Artville Contemporary Artist Of The Day
Rameshwar Broota
Title: Same old Story
Medium: Oil on Canvas
Size: 60" x 70"
Year: 1970
Since the beginning of his career Broota has been deeply involved in the contemporary human situation that degrades individuals and pollutes relationship between them on the social plane. His early oil paintings, showing, 'humanized' gorillas, were corrosively satirical and showed the artist's concern for the socio-moral being of man. Over the decades, though not a prolific painter, Broota evolved a technique of painting mostly in monochrome: On the canvas surface, usually painted in matte black, he works with a sharp, thin blade to bring in light and forms, exposing the white surface below, creating deep spatial dimensions. In this phase he focuses on monumental humans, wounded, hardened and somehow dehumanized. In some paintings he shows man against a forbidding wall on which appear illegible hieroglyphics, suggesting the inscrutable destiny of man. His highly personalized technique less painterly in application of paint, has the quality of a graphic print.
courtesy: contemporaryindianart.
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Artville Contemporary Artist of The Day Ravikumar KashiTitle: PinnacleYear: 2007Medium: Acrylic on canvasSize: 72.0 x 48.0 in
Kashi is a multifaceted artist with a great many social concerns, and a love for learning paired with constant need to grow as an artist moving from medium to medium until he finds a niche in which he is fully comfortable. All of these aspects of his nature are translated into visuals and feature in the imagery and iconography he employs in his paintings, installation work, prints and the several other avenues of expressive outpouring that he has explored.
courtesy:saffronart
#art #acrylic painting #contemporary artist #ravikumar kashi#artville gallery
Artville Contemporary Artist Of The Day Babu Eshwar Prasad Title: Open and Shut,Medium: Acrylic on canvas,Size: 48” x 36”Year: 2013
Artist Note:
This preoccupation shows itself at many levels – examining the soil's formal qualities and textures, and the kind of sedimentation that occurs over time, as well as speaking of it metaphorically, of the earth 'bearing witness'. It explores ecological ramifications, looking at the phenomena of industrialization and the kind of impressions it has made on the landscape.
I remain interested in the concept of utility in the age of industrial production and excessive
consumption where an object quickly morphs from being a luxury item, to turning into basic
necessity and finally getting discarded. Construction machinery and sites, hi-tension cable wires, the junkyards of industrial relics, building equipment and signage that dot the city, anthills, mining sites - all these are collaged together to form composite images. What monuments will this moment produce? What kind of legacy will it leave behind? The images silently accumulate evidence and link the past, present and future.
courtesy: babu eshwar prasad
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Artville Contemporary Artist Of The Day Riyas Komu Title: Hey, why should everyone look like Mao? Year: 2007Medium: Oil on canvas
Size: 183cm x 152cm
Riyas Komu’s photo realist portraits depict ordinary, everyday people from his native Kerala. Riyas Komu is a communist but his paintings reflect a less outspoken side to his ideology in which a concern for humanity is portrayed in highly charged images of faces. Riyas Komu exhibited in the 2007 Venice Biennale and aims to highlight the changing face of the Indian streets where imported glamour sits alongside inherited poverty. Riyas Komu’s portraits cleberate the humble person in the crowd, highlighting beauty in the unremarkable. Riyas Komu is one a few Indian artists who have broken away from the orthodoxies of provincialism and the angst-ridden reworking of the subcontinent’s dilemma about independence versus assimilation and appropriation to make artworks that are genuinely concerned with the position of the mass of the people in a rapidly developing and dividing society that is modern India.
courtesy:initial access
Artville Contemporary Artist Of The Day Jeff Koons Balloon Venus (Magenta) 2008–12A magenta Venus of Willendorf that was modeled on the circa 24,000 B.C. sculpture of that name and flaunts numerous voluptuous curves.Viewing these sculptures can be a queasy experience: even while reveling in Mr. Koons’s delirious visual splendor, one is confronted with the dubious values that undergird it. This is art about the relentless pursuit of perfection and control, seven-plus-figure luxury goods pitched to billionaires and realized with massive sums of capital and labor. They embody and promote a determined lust for accumulation—a drive for money, sex, fame and historical stature. These sculptures’ sheer audacity and expense are, inextricably, ingredients in their production.
courtesy:galleristny
Artville Contemporary Artist Of The Day Gigi Scaria Title: Dream Come True Painting On Paper Size: 60" x 72" Year: 2012
Gigi Scaria’s work reflects the rapid economic, industrial, and urban growth of cities in India. Working in both painting as well as digital photography, Scaria presents images such as maps and industrial architecture, emphasizing the experience and the aesthetic of the urban landscape of India.
courtesy: artspace
Artville Contemporary Artist Of The Day Jogen ChowdhuryTitle: Situation XMedium: Oil on canvasYear: 1995Size: 47.6 x 47.6 in
Jogen Chowdhury is known for his ability to successfully marry traditional imagery with the zeitgeist of contemporary painting, in a skillful blend of an urbane self-awareness and a highly localized Bengali influence. His early works show an attention to figuration that carries through in his current pieces. In an interview, Chowdhury commented that, in his early works, "the space projected a simple iconic presence. A spatial sequence was worked out but the space was not complex. The background seemed to vanish." Anshuman Dasgupta describes these works as more iconic and more dramatized; per contra, Chowdhury describes his later works as "now more personalized and subtle".
During his college days, Chowdhury took part in leftist literary circles, the members of which dismissed Rabindranath Tagore as a bourgeoisie and became interested in the works of Russian authors. But by and large, Chowdhury kept himself apart from cultural movements: though a friend of the members of the Hungry Generation, his imagery was drawn from his cultural background more than his intellectual milieu.
"My background is relevant," he once remarked in an interview, explaining that his life in Calcutta was "quite disturbed with political movements. This has a definite influence on my work like the Ganesha period. The Bengali business class worshipping the icon, and their corruption, how they degenerate just like the flesh." The famine, the Partition, and the food movement all cast a pall over his formative years, and a quality of darkness may be seen to inhere in Chowdhury's work. Yet as well as an indicator of sadness, this darkness can be understood to evoke an aura of mystery. It is an effect enhanced in Chowdhury's more recent works, which, increasingly, crop the central image. Chowdhury explains that "The purpose is to hide some parts. The moment I show the entire figure, the interest in the details would be lost. Earlier on, the figures were observed in their natural bearings which came through expressionistic stylization and the weight of reality was greater. There is an effect of distancing today."
Speaking on contemporary art, Chowdhury maintains the necessity of a uniquely Indian approach to art, as opposed to the blind aping of Western trends, "To be global you do not have to do something that is imitative of America, Australia or England. It has to have an authenticity, which is not what blind imitation allows for."
courtesy: saffronart
