 | ||||
| SHIVA CONSCIOUSNESS |
Mobile Phones : 08717007839 , 8717007664
Email : virender.inexile@facebook.com
Facebook Page : https://www.facebook.com/virender.inexile
Showing posts with label art. Show all posts
Showing posts with label art. Show all posts
Tuesday, July 2, 2013
Art Works of Virender Sumbly
Art Work Of Virender Sumbly
Artist : Virender Sumbly
Mobile Phones : 08717007839 , 8717007664
Email : virender.inexile@facebook.com
Facebook Page : https://www.facebook.com/virender.inexile
Mobile Phones : 08717007839 , 8717007664
Email : virender.inexile@facebook.com
Facebook Page : https://www.facebook.com/virender.inexile
Wednesday, June 26, 2013
Gopal Samantray Art Works
GopalSamantray was born in the village of Adhanga in Orissa in 1976. He is among those artists who have carved a niche of their own in the past few years. GopalSamantray’s creations attempt to address the gigantic problem of global warming. An onlooker always tends to stop for a second and think about it and thus his works always elicit a dialogue with the viewer.
Source : http://tadarts.in/artistdetail/gopal
Source : http://tadarts.in/artistdetail/gopal
Aanchal Wazir and Tuttu M Tomy
Art Works of Aanchal Wazir and Tuttu M Tomy
AanchalWazir and Tuttu M. Tomy work as a schizoid unit, as nouveau art machine, not enamoured by power and individuality, but fuelled and inspired by the all-consuming fire of love, the love for chaos, the love for speed, the love for God and Truth, and last but not the least, a ceaseless love for humanity.
Source : http://tadarts.in/artistdetail/aanchal%20wazir
Saturday, June 22, 2013
Art Works of Abir Karmarkar
Abir Karmakar was born in 1977 in Siliguri, West Bengal. He completed his Bachelor's degree in Visual Art from Rabindra Bharati University, Kolkata, in 2001, and then his Master's degree in Fine Art from the Faculty of Fine Arts at Maharaja Sayajirao University, Baroda, in 2003.
Source : http://tadarts.in/artistdetail/abir
Art Works of Anuj Kumar Poddar
Anuj Kumar Poddar was born in 1967 in Bokaro, Jharkand. He completed his BA in (FINE) painting from M S University, Vadodara. He uses glass extensively. He has showcased his works in various solo and group exhibitions in India and abroad – solo showing of artworks at Artcore, Vadodara (1996), Group Show, “Satyagrah”, Durban , Africa (2006), Group Show at Jehangir Art Gallery, Mumbai (1994), Group Show, “Time & Material”, The Stainless Gallery , New Delhi, Group Show, “Palletes from Heart”, Jehangir Art Gallery, Mumbai -- to name a few.
Source : http://tadarts.in/artistdetail/anuj
Friday, June 21, 2013
Art Works of Arunanshu Chowdhury
Born in 1969 in Hoogli, West Bengal,
Arunanshu Chowdhury studied art at the Faculty of Fine Arts, Maharaja
Sayajirao University of Baroda, acquiring both his Bachelor’s and
Master’s degrees in Fine Art there.
Source : http://tadarts.in/artistdetail/arunanshu
Art Work Of Anjana Mehra
Anjana Mehra’s body of work gives voice to the trials and tribulations faced by those who have been displaced from their homes during times of conflict. The plight of the innocent victims caught in the midst social, political and religious unrest is what Mehra attempts to depict in her large format canvases.
Source : http://tadarts.in/artistdetail/anjana
Thursday, June 6, 2013
Art Residency Program 2013
Residency begins - 1st August 2013
Residency duration - 3 months & 6 months
Number of artists to be selected in first batch - 6
Venue - Gurgaon & Delhi
LAST Date for accepting applications 5th July 2013
All artists interested please email your profile with images of your latest works to rukmini@tadarts.in
Tuesday, June 4, 2013
Chintan Upadhyay at Art and Ale Episode 2
The artist who jokingly referred to his newest work as ‘animal art,’ because he lets it decay naturally, explained how he wound up making models of babies and many site-specific works influenced by his humorous outlook on life, gregariousness and philosophical introspection. He chatted with Shana Maria Verghis
Chintan Upadhyay said that he was recently planning to hold a show of his work, using his house as the exhibition hall but the neighbors disagreed.
“There would have been too much crowding because some of the pieces were very big,” shared the artist, who has been working on the theme of ‘home’ for a while. “Funnily, this incident made me feel yet again that the idea of the home has a lot of implications and stories around it. An earlier work (still in progress) featured a house made from Britannia biscuits that he left unattended on the ground in the open. First the monkeys came. And then cows arrived. The structure was slowly demolished. Now I’m going to be doing something on the same lines and let rats and monkeys have a go,” he said with a grin.
“I call this ‘animal art’. I was pondering over the concept of ‘home’ because of personal reasons. When you build a house, the same thing happens in a different way. People consume the house from outside and within.”
Chintan was having a pow-wow with us after he had shared his process during the second session by TAD arts at The Pint Room where an artist and the audience interact. It was in the Ambience Mall, giving the session a live-buzz, as people trolled the area around. You could see them through the large glass windows that looked down on the floor below.
The poor mike system made it difficult to hear words clearly however. For a while now, Chintan who was born in Rajasthan during 1972, has been working on large sculptures and site-specific installations, but he said he plans to return to painting.
He took us through art that he has been creating from around 2002, after mentioning that artists are doing a lot of collaborations across the board–with scientists, with musicians.
“Such synthesis of the two is an idea of the time we live in. We’ve gone beyond this now. I, for instance have worked with craftspeople. When something like that happens, who am I? The artist generating an idea. Someone exploiting craftspeople. Collaboration is now taken to a different level.”
For a long time he has been using babies in his works. Large models of their bodies. Sometimes just heads. They aren’t just plain babies, but have various details on the surfaces. And when those change (the artist finds they are growing more detailed with the years), its in tandem with the world.
He reflected, “I don’t understand my own work sometimes. It took a while to realise why I was making the babies. I then realized I was replicating certain ideas about changing environment, and they were a by product of the time. They weren’t real and were constantly modifying. As I mulled, I realized Indians also have an obsession with babies — particularly male babies. I didn’t give the babies identity. They could have pink skin but be any country or character. I find there’s a parallel here with computers and systems. Technology is a form of a control system. The notion is that if one can control systems, one can control everything.” He continued, “It’s similar with food, ideas, genetics. My parents still think I’m a baby and want to control me. If you put a mobile in the baby’s hands, your thoughts turn to topics like consumption. All control systems are detached from nature. They are artificial environments, like this mall. Even the plants here might not be real.”
This probably explains why he has done a lot of site-specific work in rural areas, closer to nature. But initially he did paintings on sexuality and masculinity. He was stirred into it by the sight of couples in parks, and remarked to us, “Do you know Delhi has around thirty-two thousand parks, but there is not enough space in people’s homes?” He also superimposed traditional craft designs to large stamps painted with images of icons like Madhubala, James Dean. He has dealt with subjects like pollution of a river in Mumbai, and used a traditional Japanese game, Kaiawase, as an excuse to enter locals in Tokyo’s lives.
He doesn’t seem to think much about permanence of art, though, recalling an artist who hung a work on a tree. Next day it was missing. Locals had thrown it into the lake. “They found the rope holding it in place more valuable and took it away!”
Chintan Upadhyay said that he was recently planning to hold a show of his work, using his house as the exhibition hall but the neighbors disagreed.
“There would have been too much crowding because some of the pieces were very big,” shared the artist, who has been working on the theme of ‘home’ for a while. “Funnily, this incident made me feel yet again that the idea of the home has a lot of implications and stories around it. An earlier work (still in progress) featured a house made from Britannia biscuits that he left unattended on the ground in the open. First the monkeys came. And then cows arrived. The structure was slowly demolished. Now I’m going to be doing something on the same lines and let rats and monkeys have a go,” he said with a grin.
“I call this ‘animal art’. I was pondering over the concept of ‘home’ because of personal reasons. When you build a house, the same thing happens in a different way. People consume the house from outside and within.”
Chintan was having a pow-wow with us after he had shared his process during the second session by TAD arts at The Pint Room where an artist and the audience interact. It was in the Ambience Mall, giving the session a live-buzz, as people trolled the area around. You could see them through the large glass windows that looked down on the floor below.
The poor mike system made it difficult to hear words clearly however. For a while now, Chintan who was born in Rajasthan during 1972, has been working on large sculptures and site-specific installations, but he said he plans to return to painting.
He took us through art that he has been creating from around 2002, after mentioning that artists are doing a lot of collaborations across the board–with scientists, with musicians.
“Such synthesis of the two is an idea of the time we live in. We’ve gone beyond this now. I, for instance have worked with craftspeople. When something like that happens, who am I? The artist generating an idea. Someone exploiting craftspeople. Collaboration is now taken to a different level.”
For a long time he has been using babies in his works. Large models of their bodies. Sometimes just heads. They aren’t just plain babies, but have various details on the surfaces. And when those change (the artist finds they are growing more detailed with the years), its in tandem with the world.
He reflected, “I don’t understand my own work sometimes. It took a while to realise why I was making the babies. I then realized I was replicating certain ideas about changing environment, and they were a by product of the time. They weren’t real and were constantly modifying. As I mulled, I realized Indians also have an obsession with babies — particularly male babies. I didn’t give the babies identity. They could have pink skin but be any country or character. I find there’s a parallel here with computers and systems. Technology is a form of a control system. The notion is that if one can control systems, one can control everything.” He continued, “It’s similar with food, ideas, genetics. My parents still think I’m a baby and want to control me. If you put a mobile in the baby’s hands, your thoughts turn to topics like consumption. All control systems are detached from nature. They are artificial environments, like this mall. Even the plants here might not be real.”
This probably explains why he has done a lot of site-specific work in rural areas, closer to nature. But initially he did paintings on sexuality and masculinity. He was stirred into it by the sight of couples in parks, and remarked to us, “Do you know Delhi has around thirty-two thousand parks, but there is not enough space in people’s homes?” He also superimposed traditional craft designs to large stamps painted with images of icons like Madhubala, James Dean. He has dealt with subjects like pollution of a river in Mumbai, and used a traditional Japanese game, Kaiawase, as an excuse to enter locals in Tokyo’s lives.
He doesn’t seem to think much about permanence of art, though, recalling an artist who hung a work on a tree. Next day it was missing. Locals had thrown it into the lake. “They found the rope holding it in place more valuable and took it away!”
Friday, May 24, 2013
Art and Ale Episode 2
An evening of Conversations at Organised by Tad Arts
Date : Thursday 30th May 2013
Time : 4:00pm until 7:00pm
Venue: The Pint Room, 2nd Floor, Ambience Mall, Vasant Kunj, New Delhi
Niten Mehta in conversation with Chintan Upadhyay.
Limited Seats Available!
4pm - Welcome address by Niten Mehta
4.30pm - Beer & snacks
5.00pm - Conversations & Presentation Begin
5.45pm - Questions and Interaction
6.00pm to 7pm - Beer & Snacks
For further details or to book your attendance email us on rukmini@tadarts.in or niten@tadarts.in
Call us on +91 98100 42497
www.tadarts.in
Date : Thursday 30th May 2013
Time : 4:00pm until 7:00pm
Venue: The Pint Room, 2nd Floor, Ambience Mall, Vasant Kunj, New Delhi
Niten Mehta in conversation with Chintan Upadhyay.
Limited Seats Available!
4pm - Welcome address by Niten Mehta
4.30pm - Beer & snacks
5.00pm - Conversations & Presentation Begin
5.45pm - Questions and Interaction
6.00pm to 7pm - Beer & Snacks
For further details or to book your attendance email us on rukmini@tadarts.in or niten@tadarts.in
Call us on +91 98100 42497
www.tadarts.in
Sunday, September 2, 2012
Bid for ornamental Art
In Gregorian calendar month last year, Pundole’s — of Pundole room in Kala Ghoda — command their inaugural auction, providing “a cluster of paintings from the gathering of the National Centre for humanistic discipline (NCPA), comprehensive of the gift from the Estate of the late Jamshed Bhabha”. Six months later, they command another auction, now “property from the Estate of Bhabha”, including silver, furniture, carpets, paintings and sculptures. The third auction, in January this year, was one among Indian art, as well as miniatures from the Estate of Bhabha.
Now, on August twenty seven and twenty eight, Pundole’s can conduct their fourth auction. This one, however, has additional to supply than any of the previous editions. A “fine and ornamental arts sale”, the auction can embrace property from the estate of Bhabha further as things from variety of alternative non-public homes, as well as property from the Estate of Noshir Nanporia.
Among the varied objects on provide area unit sculptures from second century onward, Asian and European ceramics, miniature paintings, trendy Indian art, Japanese scrolls, silver, textile, furniture, glass and Tanjore faculty paintings. one among the highlights of the auction may be a cluster of antiquities from Bhabha’s personal assortment, that embrace 2 items of Gandharan sculpture, many items of stone from Central Asian country and a thirteenth century bronze Saint Sambandar, which is able to even be up available.
Now, on August twenty seven and twenty eight, Pundole’s can conduct their fourth auction. This one, however, has additional to supply than any of the previous editions. A “fine and ornamental arts sale”, the auction can embrace property from the estate of Bhabha further as things from variety of alternative non-public homes, as well as property from the Estate of Noshir Nanporia.
Among the varied objects on provide area unit sculptures from second century onward, Asian and European ceramics, miniature paintings, trendy Indian art, Japanese scrolls, silver, textile, furniture, glass and Tanjore faculty paintings. one among the highlights of the auction may be a cluster of antiquities from Bhabha’s personal assortment, that embrace 2 items of Gandharan sculpture, many items of stone from Central Asian country and a thirteenth century bronze Saint Sambandar, which is able to even be up available.
Art of Living Campaigns for Tamil Refugees
The Art of Living has launched a vast signature campaign to press the Centre to offer Indian citizenship for Sri Lankan Tamil refugees in varied camps in Madras.
The arrange is to gather one large integer signatures to champion this cause at each AoL Centre in Madras, which might be submitted to the authorities involved in forty five days, to require immediate action, Krishnachander, President of state chapter of AoL, shaped by Sri Sri Ravishankar, told reporters here these days.
He aforementioned the Indian government has denied citizenship to over one 100000 Sri Lankan refugees 'languishing' in over one hundred camps in Madras since 1983, United Nations agency still live below pitiable and controlled conditions.
Stating that Sri Lankan Tamils, United Nations agency had fled to USA and Europe area unit leading a dignified life, with jobs, homes and businesses of their own, he aforementioned the Indian Government has time and once more granted citizenship to refugees from near countries like Bangladesh.
He recalled that the then Chief Minister M Karunanidhi had proclaimed his government would take up the difficulty with the Centre once an identical campaign was launched in 2009.
However, no progress had been created since then and therefore the issue was being concerned once more on seeing the plight of Tamils, Krishnachander aforementioned.
The arrange is to gather one large integer signatures to champion this cause at each AoL Centre in Madras, which might be submitted to the authorities involved in forty five days, to require immediate action, Krishnachander, President of state chapter of AoL, shaped by Sri Sri Ravishankar, told reporters here these days.
He aforementioned the Indian government has denied citizenship to over one 100000 Sri Lankan refugees 'languishing' in over one hundred camps in Madras since 1983, United Nations agency still live below pitiable and controlled conditions.
Stating that Sri Lankan Tamils, United Nations agency had fled to USA and Europe area unit leading a dignified life, with jobs, homes and businesses of their own, he aforementioned the Indian Government has time and once more granted citizenship to refugees from near countries like Bangladesh.
He recalled that the then Chief Minister M Karunanidhi had proclaimed his government would take up the difficulty with the Centre once an identical campaign was launched in 2009.
However, no progress had been created since then and therefore the issue was being concerned once more on seeing the plight of Tamils, Krishnachander aforementioned.
Art with an Indian Heart
One of the long running art shows within the town, Harvest is back to celebrate its twelfth year. This edition focuses on Indian modern art with a generous dose of social group and miniature art. “Each year we have a tendency to area unit terribly selective regarding showcasing artworks for this annual show,” says Payal
Kapoor, conservator of the show. She adds, “This year we have a tendency to area unit showing however Indian art matured over the years and sculpted it’s own identity. The works chosen have clearly Indian attribute.”
From connecting art with poetry and cinema to portraying the importance of cash below throughout recession and portrayal the sensitive issue of 26/11, the exhibition has return a protracted method within the last eleven years. The exhibition has 5 sections - Abstract, Modern, modern Indian Art, Sculpture and Photography that showcase works of seventy artists from round the country.
Most attention-grabbing at the show area unit miniature artists like Chhotu Lal from Rajasthan and Mahavir Hindoo from Bikaner whose works area unit displayed beside veterans like medium frequency Husain, SH Raza and Arpana Caur. “We attempt to add a replacement part to the exhibition each year. Last year we have a tendency to displayed video installations, this year we've created a special effort to showcase social group and miniature art,” says Kapoor.
The only social group creator whose works area unit place up at the show is Dhavat Singh from Madhya Pradesh. Singh’s paintings mirror the connection between nature and life on canvas. the colors vary from muted blues, greens and browns to a liberal dose of black and white. Chicago primarily based creator SV avatar Rao’s abstract painting of Krishna with Gopikas is additionally being showcased below Indian trendy Art for the primary time. “We anticipate to the time once social group art are going to be displayed aboard
modern modern art round the world,” says Suneet Chopra, co-curator.
The art items, displayed at the continued exhibition, vary from R75,000 to three lakhs.
First timers at Harvest
* Krishna With Gopikas, abstract by Chicago primarily based creator and Padmashree recipient SV avatar Rao.
* This acrylic on canvas by initial timer, Dhanvat Singh from Madhya Pradesh depicts the cycle of life.
* Sufi Saints sitting below a tree, miniature painting by Mahavir Hindoo from Bikaner. Miniature is a component of Harvest for the past 2 3 shows.
Kapoor, conservator of the show. She adds, “This year we have a tendency to area unit showing however Indian art matured over the years and sculpted it’s own identity. The works chosen have clearly Indian attribute.”
From connecting art with poetry and cinema to portraying the importance of cash below throughout recession and portrayal the sensitive issue of 26/11, the exhibition has return a protracted method within the last eleven years. The exhibition has 5 sections - Abstract, Modern, modern Indian Art, Sculpture and Photography that showcase works of seventy artists from round the country.
Most attention-grabbing at the show area unit miniature artists like Chhotu Lal from Rajasthan and Mahavir Hindoo from Bikaner whose works area unit displayed beside veterans like medium frequency Husain, SH Raza and Arpana Caur. “We attempt to add a replacement part to the exhibition each year. Last year we have a tendency to displayed video installations, this year we've created a special effort to showcase social group and miniature art,” says Kapoor.
The only social group creator whose works area unit place up at the show is Dhavat Singh from Madhya Pradesh. Singh’s paintings mirror the connection between nature and life on canvas. the colors vary from muted blues, greens and browns to a liberal dose of black and white. Chicago primarily based creator SV avatar Rao’s abstract painting of Krishna with Gopikas is additionally being showcased below Indian trendy Art for the primary time. “We anticipate to the time once social group art are going to be displayed aboard
modern modern art round the world,” says Suneet Chopra, co-curator.
The art items, displayed at the continued exhibition, vary from R75,000 to three lakhs.
First timers at Harvest
* Krishna With Gopikas, abstract by Chicago primarily based creator and Padmashree recipient SV avatar Rao.
* This acrylic on canvas by initial timer, Dhanvat Singh from Madhya Pradesh depicts the cycle of life.
* Sufi Saints sitting below a tree, miniature painting by Mahavir Hindoo from Bikaner. Miniature is a component of Harvest for the past 2 3 shows.
Subscribe to:
Posts (Atom)