Featuring in the Elegant Design, Saffronart 25-26 March 2014

Luxury Relaxation, An Ebony Chaise Lounge, Featuring in the Elegant Design, Saffronart 25-26 March 2014

Europeans have, however, been acquainted with ebony since the Classical Age.  References to the wood can be traced to Marco Polo’s books. By the 17th century, ebony had become one of the most appreciated of Indian woods in Europe, and quickly grew to be the most highly priced wood of that century.  The first mention to Parisian cabinetmakers, ébénistes, dates to 1638, and, incidentally, the term finds its roots in “ebony”.   Many European merchants in India adapted to these local customs which were previously discussed but others brought furniture from home or commissioned Indian artists to create western style fur­niture for them. This made the production and exchange of furniture quite varied, since traditional objects were produced along with western style furniture made of Indian materials.

These kinds of pieces, such as the ones featuring in our auction, are extraordinary because they witness the merging of western and Indian motifs as well as materials which makes these objects unique and rich of history.

The Perfect Durability for Family Gatherings and Dinner Parties Featuring in The Elegant Design, Saffronart, 25-26 March 2014

The Perfect Durability for Family Gatherings and Dinner Parties Featuring in The Elegant Design, Saffronart, 25-26 March 2014

Colonial furniture, like the furniture in our catalogue, has been admired since the 16th century up to contemporary times for its versatility, elegance and practicality and it has the power of adding beauty, distinction and interest to any interior setting whether modern or traditional.

Now that you know a little about ebony, you shouldn’t miss the opportunity of owning one of these unique objects of art. Drop by the Mumbai gallery to view our lovely collection of ebony furniture, among other prized woods.

L.N. Tallur To Debut At Nature Morte

January 9, 2014

Elizabeth Prendiville of SaffronArt shares an announcement about L.N. Tallur’s “ UKAI (Cormorant Fish Hunting)” in Delhi.

New York: L.N. Tallur has established a strong career through his sculptural pieces that convey a greater meaning and commentary on our contemporary world. His training and work experience worldwide have provided a vast approach to reoccurring societal plagues and inspirations that are present in all of his work. While he touches on historically rooted techniques each of his pieces employs a thematic response to time, want, greed, nostalgia and other elements of human life. His new show “UKAI (Cormorant Fish Hunting)” starting on January 11th at Nature Morte, will display all new works and embodies that metaphorical message that he is known for. Currently, the artist resides in both India and South Korea and utilizes inspirations from a variety of cultural standpoints to depict his metaphorically driven work.

Even the title “UKAI (Cormorant Fish Hunting)” is filled with a greater meaning from the artist’s perspective. In this name he is referencing the medieval Chinese and Japanese technique of fishing with help of trained cormorant birds. Each cormorant bird (or “Ukai” in Japanese) is controlled by a knot at the base of the throat that prevents them from devouring the fish and instead allowing the fisherman to obtain the spoils of their hunt. This collision between human desire and nature is Tallur’s well-crafted illustration for the presence of greed in our society, specifically within global labor out-sourcing.

Tallur’s sculptures expand on these themes through depictions of manipulated figural shapes as well as a wide variety of materials such as wood, metals and mixed media. The artist takes an earnest and aggressive approach to these themes while still remaining playful and explorative in his work.

 

Prior to his solo exhibition at Nature Morte, L.N. Tallur debuted his solo exhibition “Quintessential” at the Dr. Bhau Daji Lad Museum in Mumbai in 2011. In addition to “UKAI” his solo exhibition “Balancing Act” is currently being show at the SCAD Museum of Art in Savannah, Georgia.  While in South Delhi this winter, do visit the curatorial space Nature Morte to take in this eclectic exhibition. “UKAI (Cormorant Fish Hunting)” will be on display through February 8th 2014. To learn more about this exhibition and Nature Morte visit their website here. 

Convergence: Contemporary Art from India and the Diaspora

January 1, 2014

Shradha Ramesh summates a curatorial note by Professor Kathryn Myers

New York : “Convergence: Contemporary Art from India and the Diaspora” an exhibition held at the William Benton Museum, University of Connecticut (14 October to 15 December 2013) is visual entourage of Indian Modern and Contemporary art.This exhibit encapsulated a different perspective on Indian art, with artworks dating from 1940’s to the present.

Aptly titled, the oeuvres of fifteen artists with different stylistic rendition converge under one roof. Each one of these artists set out on their own creative expedition to explore a common issue of identity and the continued power of place in the current global scenario. While inquiring the conundrums of identity and place the exhibition walked through a vast expanse of repertoire ranging from photographs to new media.

 

Image courtesy Benton Museum. Convergence: Contemporary Art from India and the Diaspora”, 2013, installation view. William Benton Museum of Art, University of Connecticut.

Image courtesy Benton Museum.
Convergence: Contemporary Art from India and the Diaspora”, 2013, installation view.
William Benton Museum of Art, University of Connecticut.

A combination of emerging and internationally recognized artists adds a new visual narration.The list of artists has stalwarts like Madhvi Parekh, Waswo X. Waswo , Ravi Agarwal, Anupam Sud ,Sanarth Banerjee, Siona Benjamin, Neil Chowdhury, Sunil Gupta, Hanuman R. Kambli, Bari Kumar, Vijay Kumar, Sachin Naik, Annu Palakunnathu Matthew, along with  young emerging artists such as Sujith SN, and Avinash Veeraraghavan, are ensemble of contemporary Indian art. These artists are of Indian origin, of which nine artists are from India and the rest six live and work from United States and London.

 

 

Image Courtesy: Connecticut Suresh Playing Hanuman, from the series A Studio in Rajasthan (2007–present). Black-and-white digital Print

Image Courtesy: Connecticut
Suresh Playing Hanuman, from the series
A Studio in Rajasthan (2007–present). Black-and-white digital
Print

Professor Kathryn Myers’s  passion and love for Indian art and culture that started in 1999, has transpired into a fine curatorial collection at the museum.According to Professor Myers, the concept “ “Convergence” emphasizes  how works of art continue to act as key avenues through which we increase our knowledge of and more fully invest in the world we inhabit.” One can experience this each of their works. Creating a strong link between Indian Art and education Professor Myer’s has played a pivotal role in compiling this collection.  Her collaboration with the William Benton Museum sowed the seeds for the first Indian Modern Art exhibit in 2004 called Masala: Diversity and Democracy in South Asian Art. The exhibit had 250 works of traditional, folk, popular, and contemporary art that filled three gallery spaces of the museum.  While “Convergence” is a contemporary sequel to “Masala” that revisits select work of the collection and also introduces audience to artists.

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