Intrigued by the formal boundaries of painting as they relate to objects and architecture, I use materials, space, color and geometry to study the limits of these boundaries. Through the Modernist tradition, painting has been preoccupied with pictorial illusionistic space..
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My art mostly reflects social issues that matter to me. I also love nature and its colors. With vibrant colors, my work frequently celebrates nature and its beauty. Many of them also have geometric patterns or mathematical..
One frequently hears that it is futile to search for meaning in art. Since the end of my art training, I have been exploring various avenues to test the validity of this view. I have discovered that my creative endeavor
My work is made up of a personal vocabulary of marks, which are loosely based on the constantly evolving urban landscape. For years, I looked to nature for inspiration– trees, clouds, and leaves, and edited out the rest..
The Rabindranath Roy Charitable Trust in Kolkata has re-published Masterpieces of Rajput Painting by O.C. Gangoly. First published in 1926, the book would be a prized possession of any library of Indian art books, not only for the quality of
Born of an Indian father and a white American mother, Sarina Khan Reddy is a new face of the South Asian immigrant culture in the United States. Her new media work intensely scrutinizes, among other things, the hegemonic underpinnings of
Annu Palakunnathu Matthew’s work is firmly grounded in cross-cultural experience. Professor of Photography at the University of Rhode Island, she appropriates images from diverse sources and juxtaposes them to make incisive comments about displacement, family, social inequities, and cultural memory.
Originally from Kolkata, Kanishka Raja now lives and works in New York. For more than a decade, his large, hybrid painting installations –employing such diverse pictorial devices as Indian textile, linguistic and miniature motifs; drastic perspectives; pop imagery and surrealistic
There is no question that for contemporary artists of non-Western origin, the doors to international art scenes, barely ajar in the late 1980s, have opened wider, with increasing access to an inter-continental art market and blockbuster exhibitions. What is more,
Wifredo Lam (1902-1982) was a Cuban artist of mixed race. In the 1980s, his painting Jungle (1943) hung near the coatroom in the first floor lobby of New York’s Museum of Modern Art, prompting the poet and critic John Yau
Ulrich Middeldorf was a historian of Renaissance art. A student of the legendary Heinrich Wölfflin, he headed the Art Department of the University of Chicago. On 16 May 1950, he wrote a letter to his contact at Uganda’s Makerere University
In the 21st century, the question of any new contributions from abstract art is a complicated matter, for the Modernist baggage it carries can hardly be justified any more. And because of the curious mix of utopia and reason that