Raja Salhesh's Garden: Contemporary Dalit Art & Ancient Myths of Mithila, 2022
My essay introduces this free ebook edited by John H. Bowles and Andrew S. Arbury. The ebook acco... more My essay introduces this free ebook edited by John H. Bowles and Andrew S. Arbury. The ebook accompanies four distinct but related exhibitions: Raja Salhesh’s Garden: Contemporary Dalit Art and Ancient Myths of Mithila, India (Radford University Art Museum’s Covington Gallery, October 13 – December 3, 2022), Martine Le Coz: A French Homage to the Ancient Myths and Contemporary Artists of Mithila, India (Radford University Art Museum’s Tyler Gallery, September 14 – November 18, 2022), Mithila Medley: Contemporary Arts from an Ancient Culture in North India (Floyd Center for the Arts, August 13 – December 1, 2022), and Naresh Paswan: A Solo Exhibition (Miller-off-Main Street Galleries, Blacksburg, September 6 – October 14, 2022). All four exhibitions celebrate the diversity of Mithila art, and especially its Dalit art.
My opening essay, "Flowers from the Earth" (pages 1-9) highlights some of the art featured in the four exhibitions while also introducing the catalogue’s chapters, which explore Mithila's Dalit culture and art from myriad viewpoints: art historical, literary, artistic, and philosophic.
I also had the pleasure of translating from the French into English Martine Le Coz's essay "Encountering Mithila's Culture: Artistic and Philosophic Affinities" (pages 22-25).
This is a chapter titled Pattern, which appeared in the exhibition catalogue Bhumijan: Artists of... more This is a chapter titled Pattern, which appeared in the exhibition catalogue Bhumijan: Artists of the Earth, Paintings and Drawings from The Crites Collection, edited by Minhazz Majumdar. It was published to accompany an exhibition held in New Delhi at the Visual Arts Gallery, India Habitat Centre, from 27 April to 7 May 2022. The exhibition celebrated the richness of contemporary folk and tribal arts in India. Other contributing authors to the catalogue include Mitchell S. Crites, Stephen Huyler, Minhazz Majumdar and Alka Pande.
This essay highlights the strength of myriad patterns in the works of Indian indigenous artists. I explore the underlying meanings of patterns, through symbolism, geometry, the gestural and the decorative. The essay also discusses the concept of authenticity in folk and tribal Indian arts, as well what we understand by the term 'master artist' in this field.
Many Visions, Many Versions: Art from Indigenous Communities in India, 2017
This paper examines how some contemporary indigenous artists from India engage with global event... more This paper examines how some contemporary indigenous artists from India engage with global events (e.g. large-scale natural disasters, significant acts of terrorism), sociopolitical critiques and urban themes, to create distinctly contemporary works that address an increasingly global audience. In doing so, it reflects upon how concepts of tradition and contemporaneity are negotiated within such works.
Wasafiri: International Contemporary Writing, 2016
This paper briefly traces the history of indigenous Indian art and its reception in critical disc... more This paper briefly traces the history of indigenous Indian art and its reception in critical discourse and display, by considering exhibitions abroad and in India as well by discussing salient points, such as challenges faced by indigenous Indian artists, scholars, curators and collectors. It mainly focuses on Warli, Pardhan-Gond and Mithila artists.
A potted history providing an overview of exhibitions abroad that have showcased indigenous India... more A potted history providing an overview of exhibitions abroad that have showcased indigenous Indian art, in the exhibition catalogue: Warli: An Artists' Exchange (to accompany an exhibition of Warli art titled The Tales We Tell, Victoria and Albert Museum of Childhood, London, exhibition dates: 14 November 2015 - 3 July 2016).
Manifesta Journal 17: Future(s) of Cohabitation, Feb 2014
In the editor's introduction (not abstract):
In their conversation, the writers and film-makers ... more In the editor's introduction (not abstract):
In their conversation, the writers and film-makers Raimi Gbadamosi
and John Akomfrah underline the hierarchizing effect of the concept
of hybridity on a world in which a certain kind of encounter becomes
idealized and, thus, reductive. “There is nowhere in which anyone exists
in a pure state or an uncontaminated whole,” concludes the latter. His
position resonates dramatically with the recent hardening of global
policies towards migration that flourishes on the foul breeding grounds
of populist and right-wing forms of nationalism, which withdraw into
obsolete notions of the preservation of “organic identities”. In that
context, discourses and worldwide events celebrating “indigeneity”
raise doubts on the viability of such a term if employed in a generalized
way—a risk that the National Gallery of Canada in Ottawa has challenged
in its recent exhibition Sakahan—International Indigenous Art, dissected
here by the artist and theoretician Aurogeeta Das.
In my previous post, I used the word 'aphorism' to describe Tagore's poetry in Stray Birds. Befor... more In my previous post, I used the word 'aphorism' to describe Tagore's poetry in Stray Birds. Before I continue my exploration of Tagore's exploration of birds in his writing, I feel that this term requires some clarification. After all, an aphorism is not generally understood to be poetic. In the The Jewel That is Best, William Radice discusses the pros and cons of using the word 'aphorism' to describe Tagore's poetry and understandably questions what word should be used, if not aphorism. He states, Some people have called them epigrams; but the gnomic, ironic, often malicious connotations of the epigram . . . are not, for the most part, appropriate for Tagore. ' Aphorism' is better, and may be valid for Tagore's own English translations of his poems of this sort, but the term is not usually applied to poetry, and every poem in the present volume is most de<initely a poem, not a prose maxim or pensée. Moreover, the worldly yet subversive motive behind many aphorisms, particularly in the French tradition, is again not present in Tagore."
This essay, published by the Tagore Centre - UK as a blogpost, discusses the leitmotif of birds i... more This essay, published by the Tagore Centre - UK as a blogpost, discusses the leitmotif of birds in Rabindranath Tagore's work, especially in his poetry. It looks at what birds represented for Tagore and how he used this leitmotif variously, as metaphor, symbol, a representation of nature, etc.
This essay, published by the Tagore Centre - UK as a blogpost, explores the theme of birds in Rab... more This essay, published by the Tagore Centre - UK as a blogpost, explores the theme of birds in Rabindranath Tagore's art and in his writing, particularly his poetry. Among other things, it discusses the symbolism of Tagore's words and his use of imagery within his writing.
Raja Salhesh's Garden: Contemporary Dalit Art & Ancient Myths of Mithila, 2022
My essay introduces this free ebook edited by John H. Bowles and Andrew S. Arbury. The ebook acco... more My essay introduces this free ebook edited by John H. Bowles and Andrew S. Arbury. The ebook accompanies four distinct but related exhibitions: Raja Salhesh’s Garden: Contemporary Dalit Art and Ancient Myths of Mithila, India (Radford University Art Museum’s Covington Gallery, October 13 – December 3, 2022), Martine Le Coz: A French Homage to the Ancient Myths and Contemporary Artists of Mithila, India (Radford University Art Museum’s Tyler Gallery, September 14 – November 18, 2022), Mithila Medley: Contemporary Arts from an Ancient Culture in North India (Floyd Center for the Arts, August 13 – December 1, 2022), and Naresh Paswan: A Solo Exhibition (Miller-off-Main Street Galleries, Blacksburg, September 6 – October 14, 2022). All four exhibitions celebrate the diversity of Mithila art, and especially its Dalit art.
My opening essay, "Flowers from the Earth" (pages 1-9) highlights some of the art featured in the four exhibitions while also introducing the catalogue’s chapters, which explore Mithila's Dalit culture and art from myriad viewpoints: art historical, literary, artistic, and philosophic.
I also had the pleasure of translating from the French into English Martine Le Coz's essay "Encountering Mithila's Culture: Artistic and Philosophic Affinities" (pages 22-25).
This is a chapter titled Pattern, which appeared in the exhibition catalogue Bhumijan: Artists of... more This is a chapter titled Pattern, which appeared in the exhibition catalogue Bhumijan: Artists of the Earth, Paintings and Drawings from The Crites Collection, edited by Minhazz Majumdar. It was published to accompany an exhibition held in New Delhi at the Visual Arts Gallery, India Habitat Centre, from 27 April to 7 May 2022. The exhibition celebrated the richness of contemporary folk and tribal arts in India. Other contributing authors to the catalogue include Mitchell S. Crites, Stephen Huyler, Minhazz Majumdar and Alka Pande.
This essay highlights the strength of myriad patterns in the works of Indian indigenous artists. I explore the underlying meanings of patterns, through symbolism, geometry, the gestural and the decorative. The essay also discusses the concept of authenticity in folk and tribal Indian arts, as well what we understand by the term 'master artist' in this field.
Many Visions, Many Versions: Art from Indigenous Communities in India, 2017
This paper examines how some contemporary indigenous artists from India engage with global event... more This paper examines how some contemporary indigenous artists from India engage with global events (e.g. large-scale natural disasters, significant acts of terrorism), sociopolitical critiques and urban themes, to create distinctly contemporary works that address an increasingly global audience. In doing so, it reflects upon how concepts of tradition and contemporaneity are negotiated within such works.
Wasafiri: International Contemporary Writing, 2016
This paper briefly traces the history of indigenous Indian art and its reception in critical disc... more This paper briefly traces the history of indigenous Indian art and its reception in critical discourse and display, by considering exhibitions abroad and in India as well by discussing salient points, such as challenges faced by indigenous Indian artists, scholars, curators and collectors. It mainly focuses on Warli, Pardhan-Gond and Mithila artists.
A potted history providing an overview of exhibitions abroad that have showcased indigenous India... more A potted history providing an overview of exhibitions abroad that have showcased indigenous Indian art, in the exhibition catalogue: Warli: An Artists' Exchange (to accompany an exhibition of Warli art titled The Tales We Tell, Victoria and Albert Museum of Childhood, London, exhibition dates: 14 November 2015 - 3 July 2016).
Manifesta Journal 17: Future(s) of Cohabitation, Feb 2014
In the editor's introduction (not abstract):
In their conversation, the writers and film-makers ... more In the editor's introduction (not abstract):
In their conversation, the writers and film-makers Raimi Gbadamosi
and John Akomfrah underline the hierarchizing effect of the concept
of hybridity on a world in which a certain kind of encounter becomes
idealized and, thus, reductive. “There is nowhere in which anyone exists
in a pure state or an uncontaminated whole,” concludes the latter. His
position resonates dramatically with the recent hardening of global
policies towards migration that flourishes on the foul breeding grounds
of populist and right-wing forms of nationalism, which withdraw into
obsolete notions of the preservation of “organic identities”. In that
context, discourses and worldwide events celebrating “indigeneity”
raise doubts on the viability of such a term if employed in a generalized
way—a risk that the National Gallery of Canada in Ottawa has challenged
in its recent exhibition Sakahan—International Indigenous Art, dissected
here by the artist and theoretician Aurogeeta Das.
In my previous post, I used the word 'aphorism' to describe Tagore's poetry in Stray Birds. Befor... more In my previous post, I used the word 'aphorism' to describe Tagore's poetry in Stray Birds. Before I continue my exploration of Tagore's exploration of birds in his writing, I feel that this term requires some clarification. After all, an aphorism is not generally understood to be poetic. In the The Jewel That is Best, William Radice discusses the pros and cons of using the word 'aphorism' to describe Tagore's poetry and understandably questions what word should be used, if not aphorism. He states, Some people have called them epigrams; but the gnomic, ironic, often malicious connotations of the epigram . . . are not, for the most part, appropriate for Tagore. ' Aphorism' is better, and may be valid for Tagore's own English translations of his poems of this sort, but the term is not usually applied to poetry, and every poem in the present volume is most de<initely a poem, not a prose maxim or pensée. Moreover, the worldly yet subversive motive behind many aphorisms, particularly in the French tradition, is again not present in Tagore."
This essay, published by the Tagore Centre - UK as a blogpost, discusses the leitmotif of birds i... more This essay, published by the Tagore Centre - UK as a blogpost, discusses the leitmotif of birds in Rabindranath Tagore's work, especially in his poetry. It looks at what birds represented for Tagore and how he used this leitmotif variously, as metaphor, symbol, a representation of nature, etc.
This essay, published by the Tagore Centre - UK as a blogpost, explores the theme of birds in Rab... more This essay, published by the Tagore Centre - UK as a blogpost, explores the theme of birds in Rabindranath Tagore's art and in his writing, particularly his poetry. Among other things, it discusses the symbolism of Tagore's words and his use of imagery within his writing.
Travelling exhibition's catalogue blurb: An unparalleled opportunity for audiences to view rarely... more Travelling exhibition's catalogue blurb: An unparalleled opportunity for audiences to view rarely seen contemporary art from four major indigenous artistic traditions in India, Many Visions, Many Versions: Art from Indigenous Communities in India showcases works from the Gond community of central India, the Warli community of western India, the Mithila region of Bihar, and the narrative scroll painters of West Bengal. The exhibition features 47 exceptional paintings and drawings, selected from private collections in the United States and Europe, by 24 significant indigenous artists including Jangarh Singh Shyam, Jivya Soma Mashe, Sita Devi, and Swarna Chitrakar, among others.
Many Visions, Many Versions explores the breadth and variety of cultural traditions in India, revealing a dynamic aesthetic that remains deeply rooted in traditional culture, yet vitally responsive to issues of global concern. Rather than taking a conventional approach to exhibiting these four distinct indigenous artistic traditions by separating them into sections distinguished by tribal and cultural affinities, the curators intentionally display the paintings thematically; accentuating the shared cultural features and contemporary concerns of these four communities that underlie the diversity of the artists’ unique expressive forms, techniques, and styles. The exhibition is divided into four broad categories: Myth and Cosmology, Nature – real and imagined, Village Life, and Contemporary Explorations.
India’s rise as an Asian power on the global scene has focused the world’s attention on the country and its culture. For American audiences eager to know more about Indian art, Many Visions, Many Versions offers an opportunity for viewers of all ages to learn about life and culture in India through these remarkable artworks. The volume includes essays by Aurogeeta Das, Wendy Doniger, Umesh Gaur, Frank Korom, B. R. Mani and David Szanton.
Book blurb: Jangarh Singh Shyam was born in the early 1960s to an impoverished, indigenous family... more Book blurb: Jangarh Singh Shyam was born in the early 1960s to an impoverished, indigenous family in rural, central India. He flew into and out of the Indian art scene like a bright, yet elusive bird. Nurtured by the renowned artist J. Swaminathan at Bharat Bhavan, the multi-arts centre in Bhopal, Jangarh rose to prominence after participating in a seminal exhibition in Paris. After a relatively brief career spanning 20-odd years, he committed suicide in Japan, while on an artist residency in the remote Niigata Prefecture. His work, which arguably defied established art historical categories and inspired a contemporary school of indigenous painting, continues to attract admirers within India and abroad.
Exploring his aesthetics, thematic engagements and art historical relevance, this book focuses on Niloufar and Mitchell S. Crites’ collection of Jangarh Singh Shyam’s paintings and drawings in New Delhi.
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My opening essay, "Flowers from the Earth" (pages 1-9) highlights some of the art featured in the four exhibitions while also introducing the catalogue’s chapters, which explore Mithila's Dalit culture and art from myriad viewpoints: art historical, literary, artistic, and philosophic.
I also had the pleasure of translating from the French into English Martine Le Coz's essay "Encountering Mithila's Culture: Artistic and Philosophic Affinities" (pages 22-25).
This essay highlights the strength of myriad patterns in the works of Indian indigenous artists. I explore the underlying meanings of patterns, through symbolism, geometry, the gestural and the decorative. The essay also discusses the concept of authenticity in folk and tribal Indian arts, as well what we understand by the term 'master artist' in this field.
Publication date: Apr 2016
In their conversation, the writers and film-makers Raimi Gbadamosi
and John Akomfrah underline the hierarchizing effect of the concept
of hybridity on a world in which a certain kind of encounter becomes
idealized and, thus, reductive. “There is nowhere in which anyone exists
in a pure state or an uncontaminated whole,” concludes the latter. His
position resonates dramatically with the recent hardening of global
policies towards migration that flourishes on the foul breeding grounds
of populist and right-wing forms of nationalism, which withdraw into
obsolete notions of the preservation of “organic identities”. In that
context, discourses and worldwide events celebrating “indigeneity”
raise doubts on the viability of such a term if employed in a generalized
way—a risk that the National Gallery of Canada in Ottawa has challenged
in its recent exhibition Sakahan—International Indigenous Art, dissected
here by the artist and theoretician Aurogeeta Das.
Published by Manifesta Foundation, Amsterdam
My opening essay, "Flowers from the Earth" (pages 1-9) highlights some of the art featured in the four exhibitions while also introducing the catalogue’s chapters, which explore Mithila's Dalit culture and art from myriad viewpoints: art historical, literary, artistic, and philosophic.
I also had the pleasure of translating from the French into English Martine Le Coz's essay "Encountering Mithila's Culture: Artistic and Philosophic Affinities" (pages 22-25).
This essay highlights the strength of myriad patterns in the works of Indian indigenous artists. I explore the underlying meanings of patterns, through symbolism, geometry, the gestural and the decorative. The essay also discusses the concept of authenticity in folk and tribal Indian arts, as well what we understand by the term 'master artist' in this field.
Publication date: Apr 2016
In their conversation, the writers and film-makers Raimi Gbadamosi
and John Akomfrah underline the hierarchizing effect of the concept
of hybridity on a world in which a certain kind of encounter becomes
idealized and, thus, reductive. “There is nowhere in which anyone exists
in a pure state or an uncontaminated whole,” concludes the latter. His
position resonates dramatically with the recent hardening of global
policies towards migration that flourishes on the foul breeding grounds
of populist and right-wing forms of nationalism, which withdraw into
obsolete notions of the preservation of “organic identities”. In that
context, discourses and worldwide events celebrating “indigeneity”
raise doubts on the viability of such a term if employed in a generalized
way—a risk that the National Gallery of Canada in Ottawa has challenged
in its recent exhibition Sakahan—International Indigenous Art, dissected
here by the artist and theoretician Aurogeeta Das.
Published by Manifesta Foundation, Amsterdam
Many Visions, Many Versions explores the breadth and variety of cultural traditions in India, revealing a dynamic aesthetic that remains deeply rooted in traditional culture, yet vitally responsive to issues of global concern. Rather than taking a conventional approach to exhibiting these four distinct indigenous artistic traditions by separating them into sections distinguished by tribal and cultural affinities, the curators intentionally display the paintings thematically; accentuating the shared cultural features and contemporary concerns of these four communities that underlie the diversity of the artists’ unique expressive forms, techniques, and styles. The exhibition is divided into four broad categories: Myth and Cosmology, Nature – real and imagined, Village Life, and Contemporary Explorations.
India’s rise as an Asian power on the global scene has focused the world’s attention on the country and its culture. For American audiences eager to know more about Indian art, Many Visions, Many Versions offers an opportunity for viewers of all ages to learn about life and culture in India through these remarkable artworks. The volume includes essays by Aurogeeta Das, Wendy Doniger, Umesh Gaur, Frank Korom, B. R. Mani and David Szanton.
Publication date: January 2018.
Exploring his aesthetics, thematic engagements and art historical relevance, this book focuses on Niloufar and Mitchell S. Crites’ collection of Jangarh Singh Shyam’s paintings and drawings in New Delhi.
Publication date: October 2017.