Inspired by History: Kaushlendra’s inspiration flows from a deep-seated fascination with ancient objects, evoking a yearning for the past that channels into his art. In the midst of modernity’s relentless march, his soul finds solace in the embrace of nostalgia. He believes that delving into history is an endeavor of understanding our roots and rediscovering the essence of human existence.

The Artistic Process: Kaushlendra’s artistic process emanates from a union of the conscious and subconscious mind. He strives to unlock the depths of his thoughts, feelings, and experiences, transcending the physical and venturing into the ethereal. This amalgamation of the conscious and subconscious mind manifests in his work, giving it a multifaceted richness that invites contemplation and introspection.

Capturing Fleeting Moments: As Kaushlendra observes the ever-changing face of the earth, he is acutely aware of the transient nature of existence. Through his art, he strives to capture these fleeting moments, immortalizing them on the canvas. His subjects become vessels to encapsulate the essence of time, preserving fragments of history and breathing life into them through abstract interpretations.

Caves and Ancient Monuments: Caves, with their enigmatic allure, and ancient monuments’ architectural magnificence captivate Kaushlendra as subjects of exploration. The ancient caves, witnesses to the unfathomable passage of time, whisper secrets from epochs long gone. Their geological formations, illuminated by playfully dancing light, become metaphors for the human psyche, mirroring the complexities of the human soul.

Delving into the architecture of ancient monuments opens gateways to the past. These awe-inspiring structures, once bustling centers of human activity, now stand as silent witnesses to the passage of centuries. Kaushlendra endeavors to unlock their stories, employing the language of abstraction to bridge the gap between the ancient and the contemporary.

A Meditative Realm: By gazing into the abstract forms Kaushlendra creates, he aspires to transport his audience to a meditative realm, where the boundaries between past, present, and future dissipate, leaving them immersed in a transcendent experience. Through his work, he aims to inspire reflection on the beauty and impermanence of existence and the timeless legacy of human civilization.

In conclusion, Kaushlendra Pratap Singh’s artistic journey has been one of self-discovery and a quest to unveil the enigmatic past. Inspired by ancient objects and driven by nostalgia, his art delves into the profound depths of consciousness, where the conscious and subconscious intertwine. His subjects, caves, and ancient monuments, serve as conduits to channel the essence of time into the abstract realm. With his creations, he strives to kindle an introspective flame within the beholder, fostering a profound connection to our shared human heritage and the eternal flow of time.

Stay tuned for the unveiling of Kaushlendra Pratap Singh’s exquisite artworks on VisionsArts.com. Get ready to embark on an artistic journey like no other!

#IndianArt #AbstractArt #ArtCollection #VisionsArts #KaushlendraPratapSingh #ComingSoon

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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.

The post Amitabh Sengupta: A Visual Odyssey and a Thriving Collaboration with VisionsArts.com first appeared on Indian Art News.

Meet Cheena Madan, a self-taught artist whose abstract works are about to grace the canvas of VisionsArts.com!

Despite having no formal education in fine arts, Cheena’s journey has been a testament to the power of imagination and boundless creativity. From a young age, she exhibited an extraordinary talent, painting in a naturalistic manner and experimenting with textures, techniques, and ideas that danced across her canvas.

Acrylics are her chosen medium, allowing her to breathe life into her unique artistic style. Nature serves as her muse, and in her works, she captures the grandeur of the soul while embracing the serenity that lies within. It’s a gentle reminder to a world that often forgets the beauty that surrounds us.

Get ready to embark on a visual journey like no other as we prepare to unveil Cheena Madan’s beautiful and vibrant abstract creations on VisionsArts.com. Stay tuned for an artistic experience that will ignite your senses!

The post Unveiling the Artistry of Cheena Madan – A Tale of Colors and Imagination first appeared on Indian Art News.

In the world of art, where each canvas tells a unique story, Puja Sarkar stands as a beacon of creativity and innovation. Visions Arts is delighted to represent this extraordinary artist, and her captivating works will soon be available on our refreshed art platform at VisionsArts.com. Today, we invite you to an exploration of Puja Sarkar’s artistic journey and the mesmerizing world she brings to life through her art.

The Life and Art of Puja Sarkar:
Puja Sarkar’s art is a testament to the transformative power of creativity. Her journey as an artist has been deeply influenced by a life marked by restrictions, discipline, and solitude. Yet, it is precisely these experiences that have fueled her unique perspective on art and the world around her.

From Objects to Emotions:
Imagine a world where inanimate objects come to life, brimming with feelings and passion. This is the world that Puja Sarkar creates through her art. Everyday objects such as ladies’ bags, combs, lipstick, mobile phones, safety pins, umbrellas, and more become the protagonists of her autobiographical interpretation. These seemingly ordinary objects take on a profound symbolic role in her work, serving as vessels through which she expresses her innermost feelings and profound philosophy.

A Burst of Color and Symbolism: Puja’s works are characterized by their vibrant and energetic use of color and texture. Each piece possesses a narrative quality, with juxtaposed images that beckon viewers to delve into a complex tapestry of emotions and memories. Her art invites you to explore the intricate relationship between objects and the human experience.

Experimentation with Mediums: As a fearless artist, Puja Sarkar ventures into both conventional and unconventional mediums to bring her artistic concepts to life. She constantly pushes the boundaries of her art, incorporating materials, waste materials, and objects into her work. This fearless approach results in art that is not only visually striking but also thought-provoking.

A Journey of Awards and Recognition:
Puja Sarkar’s art has garnered recognition and accolades. Her accomplishments include a Junior Fellowship in Painting for 2019-2020, awarded by the Centre for Cultural Resources & Training (CCRT), Ministry of Culture, Govt. of India, New Delhi. Her work has also been featured in the 2010-2011 Edition of “New Art International” Art Book by Art Book Press, New York, USA.

Exploring Puja Sarkar’s Solo Exhibitions:
Puja Sarkar’s solo exhibitions have left a lasting impression on art enthusiasts worldwide. Her art has graced prestigious online platforms, allowing her to connect with audiences on a global scale. Her work has been showcased on platforms such as Worldwide Art Movement, Art Family India, Foundation of Art & Culture Bhopal NGO Organization, VIMOHI, and “The Eye Within” Organization.

Puja Sarkar’s art is a journey through emotions, memories, and the profound connection between objects and the human experience. We invite you to stay tuned for the unveiling of her exceptional creations, which will soon be available at VisionsArts.com. Prepare to immerse yourself in the world of Puja Sarkar—a world where art knows no boundaries and where the everyday becomes extraordinary.

Thank you for joining us on this artistic adventure. Puja Sarkar’s art awaits, and we can’t wait for you to explore it.

PujaSarkarArt #VisionsArts #EmotiveArt #EverydayObjects #ArtisticJourney #ComingSoon #ArtLovers #ArtistSpotlight

The post 🎨 Discover the Unconventional Artistry of Puja Sarkar: A Journey Through Emotions and Objects 🌟 first appeared on Indian Art News.

By Siddhi Jain

New Delhi– Given the current exposure Indian art is receiving, the projected turnover for the market will hold its ground, and further expand over the next decade. Analyzing, researching, and thereafter including Indian art properties, during the asset planning and strategy phase should not be undermined, says Siddanth Shetty, V.P. Business Strategy and Operations, AstaGuru.

He further writes:

“Indian art has proven to be a safe asset with long-term goals and has even done well during inflationary periods. However, having said that, art will always be a subjective investment, in?uenced by the trends of the time.

Therefore, one must always keep their ears to the ground and validate an acquisition, backed by research and analysis. Factors such as an artwork’s exhibition and publication history go a long way to prove the work’s importance, it not only validates its authenticity but also places the work on a pedestal of sorts. Other crucial factors that one should exercise due diligence about is to trace the provenance of the artwork and follow the respective artist’s auction performance before committing to a transaction or a bid.”

“After researching and achieving clarity about the contended acquisition the next step is to choose a genuine and well-informed source for the acquisition. Galleries and auction houses represent the primary and secondary marketplace respectively. An auction house acquisition proves to be exciting as well as completely transparent, and the presented artwork’s legitimacy is seconded by the auction house since they undertake research and adhere to due diligence protocols.”

“Apart from the safety factor which technology provides, there is the advantage of ease and mobility. Users can participate in auctions while they are on the go, either through a website or a mobile phone app. All the essential data pertaining to the lots are published online and are shared on the open platform for all to glean through.”

Last, but definitely not least, It is imperative to study the artist’s practice and build a symbiotic relationship with the creation, the emotive experience one shares with the artwork must be taken into account since it’s going to be part of your immediate environment.

Good art will always garner demand and the prices for masterpieces by seminal artists will remain high as they have, historic as well as the leverage of a rich provenance. First-time buyers must bear in mind and favor the idea of posterity, rather than focusing on short-term gains, it is imperative to perceive art as a long-term moveable asset. Owning a work of art with unmatchable aesthetic value, that appreciates with time, is indeed a valued and treasured asset, and with the art market presenting an encouraging prospect, this is the ideal entry point to invest in Indian art. (IANS)

By India New England News -April 15, 2021

The post A guide for new-age art collectors first appeared on Indian Art News.

Born on April 29, 1848, in Kilimanoor, a village in the Indian state of Kerala, Ravi Varma’s works are highly prized among collectors, and his 1890 work “Radha in the Moonlight,” sold for INR 23 crore (USD 3,116,065) in 2016.

Earlier this month, well over a century after his death, a museum and art gallery dedicated to him was announced by the State Government of Kerala in Thiruvananthapuram. Chief Minister Pinarayi Vijayan laid the foundation stone, and a budget of INR 8 crore (USD 1,083,552) was allocated towards the development of the museum. This will be on the premises of the Thiruvananthapuram Museum and Zoo.

Rukmini Varma, a descendent of Ravi Varma and chairperson of the Raja Ravi Varma Heritage Foundation said it was a positive step to spread awareness about the artist’s life and art.

The Raja Ravi Varma Heritage Foundation, which was started in 2015, has been working over the years to create more awareness about Raja Ravi Varma and his art, both in India and abroad. The Foundation constantly engages with researchers and scholars who have studied Ravi Varma’s work and the impact his work has had on Indian art and history. The institution works to preserve his artistic legacy by engaging in research, study, and restoration.

“An artist should be able to communicate, and the more he does, the better his art will succeed,” said Rukmini Varma. “Ravi Varma reached so many people through his lithographs and paintings, perhaps more than any other artist in the world.”

Today, Ravi Varma’s work is familiar and can be seen everywhere in India— from prayer rooms to calendars. His use of mythological stories for art inspired the Amar Chitra Katha comic book series, while his use of bright color inspired kitschy Bollywood movie posters.

“When he was still a teenager, Ravi Varma studied the European Realism technique from Theodore Jensen, an English artist, and his early work, both the style and technique, marked a turning point in Indian art,” says author Shobha Tharoor Srinivasan, who is writing a book on Ravi Varma for children.

“He painted Indian subjects and Indian mythological stories, but with a European understanding. So instead of the ‘flat’ images seen in the work of artists earlier, Varma’s portraits were realistic; even the folds of the women’s saris and the creases on their brows were visible on the canvas.”

Later, Ravi Varma’s paintings of Hindu gods and goddesses, as well as scenes from the epics were mass-produced as lithographs in the printing press he owned. This made his art even more accessible and affordable to everyone, not only to art collectors and the nobility. Soon, Ravi Varma prints could be seen on streets, shops, and homes.

During the last years of the 19th century, and in the early years of the 20th century, Ravi Varma was arguably the most famous artist of India. In fact, a post office had to be opened in tiny Kilimanoor because letters and requests for paintings came flooding in for him from various corners of the country.

“People were able to identify themselves through his paintings — the characters, not just gods and goddesses,” said Rukmini Varma. “They were characters that he painted without considering caste or creed or religion. There was a unity he established through his paintings; he made people realize that they were Indian above anything else.”

Among other representations, Ravi Varma’s art has also featured more recently on saris. On Gandhi Jayanti 2019, designer Gaurang Shah launched a collection of khadi jamdani saris, which were showcased at Mumbai’s MGMA Museum. Khadi is a hand-spun natural fiber originating in the Indian subcontinent. Jamdani is woven on a brocade loom, with a supplementary weft to create patterns, in addition to the usual warp and weft weaving method.

Each of these 30 woven pieces, is an ode to Ravi Varma’s art, with the pallus (the loose ends of the saris, typically draped over the shoulder)each featuring a unique painting.

“Ravi Varma’s sensibilities and my match very well. The way he depicts his women, are the kinds of saris I weave,” said Shah. “His paintings are a burst of color, with each painting featuring 40-50 hues, and that’s what I’m known for as well.”

Shah, however, admits that recreating a painting, especially one as nuanced as Ravi Varma’s, was a Herculean task—with so many colors in the skin tone, details of the sari folds, the intricacies of the borders and jewelry, the background details like the sky and greenery.

(Edited by Anindita Ghosh and Sid Roy. Map by Urvashi Makwana)

November 28, 2020 National/International News
https://tntribune.com/new-museum-to-showcase-indian-artist-raja-ravi-varmas-legacy/

The post New Museum to Showcase Indian Artist Raja Ravi Varma’s Legacy first appeared on Indian Art News.

BENGALURU: Among the multiple issues affecting our city, the one which is often considered not important enough is our art, culture and heritage. Many of you might say, “I thought art and culture in the city is at its best now.” It is encouraging compared to the past, but at the same time, it isn’t the same for all art forms, barring a few that have got recognition among the elite. Most Bangaloreans remember folk artistes only during November, to enhance a procession or to welcome chief guests. Today, it is disheartening to see a new trend of folk artistes walking along the bride and groom in weddings.

Bengaluru is home to several budding folk artistes, who come to the city with a dream to make it big. Gig economy jobs are more lucrative than depending on folk performances today, so fewer youngsters are entering this field.

Druthi, my neighbour’s kid, is excited about her day as she has a dance period in her time table. Thanks to online classes, I got to watch her take classes last week. As the class began, the artiste in me began to think, our own arts offer so much beyond just the skill of performing for a child’s development.

I wonder, is it because our folk/classical songs are not made to sound as cool as ‘Dance Monkey’ that schools aren’t considering them? Or is it that parents think their children would find more value if they are exposed to non-Indian art? Or is it just a lack of effort from our end to place our art at par with others?

Solution: If we expose our kids to local performing arts, it will not only increase their interest, but they will also grow up to promote and support them. Making these a part of curriculum will also help artistes get steady income, and motivate them to work more in the field.

The post Indian Art News – Local art forms must be a part of school curriculum first appeared on Indian Art News.

The Museum of Art and Photography (MAP) was planned to be opened in December but the Covid-19 pandemic has forced the delay. While the physical site, a five-storey building on Kasturba Road, will open next year, the MAP will go online, with the found

hoping that the easy accessibility will bring more people to appreciate art in its various forms.

With a growing collection of over 18,000 artworks, predominantly from the subcontinent and dating from the 10th century to the present, MAP will set the bar high, not only in the sheer number of works on display but also the reach.

Stressing the inclusive nature of MAP, founder-trustee Abhishek Poddar said Covid-19 and the lockdown made them reflect on how people interacted with the online space.

“We began looking at how we could engage with our online communities,” said Poddar. “From interactive digital engagement pieces to taking our Art and Culture lecture series online and enhancing our website to feature more content, we experimented with different things in a bid to understand our audiences better. And in doing that we noticed a sharp increase in the number of people interacting with MAP online.”

Taking the museum online, Poddar said, will bring more people to art. “There is clearly a desire in people to learn more about art, even among those who might sometimes find a physical museum or gallery either intimidating or boring,” he said, adding that the virtual platform is envisioned as another site of the physical museum.

MAP Director Kamini Sawhney said the ‘Art (is) Life’ festival that will take off on December 5 will attempt to take art back into the heart of community.

“The programming has been conceived around the interconnections between the arts and how each has enriched the other. Each day presents a range of perpsectives – from expert introductions to a tour of artworks – so everyone can find something to something to enjoy,” she said.

The opening night will feature art, poetry, dance and music coming together in an exploration of the musem. Well known Indian cultural figures Javed Akhtar, Shabana Azmi, Malavika Sarukkai, Arundhati Nag, Nandita Das will grace the opening.

Source – https://www.deccanherald.com/city/cheer-for-art-lovers-as-bengaluru-to-host-south-indias-first-private-museum-920338.html

Chiranjeevi Kulkarni, DHNS, Benglauru, NOV 27 2020, 01:35 IST

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Akila Vaidyanathan from Coimbatore was misty-eyed when she saw her son Nishant Sriram’s paintings displayed at the second edition of eCAPA 2020 exhibition. He is one among the 59 participants with intellectual disabilities taking part in this virtual show organised by The Art Sanctuary, an NGO based in Bengaluru. “Nishant is autistic and was interested in art from a young age. This is his first exhibition and he has exhibited seven of his works inspired by Nature and patterns. I never thought he would be showcasing his works and selling them one day,” she says.

There are 190 artworks including paintings, photographs, installations and clay sculptures at the ongoing event. The themes range from wildlife to abstract art. The NGO received around 500 entries and the works were selected by artist Bose Krishnamachari, founder member and president of Kochi Biennale Foundation. “Bose suggested not to set a theme, since he didn’t want to restrict their creativity in any way. We have participants with autism, cerebral palsy, Fragile X Syndrome, dyslexia, Down’s syndrome and global mental retardation,” says Shalini Gupta, Founder Trustee of the NGO.

The first edition of eCAPA was in 2019 at Stir Gallery, Delhi. “We sold half of the works then. I was planning for this year’s edition when the pandemic struck, forcing me to move online. Basic details of the artist are available with each artwork on the website.” The artists were trained to pack and courier their works to the NGO. “All these little steps help them to be self-reliant,” she says.

The Art Sanctuary, which was launched in 2019, conducts regular workshops on art, theatre, storytelling, photography and dance for people with intellectual disabilities. “The sessions are online now. We have professionals to take the sessions.” In addition, they also provide a platform for people to showcase their talents. “My daughter has Down’s Syndrome and she is a photographer and a coder. When she created her website and uploaded photographs, a lot parents told me that they don’t have a platform to put up the works of their children. Finally, it was during my trip to the Kochi-Muziris Biennale in 2018 that I decided to set up,” says Shalini.

Mumbai-based Usaid Shaikh, who is autistic, has exhibited four of his paintings. His mother, Fatima Shaikh says, “Art helps him to express himself better. An exhibition like this is important in bringing inclusivity.”

Shalini has plans to hold this exhibition every year. “People are ready to acknowledge talents of those with intellectual disabilities. It is a joy to see the smiles on participants. I still remember how a photographer danced with joy when he sold a photograph he took last year.”

The exhibition is on till January 26, 2021. For details, visit: theartsanctuary.in or call 9810255297.

Original Source – https://www.thehindu.com/news/cities/Coimbatore/the-ecapa-2020-exhibition-features-artworks-done-by-the-intellectually-disabled/article33117422.ece

By Susan Joe Philip / Susan Joe Philip COIMBATORE, NOVEMBER 17, 2020

#Indianart #visionsarts #eCAPA #The Art Sanctuary #Bose Krishnamachari #artexhibition

The post Indian Art News – The eCAPA 2020 exhibition features artworks done by the intellectually disabled first appeared on Indian Art News.

Art museum presents ‘Visions of India’, How do modern artists cope with the weight of history? This is a challenge particularly applicable to painters and sculptors who hail from countries with well-established and universally recognized artistic legacies. How, for example, do French painters emerge from the shadow of their Impressionist and Cubist predecessors? How do Italian sculptors make their own mark in a land where Michelangelo and Bernini still loom so large?

Some possible answers to this critical question can be found in the latest major exhibition at the Columbia Museum of Art, on view until Jan. 10. Titled “Visions of India,” this often-dazzling panoply of artifacts by some of the most important contemporary Indian artists provides a host of 21st-century responses to how those working in a long-established tradition might put their own stamp on the path-setting efforts of those who have gone before.

Anyone even casually familiar with the artistic heritage of the Indian subcontinent knows that the creative genius of that particular culture embraces not only painting and sculpture but also wood carving, textiles, ceramics and metalwork. The current show offers memorable modern variations on all of these creative forms; but perhaps the most notable, in both size and impact, are two that provide a technological twist to objects of timeless usage.

Of the six downstairs galleries devoted to this exhibition, which is culled from the nonprofit Pizzuti Collection in Columbus, Ohio, two are devoted to single pieces that are sure to be the highlights of any CMA visit in the coming months. The first is a monumental wooden archway by Mumbai-based artist Sudarshan Shetty, whose sculptural installations have garnered worldwide attention in the last 20 years. In this particular 2011 piece titled “For All That We Lose,” the viewer is confronted with an 11-foot-tall, two-sided, ovoid carving – each side features willowy trees with intricately intertwined branches – with a central entry point. Lest one indulge in the impulse to poke one’s head into the portal, however, a metal sword sways back and forth in the opening like a clock pendulum.

In this work, east meets west. To a hand-carved wooden decoration not unlike what might have once graced an ancient Indian temple or palace Shetty adds a mechanical function, thus transforming an object whose labyrinthine beauty compels closer inspection into something that is ultimately menacing. If one purpose of art is to evoke an emotive response, this seductive bower with its perilous core succeeds on a grand scale.

Another gallery-filling work that mechanizes a recognizable Indian form is Subodh Gupta’s “Sushi Conveyor Belt” from 2008. On a metal table nearly 23-feet in length are eight undulating conveyor belts whereon rest strategically placed towers of tiffin tins made of aluminum, steel and brass. Tiffin carriers, a kind of lunchbox generally consisting of two or three tiers of interlocking tins, each containing some ingredient of a hot meal, are common to the Far East; but they are said to have originated in India.

Gupta is a New Delhi-based artist best known for transforming everyday objects into something totally unexpected. In this case, he has taken the tiffin carrier one step farther, not only increasing the height – some measure 20 tins high – but also setting them in motion. From the vantage point of the average visitor standing on any side of the mechanized table, the tiered tins move past the eye like illuminated skyscrapers as seen from a small plane or helicopter on a nighttime urban overflight. In Gupta’s imagination, the quotidian becomes the stuff of magic.

In addition to these two large-scale showstoppers, “Visions of India” provides CMA visitors with many more examples of how contemporary artists have reimagined their country’s traditional arts and crafts by merging them with other cultural influences – some of the individuals in the current show have lived long outside of India or engaged in lengthy residencies abroad – or by infusing them with a modern edge.

Many pieces in the current show combine both approaches. Take, for example, K.P. Raji’s 2008 oil on canvas depicting a pair of young people “playing” with fire before a backdrop composed of a ruined wall and crater. The artist’s work, which in this case speaks of destruction and displacement, is inspired by the narrative content of classic Indian miniature paintings but with a twist courtesy of Western surrealism. While the young man employs an unorthodox method for extinguishing a blaze engulfing a doll house-sized structure, his canine companion stands sentinel while grasping in its open jaws a yellow ball emblazoned with the ubiquitous smiley face ideogram.

In its melding of the classic and the modern, “Visions of India” is one of the most engaging exhibitions mounted by the CMA in recent years. It offers a host of eye-pleasing, thought-provoking delights.

https://www.postandcourier.com/aikenstandard/lifestyle/arts-and-humanities-art-museum-presents-visions-of-india/article_fbab46b6-2387-11eb-8c0f-ff56cdc7a701.html#tncms-source=article-nav-prev

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