In the world of art, where every stroke of a brush tells a story, Amitabh Sengupta’s journey stands as a testament to the power of creativity and the profound impact of artistic exploration. Born in Kolkata in 1941, Sengupta’s artistic journey has spanned continents, mediums, and generations, leaving an indelible mark on the global art scene. Today, we delve into the life and works of this remarkable artist, whose collaboration with VisionsArts.com is set to redefine the way we experience art.

The Early Years: Nurturing the Creative Flame

Amitabh Sengupta’s artistic roots can be traced back to the vibrant city of Kolkata, where he embarked on his creative journey. Graduating in Painting from the Government College of Arts and Crafts, Calcutta, in 1963, Sengupta’s talent quickly earned recognition. His early years as an artist saw him receiving all India awards in painting from the Academy of Fine Arts, Kolkata, in 1961, setting the stage for what would become a storied career.

A French Sojourn: Shaping Artistic Perspectives

Sengupta’s thirst for artistic exploration led him to Paris, where he received the French Government Scholarship in Printmaking and Painting. From 1966 to 1968, he honed his skills at the prestigious École des Beaux-Arts, experiencing the rich tapestry of the Parisian art world. These formative years in France not only expanded his technical prowess but also enriched his artistic philosophy.

Art Across Borders: International Recognition

Sengupta’s artistic endeavors transcended geographical boundaries. He held solo shows at renowned venues like the Galerie des Beaux-Arts, Paris, and the Cité International de Paris in 1967 and 1968. His participation in the International show of the Salon d’Automne, Paris, in 1968 solidified his presence on the global art stage.

An Academic Odyssey: Nurturing Future Artists

The artist’s journey took him to Nigeria, where he served as the Head of Visual Arts in two universities from 1977 to 1987. During this period, he also worked as an Art Advisor with the Federal Universities in Nigeria and with UNESCO in Paris in 1986-87. Solo shows in Owerri, Enugu, Lagos, and Port Harcourt in 1986 further underscored his international acclaim.

The Homecoming: Returning to Kolkata

In 1988, Sengupta returned to his roots in Kolkata, marking a new chapter in his artistic expedition. He continued to enrich the Indian art landscape with his innovative works and commitment to nurturing young talent.

The Legacy Continues

Today, Amitabh Sengupta’s legacy as an artist continues to evolve. His participation in various exhibitions, art camps, and solo shows exemplifies his unwavering commitment to the world of art. His journey, marked by innovation, experimentation, and a deep connection to his surroundings, remains an inspiration for both emerging and established artists.

As he collaborates with VisionsArts.com, Amitabh Sengupta’s work serves as a bridge between tradition and modernity, fostering a deeper appreciation for the beauty and complexity of the human experience. Through his art, he invites us to explore the realms of creativity and imagination, reminding us that the canvas is a canvas of endless possibilities.

In this exciting collaboration, VisionsArts.com is proud to celebrate Amitabh Sengupta’s remarkable journey and artistic contributions. Together, we embark on a mission to bring the transformative power of art to a broader audience, making the world a more beautiful and interconnected place through the strokes of creativity.

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Born in 1987 in India, Shrutika Gosavi has garnered international recognition for her exceptional talent and has received numerous awards, including the prestigious ‘Rove Emerging Artist Prize 2020’ at World Art Dubai UAE. Her selection by the Sikka Art Festival Dubai Culture 19-2020 committee to showcase her ‘The Leftover’ series speaks volumes about her artistic prowess. Moreover, she holds the esteemed Golden cultural visa of Dubai, an acknowledgment of her significant contribution to the art world.

Intuitive and Inspired

Shrutika’s art is not just a visual delight; it’s an introspective journey into the complexities of human existence. Her works are intuitive and deeply inspired by her surroundings, touching on topics ranging from the significance of the external world to human behavior and the body.

In the realm of contemporary figurative art, Shrutika’s creations stand out with their expressionistic qualities. Her works are often encoded with messages and storytelling elements, frequently incorporating symbolism and surrealism. Her series ‘When I Travel in Dreams’ is a prime example of her ability to convey thoughts and feelings through her art.

The Art of the Human Form

Human forms take center stage in Shrutika’s artworks, characterized by exaggerated gestures and body parts, yet often lacking facial features. As she puts it, “The expression in my paintings comes from the gestures of the full body. And I always connect the theme with the general atmosphere. Hence for me, facial features are not that important.” This approach adds a layer of universality to her art, inviting viewers to project their own emotions and experiences onto her creations.

Medium and Process

Shrutika’s favorite mediums include paper, charcoal, ink, and acrylic paint. She continually experiments with these materials, pushing the limits of creative possibilities on paper and canvas. Her artistic process begins with a strong focus on the line—a fundamental element in her work. She enters a meditative state, allowing intuition and thoughts to guide her as she creates layers of shapes filled with color.

The creation of a single artwork can take anywhere from 15-20 days to an astonishing 6 months for more complex pieces. Shrutika emphasizes the importance of inspiration and intuition in her work, likening it to giving a speech where ideas naturally flow once the initial thought is articulated.

A Journey from Gwalior to Dubai

Shrutika Gosavi’s artistic journey has seen her traverse continents and cultures. She hails from Gwalior, India, where she completed her Masters in Visual Arts (Painting) at the Government University of Raja Mansingh Tomar Music and Art. Her talents were recognized with the Young Artist Scholarship from the Ministry of Culture and the prestigious State Artist award. After a brief stint as a lecturer, she relocated to Dubai in 2012, where she established her studio, dedicating herself entirely to her art.

Her artistic evolution took an exciting turn when she was invited to the Liwa Art Residency in Abu Dhabi in 2016. This experience deepened the spiritual dimension of her work, exploring the connection between natural elements and humanity.

A Rich Body of Work

Shrutika has produced an impressive body of work, including series like ‘A Dialogue With Substance,’ ‘The Leftover,’ ‘Goat,’ ‘Lines,’ ‘The Mask Series,’ ‘The Life in a Metro,’ ‘The People,’ and ‘A Comfort Chair.’ Her work has been exhibited internationally, gracing galleries in Italy, India, UAE, France, Malaysia, and the USA. In 2018, she celebrated her first retrospective solo exhibition in Sharjah, UAE, a testament to her growing influence in the global art scene.

A Window to the Soul

Shrutika’s art is, at its core, autobiographical—a personal visual journal of her past memories, present concerns, and future visions. It offers viewers an ‘open window’ to her soul, inviting them to explore the depths of her emotions, experiences, and aspirations.

As we eagerly await the arrival of Shrutika Gosavi’s extraordinary artworks at Visionsarts.com, we invite you to embark on a visual journey like no other. Her art is a testament to the power of creativity and its ability to transcend borders and connect us all. Stay tuned for this exciting addition to our collection, and prepare to be captivated by the world of Shrutika Gosavi.

#indianart #Visionsart #shrutikagosavi #abstract #art #artdecor #Dubai

The post Shrutika Gosavi: A Glimpse into a World of Expression first appeared on Indian Art News.

Exploring the Avian World with Sreya Gupta

Sreya Gupta’s art is a captivating exploration of some of the world’s most remarkable bird species, brought to life through floral symbolism and a harmonious blend of colors. Her fascination with the natural world has been a driving force in her artistic journey, and it’s evident in every brushstroke.

Each composition is a window into the unique characteristics and vibrant plumage of these avian wonders. Through her work, Sreya aims not only to offer a visual treat but also an educational experience, shedding light on the diverse and wonderful world of birds. Each artwork introduces a specific bird species, embracing life and beauty through a kaleidoscope of colors and floral symbolism. It’s an attempt to bridge the gap between humanity and nature, creating visuals that leave a lasting impression.

The Artist Behind the Art

Sreya Gupta’s artistic journey has been nothing short of remarkable. She possesses a diverse educational background, ranging from a diploma in Visual Art to a Master’s degree in Gem and Jewelry Design. Her artistry extends beyond canvas, as she is also a professional Jewellery Designer and Gemologist.

Her distinctive style is characterized by a bold color palette, meticulous attention to detail in her subjects, and the botanical backdrop that accompanies her creations. Nature serves as an infinite well of inspiration for her, allowing her to explore various mediums and styles. Landscapes, birds, and butterflies are among her favorite subjects.

Furthermore, Sreya’s art carries a vital message of bird conservation. Her works vividly portray unique bird species, set against lush green foliage and vibrant flowers, emphasizing the importance of preserving these incredible creatures.

Awards and Exhibitions

Sreya Gupta’s talent has been recognized and celebrated through various awards and exhibitions. Her accolades include the prestigious Ankan Ratna and Ankan Bivakar on Painting, as well as a National Scholarship from the Centre of Cultural Resource and Training. She has also participated in numerous art exhibitions, both in India and internationally, showcasing her versatile talent to a global audience.

We are thrilled to represent Sreya Gupta at Visions Arts, and we invite you to explore her enchanting world of artistry, where every stroke tells a story of nature’s wonders. Stay tuned for her captivating creations, which will soon be available at VisionsArts.com. Join us in celebrating the beauty and vibrancy of our natural world through the eyes of this talented artist.

#SreyaGuptaArt #VisionsArts #NatureInspiredArt #BirdConservation #ArtisticJourney #ComingSoon #ArtLovers #ArtistSpotlight #indianart

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The Art of Starting Small

Collecting art doesn’t require deep pockets. It begins with a simple realization – art is an expression of the human spirit, and its value goes beyond monetary figures. It’s about connecting with an artist’s vision, unraveling the stories behind each stroke, and forging a personal connection with a piece that resonates with you. The joy of collecting art comes from the heart, not the wallet.

Visions Art: Your Starting Point

Visions Art, a hub for contemporary Indian art, understands the essence of this journey. It’s not just about offering a platform for artists; it’s about creating an experience for collectors, both seasoned and newcomers. Here, you can embark on your collection voyage with a sense of belonging and support.

Exploring the Visionaries

Visions Art is home to an array of exceptional artists, each with a unique voice and perspective. Here are a few exemplars and their remarkable works:

• Aatmica Ojha: Ojha’s art speaks to the soul. Her work explores the interplay of light and shadow, drawing viewers into a world of introspection. Her mastery of capturing fleeting moments on canvas is awe-inspiring.
• Naveena Ganjoo: Ganjoo’s abstract creations evoke a sense of mystery and wonder. Her ability to play with shapes and colors creates an enigmatic experience for the viewer, inviting them to explore the depths of their imagination.
• Prasanta Acharjee: Acharjee’s art is a tapestry of emotions and cultural influences. His works are a visual representation of his inner world, and each piece tells a unique story. His use of symbolism adds layers of meaning to his creations.

Starting Your Collection

Begin your collection journey by exploring Visions Art’s diverse offerings. As you scroll through the online gallery, let your heart guide you. Don’t focus solely on investment potential; instead, consider what resonates with you on a personal level.

Budget-Friendly Options

Visions Art understands that every collector’s journey starts somewhere, and they offer a range of budget-friendly options. You can find smaller works, prints, and emerging artists whose talent is waiting to be discovered. This is your opportunity to own a piece of the Indian contemporary art scene from the ground up.

The Joy of Discovery

Collecting art isn’t just about ownership; it’s about discovery. It’s about delving into the artist’s world, understanding their motivations, and sharing in their creative journey. It’s about connecting with a community of like-minded individuals who appreciate the power of artistic expression.

A Journey Worth Taking

In the world of art, there’s no right or wrong way to build your collection. What matters most is your passion and dedication. So, start small, explore, and let your collection grow organically. Visions Art is your partner on this remarkable journey, offering you a chance to be part of the vibrant tapestry of Indian contemporary art.

Remember, art is a reflection of the human experience, and your collection is a testament to your own unique journey through life. With Visions Art by your side, you’re not just collecting art; you’re embracing a way of life that celebrates creativity, imagination, and the boundless possibilities of the human spirit.

The post Building Your Own Art Collection: A Journey of Discovery and Passion first appeared on Indian Art News.

More than a year after the pandemic crippled the art sector,a contemporary art show, now on at Alappuzha in multiple heritage venues, has come as a shot of optimism to the artistic community in Kerala.

Titled ‘Lokame Tharavadu’ (The World is One Family), the art show is being organised by the Kochi Biennale Foundation with support from the state departments of tourism and culture and the Alappuzha Heritage Project and being implemented under the guidance of the Muziris Heritage Project Ltd.

The nearly two-and-a-half-month-long event is spread across five heritage venues in Alappuzha — The Kerala State Coir Corporation, New Model Society Building, Port Museum, Eastern Produce Company Ltd and William Goodacre & Sons Pvt Ltd and one in Ernakulam, The Durbar Hall Art Gallery.

The show, curated by artist and Kochi Biennale Foundation president Bose Krishnamachari, features the works of 267 artists, who trace their roots to Kerala and by scale is considered the biggest art event to be held in India.

The individual art works number well over 3,000, presenting a unique opportunity for art enthusiasts and connoisseurs to experience the richness and diversity of art practiced by contemporary Malayali artists.

But admission to the show is governed by strict protocols, including registration at the Covid-19 Jagratha portal of the state government and availing passes after uploading RT PCR Negative certificate or Covid-19 vaccination, a KBF statement said here on Monday.

“It’s absolutely amazing and something that should have been conceived before the Kochi Biennale. Lokame Tharavadu has a staggering number of highly talented and dedicated artists, some of them with out of the box thinking,” according to Radha Gomaty, a participating artist in the show.

Many of these artists, she said, are not on the gallery grid and often miss out any kind of security or standard of life that comes from the art that they make, and have to keep doing other things to meet their both ends.

“To learn that they continue in their dedicated pursuit of art despite these odds is something that is amazing. There might be historical, cultural reasons that contributed to this kind of flourishing number of practitioners,” Gomaty said.

T R Upendranath, another artist, said he was skeptical of the show initially.

“But when I made a visit, my perception changed altogether. The way the works have been displayed and the efforts that has gone behind felt like magic to me.

The awareness that so many artists are working in different styles was inspiring and some of the works enough to invoke a sense of jealousy”, Upendranath, who is exhibiting a series of drawings in the show, said.

He feels that anyone from outside the state who visits the show would be stunned by its range and scale.

Gomaty said it is remarkable that there are so many people working consistently on creative language with an index of awareness and a great belonging of social identity. “I am glad that an attempt has been made to bring as many people as possible under one umbrella.I do hope that this process goes on and helps create a permanent platform that can enable a global appreciation of what Malayali artists have been doing,” she said.

The Lokame Tharavadu show features works of 56 women artists, some of them virtually unknown. “I am sure this show would create a powerful ripple and set the bar high for future growth of art in the state. I feel a tinge of sadness that it’s happening when the pandemic situation has again turned worse, but the message of the show, The World Is One Family seems relevant than ever,” said Manoj Vyloor, a participating artist and principal, Fine Arts College, Thiruvananthapuram.

https://indianexpress.com/article/lifestyle/art-and-culture/contemporary-art-show-a-shot-of-optimism-for-artistic-community-in-kerala-7290117/lite/

By: PTI | Alapuzha |
April 26, 2021 10:30:37 pm

The post Contemporary art show a shot of optimism for artistic community in Kerala first appeared on Indian Art News.

“We Do Not Dream Alone,” the first Asia Society Triennial of contemporary art, is in search of a reason for being.

You could find reasons for both enthusiasm and skepticism when Asia Society announced last year that it would present a triennial of contemporary art, centered on art from what the organizers called “Asia and the world.” Enthusiasm: Our supposedly global galleries and museums still engage too little with a continent that’s home to 60 percent of the world’s population, and the more new Asian art we see here, the better. And admission would be free.

Skepticism: There are now more than 300 biennial and triennial exhibitions of contemporary art worldwide. In New York alone, the Whitney Museum of American Art, the New Museum, MoMA PS1, the Queens Museum, El Museo del Barrio, the International Center of Photography and the Wallach Art Gallery at Columbia University all gum up their galleries with perennial festivals of new art. In the high-water years of globalization — the ’90s and early 2000s — the -ennial exhibitions popping up all over promised to forge a new, worldwide field of artistic creation, with the West no longer at the center. Twenty-odd years later, when digital networks have dissolved distances and novelty seems an artistic nonstarter, the format is feeling increasingly tired.

“We Do Not Dream Alone,” the inaugural Asia Society Triennial, was meant to spill out of the institution’s Park Avenue headquarters, with major commissions on Governors Island and participatory installations in partnership with the New York Philharmonic. The coronavirus pandemic — which, among its other injuries, has brought anti-Asian prejudice to an appalling boil in the United States — pushed almost all the largest projects out of reach, and made it impossible for most artists to travel. What is left is a scattershot, unadventurous assortment of new and not-so-new art, which barely reflects the ambitions espoused in those initial announcements. It feels less like a calamity than a missed opportunity, and might have benefited from a longer postponement and rethink.

About two dozen artists, from the Middle East to Indonesia to New York, have works on view at Asia Society’s headquarters. (They were selected by Boon Hui Tan, the recently departed director of the Asia Society museum, and Michelle Yun Mapplethorpe, now promoted to the directorship. A second round of artists will take over the galleries in February.) There are a few of note, including Arpita Singh, an Indian artist born a decade before partition, whose forceful, thickly daubed paintings of fleshy and contorted women imbricate mythic and everyday imagery.

Quite a bit more of the art here is easily summarized and biennial-ready, as if communicating a single social or geopolitical concern was all a picture or an object can do. Ghiora Aharoni, a New York-based Israeli designer, embroiders gowns with eyeroll-inducing hybrid scripts of Hebrew and Arabic, Hindi and Urdu. Nasim Nasr, born in Iran and based in Australia, gives us a short video loop of women breaking apart religious prayer beads; you do not need the accompanying text to know they are “metaphorically defying patriarchal traditions.”

A second segment of the triennial, staged across Central Park in a large gallery of the New-York Historical Society, purports to strike up a conversation between that museum’s collection and contemporary Asian artists. But the hang is soporific — there is not a single internal wall; old and new art is strung monotonously along the perimeter like so many PowerPoint slides — and the juxtapositions are frequently forced. Thomas Cole’s monumental five-painting cycle “The Course of Empire” (1833—36) is placed as a mirror-image of photographs of the artist Huang Yan, whose torso is tattooed with traditional Chinese landscapes. As for the hasty co-optation of a vernacular painting of George Floyd, plus a poster with a raised fist sloganed “Asians for Black Lives,” they ought to confirm that this show could have used a longer delay to think more systematically about the upheavals of 2020.

There are, still and all, high points. New Yorkers have had few opportunities before to discover the work of Minouk Lim, one of the most important artists in South Korea, and at Asia Society a whole gallery is given to her disquieting mannequins and to her video “It’s a Name I Gave Myself,” a harrowing edit of footage from a 1983 television special featuring orphaned survivors of the Korean War, uncertain of their whereabouts or even their own given names. The hushed landscape photography of Taca Sui, at the Historical Society, and Xu Bing’s silk-woven copy of Confucius’s “Analects,” at Asia Society, offer pensive, knotty updates to the Chinese classical tradition. And maybe there will be surprises when the second group of participants appears in February; they include the Indonesian artist Melati Suryodarmo, renowned for her grueling durational performances, and Ahmet Ogut, an incisive Turkish artist of Kurdish descent.

But bringing these artists and others together under one umbrella feels, at best, haphazard. This is a triennial in search of a reason for being — although that does not make it so different from hundreds of others. Starting with the Gwangju Biennale in South Korea in 1995, the biennial/triennial format became decisive for the development of Asian contemporary art at the end of the last century. In Yokohama or Singapore, in Taipei or in Kochi, India, these festivals served as mixing points for artists East and West, brought Asian artists into a global orbit, and eventually became an ecosystem of their own. They talked a big game about “knowledge production” and “transnational discourses,” even as biennials started to seem more satisfying for tourist boards and corporate sponsors than for artists.

What should an -ennial be now, as we approach the quarter-way mark of the 21st century? The “new art from all over” model of the 2000s feels more and more like a dead end. The pandemic’s sudden deceleration of the art world offers a chance at least to try something more tightly argued or historically engaged, so that when the motors of the market start revving again we at least know where we want to steer. Between the shortcomings of our “global” shows and the timidity of our “local” ones lie a thousand possible encounters, where we can meet in ways that truly change us.

Asia Society Triennial: We Do Not Dream Alone

Part 1 through Feb. 7, 2021 at Asia Society, 725 Park Avenue, Manhattan; asiasociety.org.

Jason Farago is an art critic. He reviews exhibitions in New York and abroad, with a focus on global approaches to art history. Previously he edited Even, an art magazine he co-founded. In 2017 he was awarded the inaugural Rabkin Prize for art criticism. @jsf

Original Source Credit – https://www.nytimes.com/2020/11/18/arts/design/asian-art-triennial-review.html

The post Indian Art on Focus – A Festival of New Asian Art, Seeking a Direction first appeared on Indian Art News.