A collection of my art reviews, reports published in news publications such as Reuters and The Quint; and culture/art-focused platforms like Freemuse and Art1st. Follow the link -- https://ankusharora.net/2016/02/29/published-work-ankush-arora/
Delhi-based Nature Morte Gallery’s recent exhibition, ‘Gradient Descent’, seeks to establish artificial intelligence as a new genre of contemporary art-making
What happens when a statistician and an artist decide to create a new form of art? The outcome is an experimental initiative for artists and technologies of ‘Artificial Intelligence’ (AI) to reimagine creativity in contemporary art practices, while establishing a collaborative human-machine relationship. That is the stated goal of ‘64/1’, the Bengaluru-based art curation and research collective founded by brothers Karthik Kalyanaraman, whose interest in visual arts predates his career as an economist, and Raghava KK, a multidisciplinary artist known for creating an art book for children on the iPad.
And what happens when a gallerist realises that AI (broadly, the ability of machines to replicate human intelligence) is slowly beginning to shape the way we access technology? The result, this time, is a startling…
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An oil painting by Amrita Sher-Gil, recently mounted at New Delhi’s National Museum, showed a confident-looking European girl with a comparatively demure Indian. The European, painted in bright yellow, had her arm around the shoulders of the visibly dark Indian girl. While the painting has been interpreted as an exploration of the artist’s mixed identity (she was born to a Sikh father and a Jewish-Hungarian mother) and her corresponding artistic influences, it also deals with a transforming social and political landscape.
‘Two Girls’ was painted by Sher-Gil during her brief visit to Budapest in 1939, around the time Europe witnessed the rise in fascism, and India a nationalist, anti-colonialism struggle against the British rule. The artwork, by one of the greatest avant-garde artists of the 20thcentury, was part of a large-scale, transcontinental collaboration that offers a unique perspective on India’s history by placing it…
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A new exhibition in Delhi introduces the rare genre of ‘colour field’ painting to art lovers
How does an artist’s canvas reflect natural landscapes, without using any kind of recognisable shapes, images, forms or human figures? A good example of this style of art-making is the work of Pandit Bhila Khairnar, who is known as a ‘colour field’ artist. Delhi-based Gallery Threshold recently inaugurated a solo show of the artist, who hails from Nashik city in Maharashtra.
Nashik. Courtesy: Flickr
As a young man, Khairnar found himself drawn towards abstract painting, and began his training in art at Yashwant Kala Mahavidyalaya, Aurangabad, and L. S. Raheja School of Art, Mumbai. His early interest in abstract painting deeply influenced his artistic vocabulary that we see today, so much so that he is now considered one of the lesser known, but foremost, colour field painters of India.
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The revival of Thai’s ‘mudmee’ silk industry is the subject of a new exhibition at New Delhi’s National Museum
Between the 14th and 18thcentury, the Kingdom of Ayutthaya (present-day Thailand) began importing various kinds of Indian textiles for the local market and royal court. These included block-printed or painted cotton from Masulipatnam (Andhra Pradesh), silk brocades from Banaras, and Gujarat’s patolaor double ikat silk—the latter was believed to have been commissioned for the Ayutthaya king during the 1660s.
Painting of Ayutthaya c.1665, painted by Johannes Vingboons, ordered by the Dutch East India Company, Amsterdam. Courtesy: Wikipedia
While the origin of silkworm breeding and silk weaving in Thailand remains unknown, the early hybridization of Indian-made textiles with Siamese (dated term for Thai people) royal court patterns began to take place sometime during the Ayutthaya kingdom, according to a new art exhibition at New Delhi’s National…
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New Delhi’s National Gallery of Modern Art is currently showing masterpieces from Australia’s indigenous artists – a rare, large-scale project that is not only a precursor to the upcoming Australia-India Fest, but also part of India’s long-standing initiative of cementing ties with other nations through the realm of art and culture. In the recent past, … Continue reading In a rare showing, Delhi gets a glimpse of indigenous art from National Gallery of Australia
Founded eight years ago, Kiran Nadar Museum of Art (KNMA) has acquired the reputation of being the first private museum of art exhibiting modern and contemporary works from India and the sub-continent. It’s core collection is made up of a generation of 20th century Indian artists from the post-Independence period, while engaging art practices of younger … Continue reading A video tour of Kiran Nadar Museum of Art’s personal collection
For an urban audience addicted to instant air cooling, a trans-national collection of hand-made fans might be of little interest, until you visit an exhibition showcasing artefacts belonging to a rare and dying tradition. The exhibition has been curated by Indian visual artist Jatin Das, a well-known researcher and archivist of the craft of hand-made … Continue reading Fan-ning art: A look at Indian artist Jatin Das’ vast collection of ‘Pankhas’