Manjunath Kamath

Artville Artist Of The Day

B Manjunath Kamath

Spring Poem

Acrylic on canvas

48 x 60 in

Manjunath Kamath tells stories with his images. His narratives, however, are altered and adjusted constantly, adapting fluidly according to the environment they are narrated in, and resulting in a different meaning each time a story is told. As a visual artist, Kamath feels impelled to regularly reinvent his method of storytelling. By relentlessly working on his articulation and modernizing his techniques, the artist continuously updates his visual vocabulary.

The artist’s need to draw and hold his viewers’ attention is palpable in his varied use of painting, drawing, sculpture and video. With the help of these disparate genres he creates narratives that are gripping in content, even though they are composed of simple, commonplace elements. Thus Kamath’s forte ultimately lies in creating fantasies out of the ordinary.

Kamath usually begins a painting with just one element; this could be drawn from memories of past experiences or the reality of present contexts. He then keeps adding and taking away from the imagery, paying particular attention to structuring throughout this process, and ultimately arrives at a composition that he deems suitable to be the vehicle of his narrative. To Kamath, then, the process of construction is more important than his completed work.

Born in 1972 in Mangalore, Manjunath Kamath obtained his Bachelor’s degree in sculpture from Chamarajendra Academy of Visual Arts, Mysore, in 1994. He was also an artist-in-residence at the School of Art and Design of the University of Wales, Cardiff, in 2002. Kamath’s works have been featured in a number of solo exhibitions, the most recent ones including ‘108 Small Sories’ and ‘Something Happened’ at Gallery Espace, New Delhi, in 2007 and 2006 respectively; and ‘About Something’ at Sridharani Art Gallery, New Delhi, in 1996.

Kamath lives and works in Delhi.

courtesy: http://www.saffronart.com

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Anish Kapoor

Artville Artist Of the Day

Anish Kapoor

‘intersection’,

2012

Anish Kapoor is one of the most influential sculptors of his generation. Perhaps most famous for public sculptures that are both adventures in form and feats of engineering, he manoeuvres between vastly different scales, across numerous series of work. Immense PVC skins, stretched or deflated; concave or convex mirrors whose reflections attract and swallow the viewer; recesses carved in stone and pigmented so as to disappear: these voids and protrusions summon up deep-felt metaphysical polarities of presence and absence, concealment and revelation. Forms turn themselves inside out, womb-like, and materials are not painted but impregnated with colour, as if to negate the idea of an outer surface, inviting the viewer to the inner reaches of the imagination. Kapoor’s geometric forms from the early 1980s, for example, rise up from the floor and appear to be made of pure pigment, while the viscous, blood-red wax sculptures from the last ten years – kinetic and self-generating – ravage their own surfaces and explode the quiet of the gallery environment. There are resonances with mythologies of the ancient world – Indian, Egyptian, Greek and Roman – and with modern times, where 20th century events loom large.

Anish Kapoor was born in Bombay, India in 1954 and lives and works in London. He studied at Hornsey College of Art (1973–77) followed by postgraduate studies at Chelsea School of Art, London (1977–78). Recent major solo exhibitions include Chateau de Versailles, Versailles (2015); The Jewish Museum and Tolerance Center, Moscow (2015); Sakıp Sabancı Museum, Istanbul (2013) and Martin Gropius Bau, Berlin (2013). He represented Britain at the 44th Venice Biennale (1990), for which he was awarded the Premio Duemila. He won the Turner Prize in 1991 and has honorary fellowships from the London Institute and Leeds University (1997), the University of Wolverhampton (1999) and the Royal Institute of British Architecture (2001). He was awarded a CBE in 2003 and a Knighthood in 2013 for services to visual arts. Most recently he received an honorary doctorate from the University of Oxford (2014).

courtesy: http://www.lissongallery.com/

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Nalini Malani

Artville Artist Of The Day
Nalini Malani
Splitting the Other
Polytych of fourteen panels, acrylic, ink and enamel reverse painting on acrylic sheet, 200 x 1400 cm, 2007

Malani's work is influenced by her experiences as a refugee of the Partition of India. She places inherited iconographies and cherished cultural stereotypes under pressure. Her point of view is unwaveringly urban and internationalist, and unsparing in its condemnation of a cynical nationalism that exploits the beliefs of the masses. Hers is an art of excess, going beyond the boundaries of legitimized narrative, exceeding the conventional and initiating dialogue.
Characteristics of her work have been the gradual movement towards new media, international collaboration and expanding dimensions of the pictorial surface into the surrounding space as ephemeral wall drawing, installation, shadow play, multi projection works and theatre.
courtesy: http://www.nalinimalani.com/

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S.G Vasudev

Artville Artist Of The Day
S.G. Vasudev
Tree Worshippers,
123x154 cms,
2006

In his Cholamandal years, Vasudev lived close to the sea. There was the continual ebb and flow of the sound of the waves beating against sands, the hush of the Casuarina trees, filtering the strong winds through their needle-like leaves, and the scratch of crab-like forms moving across the hard dry crust of the beach. The house was filled with the deep bull-frog like voices of Carnatic maestros, just as the hammers and chisels pounded on the surfaces of the various metal plates and round brass vessels, trays and copper murals that Vasudev and Arnawaz, his artist wife at that time, created as part of the craft making activities that were an integral part of the Cholamandal Artists Village scheme. The idea was to produce an attractive, and at that time, innovative range of crafts, that would free the artists to experiment with their artistic vision, without fear of economic constraints. It was a time, when there was little, or no support at all, from the tradition bound public at Madras, for contemporary art.
courtesy:http://www.saffronart.com/

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Seema Kohli

Artville Artist Of The Day 
Seem Kohli 
Tree Of Life 
48" X 60"
Mixed Media on Canvas

Seema Kholi's vibrant use of colour draw the viewer into a world rich in spiritual dialogue, both explicit and implicit.
Her central theme of the "Golden Womb" is not only symbolic of procureation and the journey of life but also a mediation on the eternal self.
courtesy: http://www.mahuagallery.com/

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Riyas Komu

Artville Artist Of The Day
Riyas Komu
TRAGEDY OF A CARPENTERS SON III
2007
Wood and iron 
210 x 54 x 42 in.

Riyas Komu produces politically charged paintings, sculptures and installations that channel difficult subjects including religion and identity. He grew up in Kerala, where both his father and uncle were politicians and subsequently influenced his world view—planting the drive to tackle and critique government policy and affairs. Perhaps best known for his portraiture, he captures extreme emotions, their intensity understood to be fuelled by the plights of contemporary India. The compositions are always cropped tightly around the face, lest we pay attention to anything but the human subject and the physicality of socio-political inequalities, or of war or of dissolute poverty. Recently, he has focused on several football-related projects, which includes a large scale sculpture installation at the Pompitue Centre in Paris in 2010 and a series of portraits of Indian National Team soccer players.

The artist lives and works in Mumbai and Kerala, India.
courtesy:http://www.aicongallery.com
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Takashi Murakami

Artville Artist Of The Day

Detail of Takashi Murakami's 'The 500 Arhats' | PRIVATE COLLECTION, © 2012 TAKASHI MURAKAMI/KAIKAI KIKI CO., LTD. ALL RIGHTS RESERVED

The Mori Art Museum is had a special solo exhibition of contemporary artist Takashi Murakami. It has been 14 years since Murakami’s last large-scale exhibition in Japan, though he has been continually internationally praised, working on giant installations at prestigious venues, such as France’s Palace of Versailles and New York’s Rockefeller Center.

For this exhibition, he makes postwar Japan the main theme as he brings together the country’s otaku culture (anime, manga and more) with traditional Japanese art. His 2012 work “The 500 Arhats,” considered to be the largest painting in history (about 100 meters wide), is being shown in Japan for the first time and was originally produced as a way for Murakami to thank Qatar for providing aid to Japan soon after the 2011 Great East Japan Earthquake.

courtesy: http://www.japantimes.co.jp/

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