Tom and jerry drawing by sanket arts
I asked the amazing lovely people on my Facebook page to send me their favorite photographs that they took in The response was overwhelmingly happy. To see images and know that each one of them was created by someone who is proud of their achievements fills my heart with so much joy, and I hope it does yours as well. We must remember, always, that art is personal. These pictures are all loved in equal measure, and I treasure them as one of the greatest gifts I have seen this year.
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Freelancers in Worksome
Over the last few years the fair has seen tremendous growth, and has caught the attention of a diverse global audience, attracting over , visitors over its first 3 editions.
The 4th edition brings together India s vibrant art community and some of the world s finest galleries. This year, 98 exhibitors from 20 countries present a world class showcase of modern and contemporary art in a custom built space at the NSIC Exhibition Grounds in New Delhi. Returning this year are over 40 of India s best galleries that will represent the exciting breadth of modern and contemporary Indian art.
First time international exhibitors this year include some of the most influential galleries from Europe, the Middle East and South Africa. The Speakers Forum will feature 54 world renowned curators, critics, artists, and collectors.
Visitors will also be able to explore the fair through a number of customised tours, browse the vast range of art publications at the Art Book Store, and experience the Video Lounge and Public Art Projects. We are also proud to have developed an extensive collateral events programme around the fair, hosted by the city s prominent art institutions, galleries, and private museums; making New Delhi an exciting cultural destination for the duration of the fair.
Together with my partners Will Ramsay and Sandy Angus, I would like to thank all our participating galleries, partners and sponsors for being a part of the fourth edition of India Art Fair.
I am delighted to present another edition of this landmark initiative and I hope this art fair will be a truly memorable experience for us all.
Photo: Ela Bialkowska 82 Iranna K. Reji Navjot Altaf N. Artist Name Booth No. While art practice from this period compellingly addressed many postcolonial concerns challenging the hegemony of the Euro-American art institutions, the postcolonial entered into international curatorial practice quite late by the last years of the 20th century Johanesberg Biennale, In his context, Documenta 11 in was a landmark event when its artistic director, Ockui Enwezor, drew attention to postcolonial politics of representation via race and identity politics.
This has also been a moment when insularity of the art world from the concerns of the world out there was challenged. Can the term curatorial be expanded to traverse the wider world shaped by asymmetrical power relationships around class, race, gender and sexuality engendered by the current phase of globalization? Some leading theoreticians of cultural difference and curators are invited to reflect on the postcolonial inflection on contemporary curatorial practices and the current interface between curatorial frameworks and art practice.
What kind of regional models are genuinely inclusive and collaborative? Drawing on a series of case studies and provocations, panelists will discuss various platforms from Gwangju Biennale s curatorium, Tokyo Wonder Site s integrated exhibition and residency program, Singapore Biennale s regional position and the new, peripatetic initiative Utopia in order to speculate on cross-cultural collaborations.
The talks will be provocative, generating audience discussion and debate including India s new Kochi-Muziris Biennale and the role of public institutions in facilitating connectivity. But the challenges are to leverage these creative capacities and attract private investment. While social sector activities of the Indian corporate sector are widely recognized, private support extended to arts is yet to receive acknowledgement in India.
The session will provide a forum for discussion on role, implications and prerequisites of private support to arts in all its facets including art education, infrastructure, promotion and marketing initiatives. The session would also bring to the fore the economic impact and growth potential of the Art and Culture sector and how the sector can contribute in creating jobs and economic growth. So, for example, the section on Bombay in Tate Modern s Century City exhibition curated by Geeta Kapur and Ashish Radhyadaksha evidently had a different focus from the Serpentine Gallery s exhibition Indian Highway, just as the recent exhibition Paris, Delhi, Bombay at the Centre Pompidou is different in approach from Indian Summer that was co-curated by Deepak Ananth for the Ecole des Beaux-Arts in Ranjit Hoskote will doubtless have much to say about the criteria he had in mind when he was asked to curate the Indian section at the last Venice Biennale and Peter Nagy is well placed to comment on the evolving reception of Indian art, given the international visibility of a number of artists represented by his gallery.
Holly Brackenburry would be in a position to provide an overview of the changing profile of the collector in view of the inroads that Sotheby s has made in the market for Indian art first in India itself and then abroad. The contexts of presentation of contemporary Indian art have a bearing on its reception there are other factors at play, of course. Questions about the continuing validity or not of showcasing works whose sole common denominator is that they are made by artists who share the same nationality is something that could come up for discussion and whether it is on such occasions that the vexed notion of influence rears its head.
The difference between government sponsored exhibitions abroad often undertaken as part of a festival ostensibly celebrating all things Indian but usually framed by a political agenda and initiatives taken by museums in Europe to show Indian art is a related topic that could be brought up. Two panels will engage practitioners from different cultural models in historically mapping the diverse histories of art patronage in Asia and in understanding contemporary interdependent forms of support for art in India and China.
Growing wealth in the oilrich states supported an extensive art infrastructure, including art fairs, art collections, museums and bienalles. At the same time, the less wealthy Arab regions in northern Africa and the Levant remain centres of artistic production and political and intellectual ferment. What is the present and likely future of art in the Arab world?
Will changes there have an impact India? Two eminent speakers the former director of the Sharjah Biennale and the curator for the Guggenheim, Abu Dhabi discuss a world that the Indian art scene knows little about, but which is of vital interest.
The panel will analyze the factors that influence the acquisition of art both in the primary market through the galleries as well as via the auction market and will consider the appetite of Indian collectors for art from beyond the subcontinent. It will take a closer look at the strength of the market for Indian Art and consider how similar or different this market is to other art markets. With their modest means, the couple managed to build one of the most important contemporary art collections in history.
Meet Herb and Dorothy Vogel, whose shared passion defied stereotypes and redefined what it means to be an art collector. In its India premier at the IAF , Herb and Dorothy, the documentary by Megumi Sasaki on this legendary art collector couple, highlights why art collecting is not necessarily for only the privileged or moneyed, it is for the passionate art lover.
Following the screening of the Vogel documentary, Maithili Parekh will be in conversation with two Indian collectors Parmesh Shahani and Sonal Sood both of whom have built substantial art collections with modest budgets.
Yet there are equally powerful opportunities for Indian and foreign institutions and museums to step up their presence in this field, to look beyond their nation s borders as they consider future programming needs and desires. This panel discussion spins off from an Asia Society conference held in June , when an eminent group of American and Indian cultural professionals convened in New Delhi to develop projects together, to share best practices and expertise.
Among the topics to be addressed will be the ethics of collaboration, as well as the logistical hurdles confronted by transnational arts collaborators today. It is the leading organization dedicated to exploring the critical role of live performance in the history of twentieth-century art and to encourage new directions in performance for the twenty-first century.
Inhabiting this paradox consists in coming face to face with the Janus faced nature of the present character of the art world. On the one hand, contemporary art is challenged by the instability of the present moment, where every interpretative move seems already too late for now, on the other hand, contemporary art is besieged by the tendencies that seek to retrieve art as a timeless practice abstracted from the pressure of today s world. Caught between these two pulls, is the contemporary in contemporary art under peril?
Or, is this a time for new opportunities to expand the horizon of what is on the anvil for practice? Husain, the famous Indian painter.
Entry is free on first come, first serve basis. His works expose the subjective nature of perception, making us realize the potential of the hidden by giving form to the invisible and intangible. Amrita Zhaveri Art Consultant, Mumbai, London Amrita Jhaveri has been advising collectors, curators, and gallerists on aspects of Indian modern and contemporary art.
Anmol Vellani Director, IFA, Bangalore Anmol Vellani has led India Foundation for the Arts, an independent philanthropic organisation, since From to he served as program officer in the New Delhi Office of The Ford Foundation with responsibility for grantmaking in the performing arts, folklore, and classical learning.
Vellani has written on art and religion, corporate patronage, arts entrepreneurship, the role of foundations, and intercultural dialogue, among other subjects.
He has served as faculty for training workshops in grantmaking, and used theatre methods to conduct creativity workshops. He taught philosophy at the University of Bombay in the s and has directed theatre productions over the last 35 years. She is also founder of Art, Resources and Teaching Trust, a not-forprofit organisation that gathers resources and promotes research and teaching in art and architectural history, archaeology, crafts, design, and other related disciplines in academic and non-academic fora.
Anthony Korner has been the publisher of Artforum International Magazine and its literary sister magazine, Bookforum for the past 31 years. He has been a regular visitor to India since Most recently he was co-author with Professor George Michell of the book Falaknuma Palace, Hyderabad, featuring the hotographs of the palace by Bharath Ramamrutham.
Tek started his collection more than ten years ago and constantly expands his interests to include art from both Asia and the West. He identifies himself not only as a collector, but also as an art patron. With his strong desire to enhance public appreciation for contemporary art, Tek established The Yuz Foundation, a non-profit organisation that promotes art and artists and contributes to various art initiatives. University, Baroda, and a Ph. His curatorial projects include Place.
She has joined the foundation in and has been instrumental in shaping T-B A21 s exhibition and commissions programs. She has read critical theory at the University of Applied Arts for several years and authored numerous essays for catalogs and international magazines. Hsu has participated as a speaker in a number of international forums, and sits on the boards of various international organisations.
She has published widely in books, journals, magazines and exhibition catalogues. University, Vadodara B. Contemporary Art Theory. He has written on a range of modern and contemporary European and Indian artists, mostly for museum publications. His curatorial projects include exhibitions of contemporary French art, nineteenth century French painting, Surrealism, the drawings of Roland Barthes and exhibitions of contemporary Indian art, notably Indian Summer at the Ecole des Beaux Arts in Paris in , the first in-depth presentation in Europe of the generation of artists that emerged in the s, followed by other exhibitions in Brussels, Rome, New York, and Tokyo over the last six years.
Her texts have been published in anthologies worldwide; her books include Contemporary Indian Artists Delhi, ; When Was Modernism: Essays on Contemporary Cultural Practice in India Delhi, ; and, forthcoming, Ends and Means: critical inscriptions in contemporary art Delhi, She has lectured and held fellowships in museums, universities and research institutes across the world.
Watson has worked with modern and contemporary Indian art since , researching this subject for Documenta 12, as well as co curating the exhibition Nasreen Mohamedi: Notes at the Office for Contemporary Art Norway OCA which has toured to five European venues.
Specialising in South Asian paintings and Indo-Islamic works of art, Holly has worked on the Arts of the Islamic World sale since and has been responsible for developing the annual sale in London. She was also instrumental in bringing together the sale of the Dartington Hall Trust collection of Tagores which achieved a world record price at auction. Holly has a BA Hons. Previously, she was literary editor of the Independent on Sunday for eight years, and has written arts and literary journalism for fifteen years.
An art historian by training, her research for the past several years has focussed on the history and politics of museums in South Asia and beyond. Presently he is serving as the senior curator at Singapore Art Museum.
She is also a trustee of the Shiv Nadar Foundation known for its philanthropic engagement in Education. Mrs Nadar had been acknowledged as a hero of philanthropy by Forbes Asia Magazine in She is also a member of the Rasaja Foundation, an educational, scientific and cultural institution created in by the late Jaya Appaswamy, a renowned artist and art historian.
Mrs Nadar is also involved in an initiative of the Rajiv Gandhi Foundation which sponsors the education of Muslim and Dalit girl children in key backward districts of Uttar Pradesh.
His research focuses on modern and contemporary Chinese art. He also maintains an active career as a curator. Marc Quinn Artist Marc Quinn s wide-ranging oeuvre displays a preoccupation with the mutability of the body and the dualisms that define human life: spiritual and physical, surface and depth, cerebral and sexual.
Using an uncompromising array of materials, from ice and blood to glass, marble or lead, Quinn develops these paradoxes into experimental, conceptual works that are mostly figurative in form. Quinn s sculpture, paintings and drawings often deal with the distanced relationship we have with our bodies, highlighting how the conflict between the natural and cultural has a grip on the contemporary psyche.
On joining Sotheby s in , Maithili pioneered and built the auction house s presence in India and manages all aspects of the business on the ground. She has been responsible for several key events, including bringing highlights from the Damien Hirst auction to New Delhi and a travelling exhibition of Indian and Chinese contemporary art to Mumbai. As a leading authority on Asian contemporary art, she has organized nearly 30 exhibitions of artists from across Asia including a retrospective by Zhang Huan.
Utopia is a network of cities that converse and collaborate to develop a platform for regional engagement that is flexible, responsive and generative. Her current research focuses on comparative aesthetics, contemporary Asian art and the impact of globalization on art theory.
Photo courtesy : Richard-Kendall Parmesh Shahani Art Collector, Mumbai Parmesh Shahani heads the Godrej India Culture Lab, an experimental space dedicated to probing the textured nature of modernity in contemporary India by cross pollinating conversations between academia, business and the creative class.
He also serves as Editor at Large for Verve magazine.
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New Books and Multimedia Items - July 2020
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Pledge Signatories
Over the last few years the fair has seen tremendous growth, and has caught the attention of a diverse global audience, attracting over , visitors over its first 3 editions. The 4th edition brings together India s vibrant art community and some of the world s finest galleries. This year, 98 exhibitors from 20 countries present a world class showcase of modern and contemporary art in a custom built space at the NSIC Exhibition Grounds in New Delhi. Returning this year are over 40 of India s best galleries that will represent the exciting breadth of modern and contemporary Indian art. First time international exhibitors this year include some of the most influential galleries from Europe, the Middle East and South Africa.
2013: A Year in Photos
Star Creative Art has been found with a motive to boost the creation of upcoming talented artist who wish to create a niche in art. Creative Art is found with an aim to provide a platform for the upcoming as well as established artist. Creative Art acts as a beacon light for the amateurs and the professional artists. Its basic aim is to develop an artistic milieu in the society. Art, nature and beauty are related to the inner world, a world that has numerous magnificent images, various styles and different settings.
Bloopers Art Prints
It can be hard to stay up-to-date on the published papers in the field of adversarial examples, where we have seen massive growth in the number of papers written each year. I have been somewhat religiously keeping track of these papers for the last few years, and realized it may be helpful for others to release this list. The only requirement I used for selecting papers for this list is that it is primarily a paper about adversarial examples, or extensively uses adversarial examples. Due to the sheer quantity of papers, I can't guarantee that I actually have found all of them. I also may have included papers that don't match these criteria and are about something different instead , or made inconsistent judgement calls as to whether or not any given paper is mainly an adversarial example paper. Send me an email if something is wrong and I'll correct it. As a result, this list is completely un-filtered. Everything that mainly presents itself as an adversarial example paper is listed here; I pass no judgement of quality.
I asked the amazing lovely people on my Facebook page to send me their favorite photographs that they took in The response was overwhelmingly happy. To see images and know that each one of them was created by someone who is proud of their achievements fills my heart with so much joy, and I hope it does yours as well.
To view the full record and check availability, please click on the title of each item to access its catalogue record. Notice: JavaScript is disabled in your browser. Please enable JavaScript to view this website. Go to Chinese Materials.
Finally escaping their underground home, they team up with good friends Ratty, Badger and the loveably roguish Toad on an adventure to blow away the quarantine cobwebs. Can our plucky band of heroes save the day? Taking old stories and retelling them for a new age, re-examining them, or just bringing them back to life for modern audiences as we do with The Wind In The Willows. Me and my brother watched it on repeat and routinely staged our own productions of it with other children in the village. Outdoor story equals perfect show for performances in the great outdoors.
Felmetsger, and Gianluca Piazza. Liu, J R. Saffer, Godwin M. Karp, and N S.
I think this is the lie.
we can say this is an exception :)
Excellent, very useful information