The most intense phase of summer is indeed upon us, and we all eagerly await the rains which we hope are just around the corner. However it is in this sublime peak of summer that the Indian art scene has faced harrowing loss with the departure of the much loved and cherished Indian modernist painter Dhiraj Choudhury, and Warli artist Jivya Soma Mashe. On the first day of June in the wee hours of the morning, this incredible soul passed over into the great beyond, leaving behind a legacy which will be immortalized in the history of Indian art.
His unique sensibilities, message of peace and love, and charismatic, warm nature have indeed left a chasm in the hearts of those who knew him. Shri Jivya Soma Mashe is one artist who made a remarkable contribution to the popularization of Warli art. He broke an age old tradition which saw that only married women were able to create Warli paintings, and at age 13 began painting himself. Throughout his life, he gifted the world with traditional representations of Warli culture such as their dance forms, music, and marriage customs. For 66 years he gave wider society a window into the Warli culture, and paved the way for other traditional artists to rise into acclaim. He passed away at the age of 84 in his residence in Ganjad village near Dahanu, about 150 km Northwards of Mumbai, on Tuesday morning. Mashe was honored with Padma Shri for his contribution to popularization of the tribal art.
Vikas Harish eloquently writes on the life and legacy of the great Jivya Soma Mashe, as well as the first installation of his ‘Demystifying of Rural India’ series, where he expertly delves into the rich art and culture of India. From across the globe, our London based correspondent Rajesh Punj interviews Flemish contemporary sculptor Johan Creten on his tenacious oeuvre, which ranges from dainty ceramics to towering bronze pieces, and poses a range of existential questions. Franck Barthelemy reports on the recent Paris exhibition of Subodh Gupta, best known for his large scale works with household items.
Seema Bhalla, reflects upon the sincerity (or lack thereof) of many of the events which took place on and around International Women’s Day. In her essay ‘Voice for Women – K.A. Abbas and Guru Dutt’ she explores the works of these two filmographers, who explored many common issues which faced men and particularly women of their time. Tanishka D’Lyma brings us the review of Bas Meewus’ recent exhibition, a medley of Eastern and Western Aesthetics, and Indira Lakshmi Prasad gives a comprehensive report on the first retrospective of Vivan Sundaram, held at KNMA Saket.
Last month, Art Konsult Gallery held the show ‘Those Days’ an exhibition of rare and coveted vintage Indian photography. Among the collection were the works of Raja Deen Dayal, works from the famous Bourne and Shepherd studios in Kolkata and the ravishing photos of the enigmatic M. Sain. Mansi Dhiman Mandhwani gives us a comprehensive report. Elizabeth Rogers reviews the first joint exhibition of painter Aruna Vasudev and photographer Achal Kumar in their exhibition ‘Landscape’. And lastly our correspondent reports on another monochromatic event in Delhi, but with a far more contemporary twist. Curators Rohit Gandhi and Rahul Khanna showcased ‘Everything is Black and White’ a suave contemporary exhibit at Palette Art Gallery, Golf Links. As the name suggests the show was an exploration of all things monochromatic, and all manner of meanings which these two powerful shades have in the realm of visual art.
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-Siddhartha Tagore
