Traditional artist unknown

Source Business Standard by Kishore Singh

Remembering the ‘Other Master’, Jivya Soma Mashe

Source Livemint by Radhika Lyengar
Artist and Padma Shri awardee Jivya Soma Mashe, who put Warli art on the global map, died on 15 May, aged 84, at his village, Ganjad, in Maharashtra. In an email interview, the French art critic Hervé Perdriolle, a friend of his, recounts his memories of meetings with Mashe. Perdriolle, who is also the founder of the Galerie Hervé Perdriolle, has over the last two decades tirelessly promoted the work of contemporary tribal and folk Indians artists, whom he labelled the “Other Masters of India”. He spoke to Lounge while putting together an exhibition of Mashe’s work at the Manoir de Martigny in Martigny, Switzerland, which opens on Saturday.
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Last Rites Performed With State Honours: Jivya Mashe, who universalised Warli, dies at 84

Source Indian Express by Sushant Kulkarni
Mashe, who was awarded a Padma Shri award in 2011, had to his credit several national and international exhibitions, including solo and collaborations with artists of various genres. The artist is survived by his wife, three sons, two daughters and grandchildren. His eldest son, Sadashiv, is also a Warli artist. “He was not suffering from any ailment but had become very weak. His appetite, too, had reduced and from the last few months. He had not been able to paint. A week ago, he told me that he wanted to paint a lot but was very sad that he could not. I have lost my father, who was also my guru,” said Sadashiv.
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Globally-renowned Warli artist Jivya Shoma Mashe dead

Source Hindustan Times by Ram Parmar
In 1975, the then Prime Minister Indira Gandhi told Bhaskar Kulkarni,a senior member of the Crafts Board, Delhi, to find a traditional painter who could depict the tribal way of life, Patil said. Kulkarni came across Mashe’s paintings and presented him before the late PM, who was fascinated with his work, and encouraged him to spread Warli paintings worldwide, Patil said. In 1976, the then President of India Fakruddin Ali Ahmed allotted 3.5 acres of land to Mashe in the then undivided Thane district to propagate Warli art. However, Mashe got the land only after 35 years, in 2011, after the intervention of then Congress vice-president Rahul Gandhi.
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Décès de l’artiste Warli Jivya Soma Mashe

Source Connaissance des Arts par Guy Boyer
Jivya Soma Mashe, peintre Warli, est décédé à l’âge de 84 ans. C’est chez lui, à Dahuna taluka (état de Maharashtra à l’ouest de l’Inde), où il vivait depuis l’âge de onze ans, que l’artiste Warli est mort le 14 mai des suites d’une longue maladie. Né à Dhamangaon en 1934, il incarnait cet art traditionnel indien pour lequel il avait reçu en 1976 le National Award for the tribal Art et qui sera poursuivi par ses deux fils et sa fille. Cet art Warli, qui a commencé par des fresques sur les murs, a pris son essor dès les années 1970 en apparaissant sur des toiles et dessins et a peu à peu séduit le monde de l’art international.
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Acclaimed Padma Shri artist Jivya Soma Mashe dead

Source Times of India
In 1975, Mashe's maiden exhibition was held at the Jehangir Art Gallery, which heralded the arrival on the global art scene of the humble tribal artist from a hamlet in Palghar. There was no looking back. Soon Mashe and his Warli paintings travelled to various countries like the US, earning him accolades and kindling new interest in the hitherto unknown aspects of Maharashtra's tribal culture and arts. He was awarded several major national and international awards. Top personalities, including then Prime Ministers Jawaharlal Nehru and Indira Gandhi, appreciated his arts.
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Warli artist Padmashree Jivya Soma Mashe dies

Source The Hindu
Noted artist Jivya Soma Mashe, who popularised the Warli tribal art form, died here after a prolonged illness, an official said on Tuesday. He was 84. Mashe died at his home in Dahanu taluka late last night, according to an official in the Palghar district administration. He was conferred the Padma Shri in 2011 for his contribution towards Warli painting. He had got the National Award for the Tribal Art in 1976. He is survived by two sons, also Warli artists, and a daughter. He was accorded a state funeral. Mashe was known for his creative reinvention of an art form that was disappearing.
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Jivya Soma Mashe has just passed away

Yashodhara Dalmia, Jivya Soma Mashe and his wife, Balu and Sadashiv Mashe.

Jivya Soma Mashe and his wife

Jivya Soma Mashe and friends, photo T. Venkanna 2012

Hervé Perdriolle et Jivya Soma Mashe march 2017

Jivya Soma Mashe's grandchildren have just told me that Jivya died at 4 am this morning. This morning when I travel to Switzerland to organize one of my most important exhibitions on Indian tribal art with in particular, several wonderful paintings of this artist, this man, this friend. My sadness is immense. Jivya was a great artist but also an exceptional man respected by all of his community and well beyond. I shared with him my best moments in India. I think a lot about him and all his family.

Les petits fils de Jivya Soma Mashe viennent de m'apprendre que Jivya Soma Mashe est décédé à 4h ce matin. Ce matin où je pars organiser en Suisse une de mes plus importantes expositions sur l'art tribal indien avec notamment, plusieurs toiles merveilleuses de cet artiste, de cet homme, de cet ami. Ma tristesse est immense. Jivya était un grand artiste mais aussi un homme exceptionnel respecté par toute sa communauté et bien au-delà. J'ai partagé avec lui mes meilleurs moments en Inde. Je pense très fort lui et à toute sa famille.

Journée Portes Ouvertes samedi 12 mai

Source Galerie Hervé Perdriolle
Dernière Journée Portes Ouvertes à la galerie Hervé Perdriolle avant la mise en place de l'exposition "Inde" au Manoir de Martigny du 26 mai au 5 août 2018 présentant une centaine d'œuvres de 12 artistes indiens sélectionnées auprès de 30 collectionneurs. Journée Portes Ouvertes samedi 12 mai de 11h à 19h rue Gay Lussac 75005 Paris : sur inscription en cliquant sur le bouton ci-dessous ou par simple retour de mail. Merci de nous préciser votre nom et l'heure à laquelle vous souhaiteriez passer.
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Etre galeriste sans galerie ?

Source Art Insider par Alexandrine Dhainaut
En janvier dernier, on apprenait que Nicole Klagsbrun participera à la prochaine Frieze New York qui se tiendra début mai. Détail non négligeable : la galeriste new yorkaise n’a plus de galerie, de lieu physique accueillant amateurs éclairés et collectionneurs. Une évolution qui peut prêter à réfléchir. Depuis huit ans, le galeriste en appartement Hervé Perdriolle, fait partie de ces cas d’exception. Pour décrire son quotidien, il nous reçoit dans son chez lui parisien, au milieu des œuvres fourmillant aux murs.
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Hervé Perdriolle, critique dʹart et commissaire dʹexposition

Source Radio télévision Suisse par Mélanie Croubalian
Portrait d'Hervé Perdriolle par Mélanie Croubalian dans l'émission Entre nous soit dit sur la RTS1 le 7 mai 2018... Au rythme d'extraits d'archives surprenants et facétieux qui évoquent de manière détournée et parfois anachronique une étape de vie, Hervé Perdriolle se confie au micro de Mélanie Croubalian pour éclairer le présent à la lumière du passé.
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'Day to remember' for art-loving nudists in Paris

Source Times of India
No shoes, no shirt, no problem: A Paris gallery gave nearly 200 people a rare chance for a clothes-free visit this weekend, the latest opportunity for the city's flourishing nudist scene. The Palais de Tokyo, a contemporary art museum in the shadow of the Eiffel Tower, offered the guided tour before opening to the general public on Saturday.
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An art Historical inquiry into the life and death of Jangarh Singh Shyam

Source Indian Institute of Advanced Study by Partha Mitter
Jangarh Singh Shyam has found in Amit Dutta an ideal chronicler of the tortuous path the tragic Gond artist’s brief life took. Dutta locates Jangarh’s particular predicament within the wider historiographic framework, the uneven relationship between centre and periphery, between the West and the Rest, and between the elite and the underprivileged within global modernism — the concept of the periphery is not one of geography but of exclusion and inclusion. In the global arena, all Indian and other non-western artists suffer from a ‘time lag’, because their work is set against the ‘originary’ discourse of western modernism. Externally, this hegemonic teleology of the western canon has been central to the anxiety of non-western modernism, and Indian modernism in particular. Internally, the rise of ‘modern’ Indian artists with their elevated social status consigned the traditional, popular, folk and tribal artist, the subaltern groups as it were, to the margins of Indian art.
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And the Frieze New York stand prizes go to… Nuno Centeno and Jhaveri Contemporary

Source The Art Newspaper by Anna Brady
The Mumbai-based gallery Jhaveri Contemporary and Nuno Centeno from Porto, Portugal, have won the Frieze Stand Prize and Focus Prize respectively for their presentations at Frieze New York. Each gallery receives $7,500. The decisions were made by a jury consisting of Christopher Bedford (director of the Baltimore Museum of Art), Omar Kholeif (senior curator and director of global initiatives at the Museum of Contemporary Art Chicago) and Suzanne Cotter (director of the Madam Luxembourg Musée d’Art Moderne Grand-Duc Jean). Amrita Jhaveri, the director of Jhaveri Contemporary, says: “We took a complete gamble in showing Samant’s works, as he is little known internationally. We felt his work was contemporary enough for us to take on; we try to find Modern artists who relate to our contemporary programme.”
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A vital new publication documents India's shifting tides of contemporary photographic and new media art...

Source We Heart by Lisa Davidson
Published in conjunction with the FotoFest 2018 Biennial, India/Contemporary Photographic and New Media Art features 48 contemporary artists and collectives, all working in dialogue with the history and emerging future of India and its people. Presented as an impressive 300-page hardback tome and bursting with some 200 colour photos, the book—designed by HvADesign in New York—has been edited by FotoFest executive director and curator Steven Evans, with absorbing essays on the state of Indian contemporary art coming from local experts Zahid R. Chaudhary, Sunil Gupta, and Gayatri Sinha.
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Auteur of Arts

Source Daily Pioneer by Deepali Meena
In 2013, Chemould Prescott Road celebrated its 50th year, for which Geeta Kapur curated a series of five simultaneous exhibitions in Mumbai under the over-arching title: Aesthetic Bind which prompted her to write a book about the same. In the book Kapur aesthetics as “indistinguishable from the turbulent unconscious and the ground of subjective struggle.” And by the word bind she meant bondage, compulsion and dilemma. The book revolves around Kapur’s critical analyses of around 52 contemporary artists ranging from sculptures, portraits, watercolour paintings, photographs and sketches based on their skills and techniques.
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Subodh Gupta’s edible canvas in Paris

The Hindu by Ashvin E Rajagopalan
The performance dinner started with a cheela, a savoury chickpea crepe. This was followed by bhel puri, and finishing off the round of starters was a crispy eggplant pakora. All these are Gupta’s favourite foods. They resonate with him deeply and represent the most common meals he would have eaten growing up in Bihar. The next course was something different. Served in a terracotta bowl was a khichdi topped with yoghurt and crushed papadum, accompanied in the same bowl with a dollop of aloo bharta. The textures were great and the aloo was a delightful amuse bouchewith its tangy lime flavor. Next, impeccably dressed waiters brought out thalis for each guest. Another seven dishes to enjoy, and no one was complaining. The thali included basmati rice, daal, raita, a beautiful mustard and mixed greens sabzi, potato and cumin sabzi, mustard tofu and — for non-vegetarians — a Goan prawn curry and lamb. My favourite, if I had to really choose, was the dessert: a well-set dahi (curd) with bananas and saffron. This is Gupta’s comfort food.
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Subodh Gupta honoré à la Monnaie de Paris

Source Le Monde
« L’œuvre de Subodh Gupta, dont il est autant le cuisinier que le sculpteur, le peintre que le performeur, aborde la spiritualité, la politique et le champ social. Il pense chacune de ses œuvres d’art comme un agrégat de cultures : son histoire personnelle, l’histoire politique et économique du monde, l’histoire de l’Inde au XXIe siècle, son interprétation de l’histoire de l’art contemporain où Duchamp et le Nouveau Réalisme jouent un rôle éminent », confie Camille Morineau, commissaire de l’exposition, qui commente pour Le Monde une sélection d’œuvres.
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Meet the power patrons of the FICA Advisory Board

Source Architectural Digest by Rosalyn D’Mello
Roshini Vadehra, one of its founders, measures its influence through the metric of its many beneficiaries. “FICA has had an exciting decade with 47 grants for artists and curators, and an active art educational programme for artists, teachers and students,” she says. Another FICA initiative is the Reading Room, which was “born out of the need to make exclusively published art publications available to a larger public, who have little or no access to university or private libraries in India,” says the FICA website. “We hope to have a permanent foundation space soon,” Vadehra says.
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Ram Kumar (1924­–2018)

Source Art Forum
“Like other painters of abstract landscapes such as Richard Diebenkorn, who was also drawn to waterfront cities, he began to use the shoreline and the horizon as the barest elements of a painting’s intelligibility, Alex Traub wrote in the November 2016 issue of Artforum. Associated with the Progressive Artists Group as well as the Delhi Shilpa Chakra, Kumar would be featured in solo exhibitions as well as major exhibitions including a two-person show with M.F. Husain in Delhi and Prague in 1967, the Festival of India shows in Russia and Japan in 1987 and 1988, “The Moderns” at the National Gallery of Modern Art in Mumbai in 1996, and “Ramkumar: A Retrospective” at the Aicon Gallery in London in 2011, among others. He was the recipient of a J.D. Rockefeller III Fund Fellowship in 1970, for which he traveled to the United States, and was honored with Padma Shri by the Government of India in 1972 and Kalidas Samman by the Government of Madhya Pradesh in 1986.
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Galerie Hervé Perdriolle Nouvel Accrochage Avril 2018

Source Galerie Hervé Perdriolle
Galerie Hervé Perdriolle Nouvel Accrochage Avril 2018 : Aldo et Stephan Biascamano, T. Venkanna, Pablo Bartholomew, Shantaram Tumbada, Mayur et Tushar Vayeda… Galerie en appartement Paris 75005 - visite sur rendez-vous : herve.perdriolle(at)gmail.com – 06 87 35 39 17 > voir une sélection d'oeuvres disponibles

Bhopal, where old and new co-exist

Source MydigitalFC by Shona Adhikari
Bhimbetka, located 45 km south of Bhopal, has approximately 500 caves, discovered fairly recently, where the most amazing rock paintings may be seen. Some of these date as far back as 12,000 years, and some seem to have been painted over, indicating that these caves were used by succeeding generations. The colours of the paintings are remarkably well preserved, with depictions of wild buffalo, rhinos, bears and tigers.
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Stainless steel art on display in Paris

Source The Whashington Post
Reporters got a preview of Indian contemporary artist Subodh Gupta’s large-scale, stainless-steel sculptures April 10 ahead of the show at the Monnaie de Paris.

Sotheby's backs Indian art market by launching sales in Mumbai

Source The Art News Paper by Anny Shaw
Since then much has changed. After the global financial crash of 2008, the market plummeted but in recent years it has been quietly making a comeback. Sotheby’s opened an office in Mumbai in September 2016 and recent events, such as the opening of a sculpture park in Jaipur in December and reports of healthy sales at the India Art Fair in Delhi in January, are creating a palpable buzz. India’s economy has been growing at a rate of around 7% a year since 2014, which is also fanning optimism in the art market.
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Near Forgotten Train Station in India Pulls In Tourists after Artful Makeover

Source Latin American Herald Tribune
Traditionally, Madhubani artwork – which boasts the coveted GI (Geographical Indication) tag – would adorn the walls and floors of huts in villages, although they are now painted mostly on cloth and canvas or handmade paper. The makeover has meant the number of daily visitors to the train station has more than doubled, the railway spokesperson said. While around 1,000 local workers and travelers had used the station every day (a small figure in India, where rail travel is very popular) that number has been boosted by a growing number of tourists, some of whom have come from overseas to see the colorful results of the makeover.
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