Art Scene India: Art exhibition

Showing posts with label Art exhibition. Show all posts

17 Feb 2022

Art News: Consortium by Fidelitus Gallery, Bangalore

Art exhibition celebrates senior art faculty from Bengaluru

Fidelitus Gallery kicks off 2022 with “Consortium - Art Preceptors of Bengaluru Art Institutions”, a unique art exhibition that draws attention to and features the on-going practice of active senior faculty members from 3 prominent Art Institutions in Bengaluru, namely, Karnataka Chitrakala Parishath College of Fine Arts, Kalamandir School of Arts and Ken School of Arts.

Consortium by Fidelitus Gallery, Bangalore, Art Scene India, www.fidelitusgallery.com

Sculpture by Vishal Kavatekar

These institutions are decades old and markers of history in the state that have shaped the art scene in the region. Several of their alumni have gone on to become prominent names in the art industry in the country. Fidelitus Gallery through this exhibition acknowledges and celebrates the contribution of these fine art institutes and their extraordinary educators. The exhibition features 10 eminent artists and teachers - A M Prakash, Babu Jattakar, Gopal Kammar, Nagappa Pradhani, Pratibha T S, Sridhar Murthy, T S Baoni, Vishal Kavatekar, Mallappa S Halli and Nirmala Kumari and presents their paintings and sculptures. The show offers an array of fine art in diverse styles, subjects and themes, and materials and media, for the discerning art connoisseurs.

The initiative is also aligned with the Gallery’s “Heritage Wing” project that facilitates educational programs with respect to Museum and Gallery Studies.

Painting by Shridhar Murthy

Fidelitus Gallery aims to create an inclusive platform for the arts - both performing arts and visual arts, along with curated art educational pogrammes for the community.

The gallery is committed towards creating world class art exhibitions by curating hybrid transformative spaces by following standards of the international committee of exhibitions. It also hopes to make a difference in the arts sector through sustained efforts, all of which will gradually create lasting changes in techniques and processes of exhibiting art in the city.

The collection from “Consortium” will be accessible in a hybrid form - both physically and virtually on the gallery website www.fidelitusgallery.com. The gallery believes in giving back to society and follows the motto of Art For A Cause, whereby, part of the sale proceeds will contribute towards Shilpa Foundation, which works on providing a healthy environment and quality education for the underprivileged in Karnataka.

The 10 days exhibition will be formally inaugurated on Saturday, 19th February, 2022 at 6:00 pm. It will be inaugurated at the Fidelitus Gallery on 19th in the presence of Shri Alok Kumar, IPS, ADGP-KSRP, Shri Ashok Kheny Ex MLA Bidar South, MD NICE, Dr. Pramila Lochan- Art Historian and Critic, Shri Lahari Velu, and Shri Achuth Gowda, MD & Founder Fidelitus Corp Pvt Ltd. Artists and art connoisseurs are welcome to join the inaugural program.

Visit the show here www.fidelitusgallery.com and at the gallery address given below.

The exhibition, “Consortium - Art Preceptors of Bengaluru Art Institutions”, is open to everyone from 19th to 27th February, 2022.

Fidelitus Gallery, Brigade Software Park, No. 42, Ground Floor, B Block, 27th Cross, BSK 2nd Stage,

Bangalore - 560070

Email: info@fidelitusgallery.com PH: +91 80 68073700

Please share this article using the social media widgets at the bottom and do subscribe to receive regular updates from Art Scene India.

To contribute articles, please get in touch at artsceneinfo@gmail.com

Also read,

Sponsored post

12 Oct 2019

Art News: Ochre and the Iris by Mridul Chandra

A Visual Travelogue

“Nature is so powerful, so strong. Capturing its essence is not easy – your work becomes a dance with light and the weather. It takes you to a place within yourself.” Annie Leibovitz

Art News: Ochre and the Iris by Mridul Chandra

Inspired by nature, artist Mridul Chandra paints the world around her. Vistas of landscapes from her travels are translated on canvas. She says, "Painting from this vast canvas has been the ultimate challenge, expressing what is in front of me in a personalised semi abstract expressionist manner. The eye searches for a way to depict the real in an unreal suggestion, leaving you in a state of being in the ‘here-and-now’."

She explains that this exhibition is a celebratory expression of experiencing the joys of nature and marvelling at its beauty. The watercolour paintings capture the atmosphere and the soft romantic moods of nature. "Ochre is the first colour on my palette; Iris the vehicle in the eye for seeing the world.", she says.

"My ode in this series is in celebration of well-being. Much like the practice of yoga, or meditation."

Mridul elaborates on how she gravitated towards watercolours,"Transition from oil /acrylic to watercolours came out of sheer curiosity. As time elapsed, I realised how immersive and captivating the medium of watercolours is. Employing a minimal palette, letting the colours flow, creating accidental splurges, enabling the painting to evolve with tonal gradations. Along with light and shadow playing a key role in creating the mood and atmosphere. By attempting small and medium sized works, the show in parts is like a travelogue."

As a result, a deeply meditative world emerges in her landscapes.

About Mridul Chandra:

Mridul has studied from ‘Sir JJ school of Art ‘Mumbai. Hailing from Kolkata, she now lives in Bangalore. Having worked with architects for the Asian games of 1982 to dabbling in graphics, she is now full time in painting. Spanning two decades of a creative journey, she has held solo shows in ‘Jehangir Art Galley’ Mumbai. Duo show in ‘Habitat Art Gallery’ Delhi. Besides several Gallery group shows in Bangalore. Participated in an all-Women’s’ Artist Camp in Gulbarga organised by Karnataka Lalit Kala Academy. Her works are with collectors in India and abroad.

At present besides studio work, she conducts water colour short sessions for the public to generate interest and well-being.

Inauguration - Saturday 19th October 2019, inauguration 3pm-8.30 pm.

All works can be viewed on https://www.mridulchandra.com/

Ochre and the Iris, solo show by Mridul Chandra, from 19th - 10th Nov 2019 at MKF Museum of Art, 55/1 Isha Villa, Lavelle Road, Bengaluru 560001

Timing 11-7 pm.( (Monday closed.) ph: +91 9845736550 +91 7373887557

All images courtesy the artist
Sponsored post

Please share this article using the social media widgets at the bottom and do subscribe to receive regular updates from Art Scene India.

For interviews, profiles, sponsored posts and to contribute articles, contact artsceneinfo@gmail.com

Also read,

31 Oct 2018

Art News: ‘Art Bengaluru’ is back with its 8th Edition

‘Art Bengaluru 2018'– Bengaluru’s popular Art Festival is back with its 8th Edition

At UB City from 02 – 18 November 2018

The City of Protagonists by Saju Kunhan at Art Bengaluru 2018 at UB City, Bangalore,

Image courtesy Prestige Constructions

The media preview today of ‘Art Bengaluru’ offered glimpses into a well curated art exhibition, which brings together 17 Indian artists across 24 exhibits. With its inception in 2011, ‘Art Bengaluru’, the city’s first 10-day art festival was launched with the aim of celebrating art in its various forms. The idea behind it was to bring a multitude of artists and artforms from across India and the world under one roof, thus promoting art awareness as well as a deeper understanding of the arts. The 2014 edition featured artist Liu Bolin from China, popularly known as the 'The Invisible Man', and during the inaugural evening of Art Bengaluru, he performed and ‘disappeared’ into a bookshelf, even as the people watched (read about it here).

Over the years, the art festival has grown from strength to strength and has gravitated towards more serious art and artists. The exhibition this year includes artists Balan Nambiar, Gurudas Shenoy, Kavita Jaiswal, Vipta Kapadia, Parvathi Nayar, Pallon Daruwala, Romicon Revola & Saju Kunhan amongst others.

Painting by Gurudas Shenoy at Art Bengaluru 2018 at UB City, Bangalore, Image courtesy Prestige Constructions

Large stainless steel sculptures by Balan Nambiar at the entrance create a striking visual. The rest of the exhibits are distributed across floors, Gurudas Shenoy's paintings are on display on the ground floor and at Sublime Galleria. Overall, the display is cohesive and follows distinct narratives on each floor - abstracts around natural and urban landscapes, ephemeral abstractions, architectural renderings in the form of assemblages, digital recreations of mid-nineteenth century postcards and photographs that re-orient perspectives are some of the works that you should watch out for.

The art festival offers a great opportunity to visitors and shoppers to engage with art in a public space, and for its entire duration, anyone can walk into the premises and view a diverse spectrum of mediums and styles, displayed with museum-class display infrastructure under one roof.

According to Uzma Irfan, Conceptualizer / Organiser, Art Bengaluru & Director, Prestige Group, "The language of art, as expressed through sounds, colours, shapes, lines, and images, speaks in ways that words cannot. Whether you experience the arts as a creator / artist or as an art lover, you can gain great pleasure and enjoyment from all kinds of art.”

Ganesh Selvaraj - Doing the same expecting difference at Art Bengaluru 2018 at UB City, Bangalore, image courtesy prestige constructions

With curated art walks, the festival also aims to contribute to art education among both children and adults. Art Bengaluru 2018 has partnered with several schools (Parikrma Centre of Learning, Srishti Institute of Art, Design & Technology and Dr. Beltran’s Animation School, to name a few) to take their students through curated walks to help them better understand and appreciate the arts. Abhishek Naidu, Curator, Art Bengaluru 2018 offers, “Art Bengaluru’s aim has always been to aid in the Bangalorean front of that fight by bringing a selection of works from a diverse set of artists to UB City, thus bringing a much-needed injection of art to the city, along with a wonderfully disarming onslaught of emotion, insight, perspective and reflection that is unique to an enriching art experience.”

Art Bengaluru 2018 will start on 2nd Nov with an evening that will also include musical performances by Aman Mahajan (Pianist), Nush Lewis (Harpist), Raman Iyer (Saxophonist), and The Flying Drummers.

Edit: Updated 02 – 18 November 2018

Please share this article using the social media widgets at the bottom and do subscribe to receive regular updates from Art Scene India.

To contribute articles, please get in touch at nalini.indianart@gmail.com

Also read,

14 Nov 2016

Art News (Bangalore) - Reimagining: (Un)Reality and Space

Reimagining: (Un)Reality and Space curated by Nalini S Malaviya marks the official launch of Yepart.com. The exhibition features recent works by Debraj Goswami, Kalyan S Rathore, Maripelly Praveen Goud, Muktinath Mondal, Murali Cheeroth and Venugopal VG

The show opens on 19 Nov 2016 at Hatworks Boulevard, Cunningham Road, Bengaluru and continues till 17 Dec 2016.

Reimagining: (Un)Reality and Space

Observation, truth and materiality interweave to create alternative realities that occupy a realm which is corporeal, yet fictitious, clouding lines of physicality of dimensions. The plurality inherent in existing and functioning within these coordinates, challenge and inspire individuals to examine the intrinsic harmony and conflict embedded in such systems, and simultaneously imagine new spaces. Notions of time and space amidst variables construct fresh associations and connotations, where the resulting topography is a visually enriching landscape capturing points of dissonance and accord, shifts in reality, and reimagined spaces.

The artists' critical engagement with the curatorial premise reimagining (un)reality and space, results in interventions, which explore and question notions of time, space, reality and the subjective relativity that pervades through these dimensions. Multiple realities emerge from stresses of urban living, where observation and truth is skewed and dependent on other dynamics. Ideologies contort for material gains and govern the present and the future. Cognitive and sensory perceptions distort from an altered state of consciousness. The time and space thus occupied is unreal and fabricated as a spontaneous outcome, which is ungoverned by design.

There is an attempt to delve into conflicts, and examine the inherent precariousness and fragility entrenched in natural systems, which are impacted by consumerism and materialistic trends. Reimagining spaces create virtual maps of imaginary loci, introspective journeys in search of the self and enquiries on the 'now' form intriguing visual chronicles of contemporary concerns.

Debraj Goswami contemplates an alternative state of reality that exists in parallel, blurring the boundaries of factual and unreal, and creating distorted dreamlike states. Subconscious preoccupations dictate existence, to assume a truth that is probably fictional and appears surreal. The complexities of living ensure that perceptions of real, unreal and simulated become indistinct and a machine made robotic existence dominates. Past, present and future concerns manipulate sensory reality to form a convoluted sense of the real, and living in the moment becomes a figment of imagination in unusual and often humorous ways.

Kalyan S Rathore’s sculptures exist in a metaphysical context, where time and space are no longer linear entities but transcend corporeal boundaries. The repetition of the sculptural unit akin to fractals in the universe, construct forms that are non-representational and non-specific to natural features. Conceptually based, they explore a fluid reality, while attempting to negotiate a labyrinth that forms life’s journey. The quest for the spiritual and transcendental leads to an introspective process that pauses for self-reflection, while encountering chaos and conflict during the course.

Maripelly Praveen Goud extends the materiality of the print medium to create virtual contours and linear graphs that map imaginary loci and places. Relying on scrunching the paper as a means to initiate cathartic release, the process spontaneously creates dimensions beyond the surface of the plane. The accidental lines morph into unspecified shapes, forms and maps allowing multiple readings - the markings could be representations of metaphorical sites or subconscious points of reference. The material and the medium combine to form layers of meanings within the conceptual maps.

Muktinath Mondal focuses on ecological imbalance, a disrupted equilibrium - a direct result of human interventions. He paints a stark image - black canvases that point to a dark reality, a glimpse into a bleak future that interrogates the very existence and survival of living beings. An increasingly fragile eco-system disintegrates and vanishes as a materialistic world prevails. Time as a distant phenomenon assumes vital relevance, and its catastrophic fate becomes inevitable, unless the current variables are harmonised. The red highlights in the paintings form the primordial link, the essential connective tissue between the various species including mankind, and which innately determines their coexistence.

Murali Cheeroth examines the notion of time as a relative value, with its meaning and intent evolving and transfiguring as a quotient of consciousness, application and relevance. Engaging with the interplay of text, material, texture and aesthetics, the concept of time morphs into multiple meanings and discourses, which reflect the subjectivity of viewing and reading into the artwork. Expressing time as a function of cognitive, linguistic and visual interactions, its reading draws from multiple standpoints, ranging from the personal to the historical. His performative artwork relates to issues linked to microcosmic spaces, which are intimate, act as receptacles of memories and share an indispensable interrelationship with the larger environment.

Venugopal VG explores the dichotomy inherent in situations emerging from urban living, and portrays complexities and dilemmas of reality. Pictorial elements indicating human emotions, desires and relationships construct paradoxes that emphasize the fragility of urban reality. Manipulating and combining physical, emotional and spatial derivatives, the narratives that are created are constructed to create a transmuted reality that is derived from factual components. Identity, migration, adaptability, and transformation are some of the critical issues that explore existential crisis to form imagery which warp representations of reality.

The exhibition will be available online on www.yepart.com from 19th November 2016.

Do visit the exhibition and share your thoughts in the comments section below or write on nalini.indianart@gmail.com.

If you would like to interview the artists, review or cover the event on your blog/website, or for any other media enquiries, please get in touch on nalini.indianart@gmail.com/ naozar@yepart.com/ +91 98450 06644

If you enjoyed reading this article, do share it using the social media widgets at the top and subscribe to receive regular updates from Art Scene India

Related posts,

15 Oct 2014

Raja Ravi Varma’s Oleographs: Glimpses from the Past

Raja Ravi Varma's oleographs offer insights into a significant cultural phase of the late 19th century India

An exhibition of rare oleographs by Raja Ravi Varma opens tomorrow (Oct 16) in Bangalore. Titled Emotions; Relations; Reflections, these select oleographs from the Ravi Varma Press belong to the private collection of Sachin Kaluskar from Vadodara.

The exhibition has also been curated by Sachin who has adopted a thematic approach in categorising them. Sachin started collecting oleographs purely by chance when a print of ‘Saraswati’ turned out to bear a mark from the Ravi Varma press. His curiosity piqued, Sachin researched on Ravi Varma’s oleographs and was fascinated by what he read. He then went on to collect these prints from friends, royal families in Saurashtra and even temples. He has now been collecting oleographs for the last eight years and has amassed a large collection, parts of which he has exhibited in various places.

According to Sachin, Ravi Varma’s paintings depict multiple emotions such as devotion, love, pain, anguish, innocence and power, amongst others. This exhibition of oleographs too portrays gods and goddesses in a human form, and are depicted experiencing myriad emotions - in effect every oleograph has a unique story to narrate.

Ravi Varma (1848 –1906) born in Kilimanoor, present day Kerala was a prolific painter who depicted scenes from the epics and mythology, and also painted portraits of royal families. He was the first Indian artist to depict cultural themes through European painting techniques and was also one of the first artists to use oil as a medium of painting. His paintings of gods and goddesses and vignettes from mythological tales are well recognized and reproduced even today.

Ravi Varma’s oleographs also called chromolithographs were instrumental in taking art to the masses. Oleography (oleo means oil) in essence is a process of reproducing an oil painting on paper to match the exact colours and brushstrokes with the objective of making it look like an oil painting. The technique was pioneered in the 1830s by an Englishman George Boxter but came into wide commercial use only in the 1860s. Oleography was the most popular method of colour reproduction until the end of the 19th century, when more efficient techniques rendered it obsolete.

It is believed that Ravi Varma started the lithographic printing press on the advice of Dewan Madav Rao in Mumbai in 1894 and it was managed by his brother, Raja Varma. The printing press was procured from Germany and the technicians to operate the press were also from Europe. The oleographs were mostly of Hindu dieties and depict scenes from the Mahabharata, Ramayana and the Puranas. The oleographs were very popular and continued to be printed even after Ravi Varma's death in 1906*.

136 oleographs will be presented in this exhibition and a few of them show the effects of ageing on them, which is no surprise given that they are almost 100 years old. Damyanti, Maneka and Vishvamitra, Nal Damyanti Vanvas and Radha Vilas are some of the prints which will be on display here.

The exhibition is on view at Phoenix Market City from October 16-22, 2014.

*Wikipedia

If you enjoyed reading this article, do share it using the social media widgets at the top and subscribe to receive regular updates from Art Scene India

Related Posts,

30 Jan 2014

Art Buzz: V Ramesh at NGMA Bangalore

"Remembrances of Voices Past" opens at NGMA Bengaluru on Wednesday, 5th February 2014 at 5.00 pm. The exhibition will be on view till 25th March 2014.

V Ramesh at NGMA Bangalore, Image courtesy NGMA

6 Apr 2009

Art for arts’ sake - The Big Picture

(By Nalini S Malaviya)

The Big Picture is a concerted effort that brings together 57 artists for a fund raising event in Bangalore. Organized by the India Foundation for the Arts (IFA) the art exhibition presents a wide range of paintings, mixed media works and photographs by young and upcoming, and a few senior artists as well.
According to Arundhati Ghosh, the Deputy Director of IFA, “the idea of organizing an art show as a fund raiser germinated last year and then Abhishek Poddar offered to curate it.” This happens to be the Foundation’s first art exhibition. In fact, in a tremendous show of solidarity, the artists have come forward to donate, in full or in part, the sale proceeds of their works for IFA. Incidentally, IFA is an organization that provides grants for art and culture activities and has been supporting independent research and teaching institutions, cultural and development organizations, musicians, visual artists and filmmakers amongst a host of other professionals in related fields.

For this particular event, well known artists such as Gulammohammed Sheikh, N S Harsha, Jayashree Chakravarty and Mithu Sen, and photographers such as Raghu Rai, Shahid Datawala, and Navroze Contractor are just a few names that comprise the vast list. All the works have been priced under Rs 5 lakhs. The online catalogue offers a promising line-up of works with a significant section devoted to prints.
While, many of the artists may not be a familiar sight on the Bangalore art scene, they have been exhibiting elsewhere. “These are outstanding works by some of our most talented artists and very well priced too keeping in mind the economic situation,” writes Abhishek Poddar in his curatorial note.
The exhibition although happening in Bangalore is also being showcased online and as Arundhati describes it, “It is a national show with a local physical presence.” Here’s hoping that art connoisseurs come forward to support art for arts’ sake.

(The Big Picture will be held between April 5 - 8, 2009, at WelcomArt Gallery, ITC Windsor and from April 10 - 15, 2009, (Sunday closed) at Gallery Sumukha, 24/10, BTS Depot Road, Wilson Garden, Bangalore).
(Published in Bangalore Mirror)

3 Mar 2009

A visit to NGMA, Bangalore

(By Nalini S Malaviya)

The National Gallery of Modern Art (NGMA) is nestled in a green alcove off the main road away from the clamor of the traffic. Readers will remember that NGMA opened in Bangalore recently amidst controversies that invoked the ire of local artists and other members of the art community.
At the moment NGMA houses approximately 500 exhibits that are spread across a corridor, tiny rooms and large spacious halls that span two floors. You need at least half a day to see the entire space. The exhibits have been displayed - classified into broad categories - according to different time periods, art schools and by artists. One can see paintings by Raja Ravi Verma, Jamini Roy, Amrita Sher-Gil, the Tagore brothers and Rabindranath Tagore and a large number of Modern and Contemporary artists. While, there has been some effort made to display the older works in various zones, the Modern and Contemporary art section appears a little scattered and it could be organized better.

As one enters the gallery door, one can see old photographs, miniature art from the Rajput and Pahari schools depicting court scenes, and there are several graphic prints as well. A portrait sketch of Rajiv Gandhi done by Mukul Dey in 1945 is on display. Oil paintings by European artists who travelled to India during the late 18th to mid-19th century have also been showcased here. Ghats of Benaras, dancing girls and fauna and flora that represented exotic India form popular themes.

Raja Ravi Verma’s Lady in Moonlight NGMA Bangalore

Raja Ravi Verma’s Lady in Moonlight NGMA Bangalore

Ravi Verma’s Lady in Moonlight and Portrait of a Lady are two of his works that find a place here. In one of the large halls one comes across a small section dedicated to photographs (mostly black and white) by renowned photographers Raghu Rai and Dayanita Singh – the Masterjee series. Amongst the other works, one comes across a pair of terracotta pigs by N Pushpamala, small watercolour works by N S Harsha, a striking landscape by K K Hebbar, works by S G Vasudev, Yusuf Arakkal and Ravikumar Kashi.

M F Hussain’s paintings inspired by Mother Teresa, landscapes in muted shades by Ram Kumar and an intensely dark work by S H Raza, colourful abstracts by V S Gaitonde stand out due to familiar names. Ritual Image, a complex piece by Nandagopal and Form, a minimal bronze piece by Sankho Choudhuri present interesting dimensions in sculptures. Jamini Roy’s stylized forms and Amrita Sher-Gill’s paintings form a fairly large collection. The museum is a good place to get familiar with art and artists.
Painting by Amrita Sher-Gill

According to the official website of NGMA it also conducts educational and cultural activities; I hope that in Bangalore, too, it will take on such a role soon. Having started off on a wrong foot, it desperately needs to re-invent its image. It is imperative that NGMA garners local support and involves active participation from the various members of the art community in the city.

(Published in Bangalore Mirror)

17 Feb 2009

Essence of art

(By Nalini S Malaviya)

Crimson Art Resource organized an exhibition of drawings and paintings titled ‘A tribute to Adimoolam’ a year after he passed away. The display comprising of twenty works sourced from a few art collectors (and from the gallery) presented a small but personal collection which gave insights into some of his early works as well. According to Naozar Daruwalla, the gallery owner, the intention of the show was to present an intimate compilation rather than aim at a large but scattered one. One of the sketches, a life study was done in the 1960s when Adimoolam himself was a student. The drawings were mainly of musicians, horses and still life. The few oil paintings that were on display were landscapes done in his characteristic impressionist style – broad brushstrokes that create a soothing ambience. Adimoolam was known as much for his drawings as for his abstract naturescapes. The exhibition has officially ended, but viewers may still be able to see the works at the gallery in The Hatworks Boulevard.

Adimoolam
The other exhibition that previewed a few days ago at Gallery Mementos features drawings by 38 artists from across the country. Curated by Giridhar Khasnis, the show ‘The root of everything’ presents a good cross-section of artists across different generations and varying styles. From artists such as Paritosh Sen, Ganesh Pyne, Jogen Choudhury, Shuvaprasanna, Vivan Sundaram, Ravi Kumar Kashi, Suchender amongst others, there is a wide range of creativity on exhibit. In most of the drawings the artists have followed a similar style and theme as they do in their paintings. The exhibition presents drawing as the essence of all arts, and one finds a wonderful spectrum of interpretations by the various artists – portrait sketches, animal forms and other equally mesmerizing compositions that are rendered skillfully. The few odd paintings that are on display create a jarring effect amongst the exhibition that is otherwise primarily dedicated to drawings. Overall, a must see for art aficionados.

Vivan Sundaram

Laxma Goud

On a sad note, the sudden demise of R. K. Dugar, owner of Gallery Mementos, last week a few days after the exhibition preview has been a shock to many of us. May his soul rest in peace.

(The exhibition continues till February 28 at Gallery Mementos, The Chancery, Lavelle Road, Bangalore)

(Published in Bangalore Mirror)

24 Dec 2008

Art for All

(Nalini S Malaviya)

Last week’s column on reproductions of paintings as an affordable form of art appears to have touched a chord with many readers. Some of them wrote in to say that even though such paintings were not original their beauty and aesthetic appeal was unmatched. Very true. And, especially when one considers the prices. Today, despite the recession and the slowdown in the art market, prices of paintings are beyond the reach of many people. That’s also explains the popularity of an event such as the Chitra Santhe, the annual art bazaar that is held in and around Chitrakala Parishath for the last few years. Incidentally, this year’s Santhe will be held in late January, 2009 and not the last Sunday of the year as was the tradition up till now. The USP of the Santhe lies in the fact that is an open air informal art mart that is easily accessible to all. There is a wide variety and all kinds of art – from fairly good to downright appalling. There have been numerous discussions about having some kind of quality control, but apparently with that many participants and the Santhe atmosphere that is aimed at, it is not a practical option.
In any case, let’s face it, how many people are willing to walk into an art gallery just to look at art? Most people are intimidated by the gallery environs and sometimes the attitude of the staff also doesn’t help. Well, the Santhe does offer an excellent opportunity to get familiar with art over the day and then decide what one wants to buy. It might also be a good idea to have art appreciation lectures or seminars in conjunction with the Santhe, but most probably the logistics of it might prove to be daunting. Still, as an idea it has it merits, it will help prospective buyers gain some basic knowledge about art before making an informed decision.

The group show by artists from Delhi and Rajasthan that previewed last week had some interesting paintings. The large panels by Bhagat Singh were quite popular with the guests, beautifully rendered and pleasing. Immensely symmetrical and intricately patterned - the overall effect was very agreeable and soothing. Madan Meena’s abstracts with matrices of golden and silver circles also created a harmonious impact. Titled Lotus ponds the works were minimal in their approach. Manoj Kachangal abstracts were colourful and appeared to be inspired by some of Raza’s works.
Both Ritu and Anoop Kamath’s paintings were figurative but very different from one another. Where Ritu’s paintings have a greater visual appeal, Anoop’s works seemed to portray sardonic humour and a satirical touch.

(The exhibition is on till January 7 at Crimson Art Resource, The Hatworks Boulevard, Bangalore)

28 Feb 2008

‘Glamour art’

Indian art is all over the newspapers these days - from the financial pages to ‘Page 3’. And artists are rubbing shoulders with cricketers in the celebrity space. Recently I visited a couple of art shows where a few young artists from Gulbarga were exhibiting their paintings, but unfortunately they neither received any press coverage nor did the show see many visitors. It makes one wonder if art is as much about hype as talent?

Art, in the past, has been as much in the news for its controversies as for its culture. If Husain’s horses were a rage at one time, its rage of a different kind now that’s throwing the limelight on him. Art shows have been dragged from galleries to courts to chat shows on the telly. How many people buy a piece of art because the artist is featured on ‘Page 3’ all the time? Is the price linked to the creative potential or is it proportionate to the artist’s celebrity status?
On the one hand, you have artists who have become permanent fixtures on Page 3 and flaunt their celebrity status, and on the other, there are celebrities turning to the paint brush in a bid to ‘diversify their creativity’. Then, you have artists who are dogged by controversies. Every move and stroke by Husain is covered extensively by the media. Whether you like him or not, the fact remains that you cannot ignore him. Similarly, whether he returns to India or not, the hype surrounding his every word and gesture will ensure he stays in the limelight and commands the same high price.

Suchitra Krishnamurthy is another case in point. Every time she picks up the paintbrush, the media goes into a frenzy. Sometimes, it seems no one really cares or even sees what the art looks like. Celebrity previews are well-attended and from what one hears, it is easier to translate footfalls into sales here. Owning an artwork by an artist who is famous and well-known is seen to be a reflection of status and good taste. After all, we all revel in name-dropping. Plus, celebs sell their art for amounts that would make even senior artists turn green with envy. Being a socialite or an artist who is well-connected has its benefits, it ensures media interest and is a great aid to marketing art.
Maybe we can call it ‘glamour art’. All said and done, the ‘star’ value will be reflected in the value of the painting, so be prepared to shell out a bomb.

(Published in Bangalore Mirror)

23 Mar 2007

Art Exhibition

Remember the earlier article on organizing an art exhibition, here's another one, which new and upcoming artists may find useful. This was written and published in Financial Times, Bangalore (June, 2004). The information is quite relevant today as well, however, the rates mentioned at the end of the article may not be valid.

Art exhibition – behind the scenesBy Nalini S Malaviya

The art market is booming in Bangalore, and if art dealers and experts are to be believed this is just the beginning. The next few years should see the city as a more mature and happening art scene. While, established artists command higher prices, the good news is there is a growing market for fresh talent. According to artist Gurudas Shenoy it is great that architects and corporates are factoring in artworks within their budgets. So, not only private collectors but also interior designers are on the look out for great art at rational prices for their clients. This is where young artists can score with reasonable pricing. Although art is not a commodity, it does need to be showcased well so as to reach the buyer. As Shenoy explains, just as a film launch is done with great fanfare, art shows too need to be presented well and it is important for artists to do their homework thoroughly.

Planning a showGallery owner, Renu George suggests, “artists must have a show only when the quality of their work is first-rate and they are ready to take responsibility for their works”. She says it is important to have their works assessed by a few gallery owners or from a knowledgeable source. Galleries are sometimes booked weeks to months in advance, it is therefore advisable to select and book a place while working on the collection. You could also visit art galleries with a portfolio of your works to look for sponsorship. Some galleries when sponsoring an artists take care of the invitation card/catalogue, sending out the invites, press coverage and organizing a preview. Gallery owner, Gita Maini says, “I end up spending around Rs. 50,000 per show, when I sponsor an artist”.

When you rent a gallery either on a per day basis or a package that the space may offer, you are responsible for the logistics, although some galleries will guide you informally. It helps to print a catalogue or an invitation card with at least one of the paintings to generate an interest in the show. Presentation and media interest in the show are a must – the artworks must be packaged well in frames that are subtle, that will hold the work together and should be finalized only after a lot of thinking, advises Shenoy. A press release or note must be sent out a few days in advance to ensure the print matter coincides with the exhibition dates. Also, if you are organizing a preview, don’t forget to invite the media – reviews always help.

Reducing Overheads
Renu George suggests, “upcoming artists could do a group show or hire a small part of the gallery to keep overheads in check”. It is important to price the works reasonably, after all why should one buy a new artist’s painting versus a fairly established one. According to Shenoy the pricing should increase progressively over the years as the works reflect maturity and experience. Also, sales don’t necessarily happen during exhibitions, a studio is another place where prospective buyers can approach and a good ambience can make all the difference. Whenever possible, artists should invest in having a good facility with sufficient comfort factor, this also establishes the seriousness of the artist. Success doesn’t come easy and in an instant, well not always, artists should keep an open mind to all kinds of art, especially in the initial stages when one is trying to make a living as an artist. They could do freelance commercial work or portraits and basically be open to any creative outlet, advises Shenoy.

Some costsFrames: Rs 30 per meter to Rs 600 per foot
Gallery rental: Rs 1000 to Rs 5000 per day
Gallery commission: 20% to 40%
Invitation card: Rs 3.50 per piece for 2000 copies (without photograph)
Rs 10 per piece for 200 copies (without photograph)
Rs 10 per piece for 2000 copies (with photograph)
Postage costs extra
Preview costs vary according to the menu and the number of invitees, usually galleries
prefer to get these events sponsored.

17 Mar 2007

Art Exhibition - A visual representation of Aurangzeb’s reign

(By Nalini S Malaviya)

I met Francois Gautier earlier this week, when he was in Bangalore for the preview of the art exhibition he has organized.

This exhibition of miniature paintings is based on original documents and firmans (edicts) from Aurangzeb’s reign preserved in museums in Rajasthan, mainly the Bikaner archives. The paintings depict scenes from this period in the Moghol miniature style of painting. A visual representation of facts and events based on historical records, the works offer valuable insights into a dark and turbulent period that marked the beginning of the fall of the Moghol Empire.

Francois Gautier, a French journalist and writer residing in India for the last twenty years, is the man responsible for putting together the concept and the show. He reveals, “The documents and the paintings on display are based entirely on original archives, and we’re the first ones to exhibit them.” His organization FACT (Foundation Against Continuing Terrorism) has been active in creating global awareness on the plight of the Kashmiri Hindus. Gautier believes this exhibition is highly relevant today as it encourages religions to be more enlightened and tolerant.

Aurangzeb’s reign - a period ill famous for violence, cruelty, and religious intolerance has been depicted through drawings, paintings and explanatory text. Prince Dara Shukoh (Aurangzeb’s brother) translating the Upanishads, his farcical trial, demolition of temples, burial of music, and Aurangzeb writing his will are some of the paintings on display. Details of events and historical facts have also been put up along with each painting.

The Moghol miniature style of paintings is on the decline and Gautier hopes an exhibition such as this will revive interest in the art form. The exhibition will travel to Delhi, Mysore, Pune and other cities in the country.

The exhibition is on till March 25 at Gallery G, Bangalore.

(Published in Times of India, Bangalore)

13 Mar 2007

Organizing an Art Exhibition

How to Organize an Art Exhibition -Tips on organizing a successful art exhibition

Recently, there has been a spurt in the number of art exhibitions in Bangalore. At some of these shows it was disheartening to see that there were hardly any visitors, almost no media coverage and consequently no sales. For all upcoming artists who are not sponsored by art galleries, organizing an exhibition of their artworks is a challenge in itself. Unfortunately, talent by itself is not sufficient, marketing and packaging have become very important ingredients in defining one’s success in almost every field.

Marketing is not a part of fine arts curriculum in India and although most artists acquire this ability over time, it helps to start right. A combination of creativity, good communication skills, marketing ability and media savvy-ness makes for a successful recipe. And, as most artists will agree, planning for an art show – preview, mailing lists, media coverage, details of the event all require extensive planning to ensure the success of an art show. Here, I have listed out a few points, which may help the new and upcoming artists.

Have ties
It helps to have some kind of a tie-up with an established and reputed art gallery. However, it is not always an easy task and if you are organizing an art exhibition completely on your own, it is important to start planning well before the event. Most art galleries are booked six months to a few years in advance, therefore depending on the timeframe, one can utilize the time to work out the nitty-gritty of the show.

Preview
It helps to organize a preview or an inauguration of the exhibition. These days, many hotels like to be associated with art related events and they could also be approached to provide the venue. Some hotels will do so in exchange of a painting. One can also look for a sponsor who can take care of the cocktails/appetizers for the evening. Do a cost estimate to have an idea about the expenses involved.

Invite and Catalogue
Design a nice invitation card with one or more of your paintings and ensure all relevant details are covered in it. If possible plan to have a catalogue, however this is more often done with sponsored shows.

Mailing list
Many art galleries in return for the rent of their premises will lend their mailing list. Sometimes mailing lists are also available on payment. It helps to have a local contact who can guide you in the right direction.
Plan in such a way that the invite reaches everyone about a week before the event.
If you plan on having a chief guest/guest of honor you will have to work simultaneously on confirming their availability.

‘Press kit’
Remember media plays an important role in providing press coverage and thereby determining the numbers that will visit the show. Put together a ‘press kit’ on a CD – photographs of artworks, artist profile & photograph, write-up on the exhibition such as what is the theme of the show, why was it chosen, what inspires you, how is it different from your earlier works, copy of a catalogue, if any, and an e-invite.
The press kit must be distributed to all local newspapers, magazines and television channel networks. This should be done at least 1 to 3 weeks in advance. If you would like to be covered in various section/supplements of a newspaper, remember, sending a single copy of the press kit is not enough. Take the trouble to find out who heads each section/supplement and mark different sets of the press kit to each of them.
Often freelance writers/art critics cover art related events, if you know their contact details, send them the press kit as well and follow up with a phone call. Alternately, leave a copy of the kit with the respective newspaper office and request them to forward it to the freelancer.

Follow up with a phone call to all the important people who you have invited for the event. Confirm again with your special guests. Please do not hound your guests and reporters with repeated phone calls this can put them off. Some galleries send out smses a day or two before the event to remind guests, one can follow this procedure as well.

If all this is too complicated and you have the cash to spare, hire a PR firm to take care of the publicity. Arty parties are very popular with the press for the Page 3 events section; so don’t forget to invite the press for the preview. Inviting the who’s who of the city will also make sure that the media takes an added interest in the event.

Send in your comments and suggestions (e-mail) on what more can be done to organize a good and successful art show.

Art Scene India