Indian watercolour artist Rahul Chakraborty says that the art world is still struggling to survive the impact of lockdowns. Add to it the absence of artist royalties, and the challenges increase even more for the community in India.
One of the most expensive contemporary Indian artists, whose work ‘Banyan Tree’, a life-size sculpture made from stainless steel, is permanently displayed at the National Gallery of Modern Art in New Delhi, Gurugram-based Gupta insists that he never thinks about who is at top and who is not.
For Bangalore-based artist Sachin George Sebastian, whose latest show, ‘Once, there was a seed’ at currently on view at Vadehra Art Gallery in the capital, the fascination for the medium started when he came across a pop-up book in a second-hand book store in Bangalore.
With works like ‘Dissolving Tree’, ‘The Fragrance of Invisible Flowers’, ‘The Final Yield’ and bronze sculptures of tree logs and branches on display, the artist stresses that ash is much more than a medium.
Contemporary artist Shilo Shiv Suleman, founder of ‘The Fearless Collective’ that engages with gender issues and art for social change says that in the post-pandemic world when our lives have become isolated and separations pronounced — between classes and people with different political ideologies — those on the margins have become even more marginalized.
The last two months have been hectic, and a great change from the suffocating stillness of the initial days of the lockdown. Having painted more
She captures frames of the greatest migration since Partition, but what strikes is not the movement, but in fact an uncomfortable stillness — not just
Back in the early 1970s, Marathi playwright Vijay Tendulkar’s play ‘Sakharam Binder’ — which features the character of a bookbinder who ‘takes in’ women abandoned