Raqib Shaw’s ‘Paradise Lost’ at Pace Gallery

Ipshita Sen of Saffronart shares a note on Raqib Shaw’s current exhibition at Pace Gallery.

New York: Raqib Shaw once again makes his mark in the New York public art scene. With his last show in 2008 at the Metropolitan Museum of Art, this year Pace Gallery holds a three-venue exhibition of the artist.

Image

Arrival of the Ram King – PARADISE LOST II, 2011-2013. Oil, acrylic, enamel, glitter and rhinestones on Birch wood
http://artdaily.com/news/66103/Monumental-exhibition-spans-all-three-of-Pace-s-25th-Street-galleries-in-Chelsea#.UpFrLGTk9cQ

 The exhibition titled ‘Paradise Lost’ is based on the theme of John Milton’s Paradise Lost. His works are a blend of Indian mythological figures, half man half beast, warring through renaissance inspired landscapes. They are an interesting juxtaposition between Indian miniatures and classical Western architecture. This series of work portrays the triumph of the East over the West –illustrated through the shattered monuments depicted in the works.

His artistic oeuvre is unique and distinctive. Sir Norman Rosenthal says that “Shaw creates truly modern transformations of lost worlds of culture that arise from the exotic gardens of Kashmir to the memories that lie ‘imprisoned’ in the great museums of the Western World.”

Raqib Shaw is born in Calcutta and educated in London. He has had a solo exhibition at the Tate Modern in 2006 and several other group shows.

This exhibition is on until January 11, 2014

Bedazzled by JAR

Shradha Ramesh reports on ‘Jewels by JAR’ exhibited at Metropolitan Museum of Art

New York:  In 1978, New York born Joel Arthur Rosenthal well known as JAR opened Place Vendôme in Paris. Since then the stalwart continues to rein the contemporary artists of gems. Dedicated to creating the finest of finest dazzling jewels in the world, Place Vendôme is the epicenter of his creation. It is one of his seminal endeavors and key entry point into the jewelry industry. Known for his detail oriented eccentric craftsmanship Rosenthal follows a labor intensive, intricate design process called the pavé technique – a process of placing small stones besides each other on a metal alloy. His creation is lauded not just for its craftsmanship and quality but also his selection of themes and colors. With an overarching theme of ephemeral changes in flowers – buds, bloom or falling petals and butterflies his brooches and rings are a unique sculptural rendition. During the press preview, curator Jane Adlin describes his work “I think Joel is best known for his technique of pavé. He’s discriminating but indiscriminate in his use of gemstones,” Adlin said. “So he’ll mix very, very fine perfectly cut, perfectly flawless gemstones with some that are not. He will use lesser quality stones. He will use lesser-known stones. But the outcome is this extraordinary piece of jewelry, which if you just put it on your dresser or your coffee table it would in fact be a piece of sculpture.”

Photograph by Jozsef Tari. Courtesy of JAR, Paris Raspberry Brooch, 2011, Rubies, diamonds, bronze, silver, gold, and platinum. Collection of Sien M. Chew

Photograph by Jozsef Tari. Courtesy of JAR, Paris
Raspberry Brooch, 2011,
Rubies, diamonds, bronze, silver, gold, and platinum.
Collection of Sien M. Chew. Image Credit: http://jewelrynewsnetwork.blogspot.co.uk/2013/11/jewels-by-jar-dazzling-display-of.html

In 35 years of making jewelry Rosenthal’s works rarely did he display his work in public. Being opinioned and structured he tends to focus more on quality and the aesthetic value. With particular buyer in mind his craftsmen from Switzerland and France create 70 to 80 pieces a year, Rosenthal feels “Getting the right things on the right people is part of making those things.” He is specific about who wears his jewels, he chooses his seller and sometimes refuses to sell his jewel if the design doesn’t suit the wearer. Rosenthal’s clientele are selective group of ardent connoisseurs and his collection cater to them to name few – Elizabeth Taylor, Elle Macpherson, Barbara Walter, Ann Getty, Mary Pinault and Jo Carole. Having said that, in recent years his auction results have been sky rocketing, his jewels sell for twice the price at auction resale than when they are bought first hand.

Photograph by Jozsef Tari. Courtesy of JAR, Paris Lilac Brooches, 2001 Diamonds, lilac sapphires, garnets, aluminum, silver, and gold. Private collection

Photograph by Jozsef Tari. Courtesy of JAR, Paris
Lilac Brooches, 2001
Diamonds, lilac sapphires, garnets, aluminum, silver, and gold.
Private collection. Image Credit: http://jewelrynewsnetwork.blogspot.co.uk/2013/11/jewels-by-jar-dazzling-display-of.html

And for the first time Rosenthal will be represented in United States at the Meteropolitan Museum of Art. A retrospective exhibit the collections are some of his finest creation ranging from earring, brooches and watches lent by private collectors. “JAR has been creating masterworks for over 35 years and hasn’t had a major solo exhibition in the U.S.,” associate curator Jane Adlin says.

A repertoire of 400 jewels designed by Joel Arthur Rosenthal will be on display at the Metropolitan Museum of Art, starting November 20, 2013 the exhibit Jewels of JAR will be on display until 9th March 2013.

To learn more about the exhibition Click Here.

Imran Qureshi’s Inaugural Solo Exhibition in Rome

Elisabetta Marabotto of Saffronart suggests a visit to the MACRO in Rome for Imran Qureshi’s first solo exhibiton in Italy

Installation Shot at MACRO, Rome

Installation Shot at MACRO, Rome

London: The MACRO (Museum of Contemporary Art of Rome) is hosting Imran Qureshi’s first solo exhibition in Italy in collaboration with Deutsche Bank.

After being nominated Deutsche Bank “Artist of the Year” 2013 and after completing a large scale site specific installation at the MET in New York, Qureshi concludes a very successful artistic year with this exhibition.

Installation Shot at MACRO, Rome

Installation Shot at MACRO, Rome

Qureshi, one of the leading contemporary Pakistani artists, is internationally renown for the creation of contemporary miniatures. The artist in his work discusses the current socio-political situation in Pakistan including delicate topics such as terrorism using mainly traditional painting techniques on wasli (handmade paper). The dichotomy between violence and hope, destruction and creation are also permanent features in his art as well as the evocative red colour and the flower pattern which denote Qureshi’s optimism and peaceful resistance.

Imran Qureshi in an interview with Amna Tirmizi Naqvi said about his choice of studying miniature paintings:

“I did not choose it, it kind of chose me. I was adept at it and therefore Professor Bashir, the teacher who was conducting the course, insisted and declared that he felt I was really suited for it. I chose painting but he kept insisting. Contrary to his opinion I had my own misgivings and I replied that the tradition did not suit my temperament. He quoted a mahawara, which is witty idiom in Urdu. He stated that “we can tell from the aroma emanating from the cauldron about the condition of a single grain of rice”. I thought that if a teacher is conveying this idea with such persistence, there must be some truth in it.”

Installation Shot at MACRO, Rome

Installation Shot at MACRO, Rome

The present exhibition features recent works by Qureshi, some of which had been exhibited at the Deutsche Bank Kunsthalle in Berlin, including miniatures, oval canvases as well as site specific installations. The museum space is fitting to Qureshi’s works as it offers a classical presentation for the miniatures and a contemporary environment for the installations.

The exhibition stimulates the viewers to embark on a critical discourse on culture, politics and religion and their misconceptions and stereotypes.

Below you can enjoy a selection of the works on display.

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The exhibition is on until November 17, so you are still in time to visit Imran Qureshi’s first Italian solo exhibition at the MACRO in Rome! For more information click here.

Past, Present and Future of The Metropolitan Museum of Art, New York

Tarika Agarwal attends a talk by Dr. Thomas P. Campbell, Director of New York’s Metropolitan Museum, in Mumbai

Thomas Campbell Talk in MumbaiMumbai: On March 29, Jnanapravaha hosted a talk by Dr. Thomas P. Campbell, the Director of the Metropolitan Museum of Art, New York, in Mumbai. Dr. Campbell is the ninth Director of the Metropolitan Museum. Before becoming Director in 2009,  he worked at the Met’s Department of European Sculpture and Decorative Arts for fourteen years, rising steadily through various curatorial ranks.

The Metropolitan Museum of Art, New York

The Metropolitan Museum of Art, New York

Dr. Campbell spoke about the beginnings of this iconic institution, its history, current program and future plans. An idea, that’s how the Metropolitan Museum started out. They owned nothing and all they had was a basic social and moral premise that the world should have access to great art. They believed that anyone that came to the Met should leave with a heightened sense of thought and as the world developed so would the Met. The story of the museum is a tale of determination, civic responsibility and profound generosity. What was perhaps a wildly ambitious concept in 1870, in 143 years it has grown into the greatest encyclopedic museum in the world today. The Met’s concept was to collect, preserve, study, exhibit and stimulate appreciation for and advance knowledge of works of art.

The Metropolitan Museum of Art in 1870

The Metropolitan Museum of Art in 1870

Some of the phenomenal achievements the museum has had over the years include acquiring J.P. Morgan’s collection in 1914, the Mona Lisa exhibition in 1963, which attracted over a million visitors during its course, and a Picasso Show in 2010 which was entirely drawn from a personal collection. The Met also has a comprehensive collection of art from the Indian sub-continent, collected since 1891, from the early beginnings of the museum. The holdings include sculpture, painting, textiles, and various other media that span from about 2500 B.C. to modern times. A small part of this collection is exhibited in the Herbert and Florence Irving Galleries of South and Southeast Asian Art as well as the new Islamic wing titled Art of the Arab Lands, Turkey, Iran, Central Asia, and Later South Asia. Click here to learn more about this wing.

Dr. Campbell was in India to facilitate a path breaking partnership with the Ministry of Culture, Government of India. Last week, the Met Museum and the Ministry signed a memorandum of understanding expressing mutual willingness to establish a long-term relationship of cooperation. This cooperation will extend in the areas of conservation, exhibition, academic research, sharing of information and published resources, public education, promotion, publications, museum management, and short- and long-term loans. Read more about this partnership here.

Imran Qureshi Invited to Undertake Roof Garden Commission at Metropolitan Museum

Tarika Agarwal shares details of a forthcoming commission by Pakistani contemporary artist Imran Qureshi at the Metropolitan Museum, May 2013

517765-ImranQureshi-1362750738-642-640x480New York: Imran Qureshi, born in Pakistan in 1972, is a leading Pakistani contemporary artist. He is trained in the celebrated ancient Mughal miniature art form, and is best known for his minutely detailed paintings that borrow from the style of traditional miniature paintings. In his work, he merges traditional techniques with contemporary social, political and cultural subjects to create a new expressionist idiom. His paintings are a visual commentary on the contemporary realities of his homeland – modern day Pakistan.

Imran QureshiModerate Enlightenment2007Gouache on Wasli8.5 x 6.5 inFrom: Saffronart's 24 Hour Auction: Art of Pakistan, Lot 31Exhibited and published: Hanging Fire: Contemporary Art from Pakistan, 2009-10

Imran Qureshi
Moderate Enlightenment
2007
Gouache on Wasli
8.5 x 6.5 in
From Saffronart’s Art of Pakistan Auction, Lot 31
Exhibited and published: Hanging Fire: Contemporary Art from Pakistan, 2009-10

Qureshi has been invited to undertake the prestigious Roof Garden Commission at the Metropolitan Museum, New York. He will create a site-specific work atop the museum’s Iris and B. Gerald Cantor Roof Garden this summer. Considered one of the leading figures in developing a “contemporary miniature” aesthetic, integrating motifs and techniques of traditional miniature painting with contemporary themes, Qureshi is the first artist to create a work that will be painted directly onto the surface of the Roof Garden. His installation, The Roof Garden Commission: Imran Qureshi, will be on view from May 14 through November 3, 2013 (weather permitting). A book titled ‘The Roof Garden Commission: Imran Qureshi’ will also be published in conjunction with the installation. It will provide the artist’s perspective and other contexts in which to consider the projects. The installation at the Metropolitan Museum is organized by Sheena Wagstaff, Chairman, and Ian Alteveer, Associate Curator, of the Department of Modern and Contemporary Art.

The Iris and B. Gerald Cantor Roof Garden

The Iris and B. Gerald Cantor Roof Garden

Qureshi is known for creating large-scale environments in architectural spaces, addressing  the site’s historical and political associations. Through his works like Blessings Upon the Land of My Love (2011) commissioned by the Sharjah Art Foundation, ornamental foliate motifs sourced from miniatures are transposed to a large scale through the careful layering of spilled and hand-applied paint. The result surrounds the viewer and transforms the site. In November 2012, Qureshi was conferred with the prestigious Deutsche Bank’s 2013 Artist of the Year Award. Learn more about his practice here.

Imran Qureshi, Blessings Upon the Land of my Love, 2011. Site-specific installation, commissioned by Sharjah Art Foundation.

Imran Qureshi, Blessings Upon the Land of my Love, 2011. Site-specific installation, commissioned by Sharjah Art Foundation.
Image courtesy: http://www.domusweb.it/en/art/sharjah-10-a-report-from-the-emirates/

Some of the other artists who have exhibited or been commissioned to create works for the museum’s annual Roof Garden installation include Jeff Koons (2008), Tomás Saraceno (2012), Ellsworth Kelly (1998), Roy Lichtenstein (2003),  Cai Guo-Qiang (2006) and  Frank Stella (2007).

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